Category Archives: Traditional

FEBRUARY’S EPISODE OF THE CELTIC PUNKCAST #23 OUT NOW!

Banish those Winter blues with an hour of the best in Celtic-Punk, Celtic-Rock and Folk-Punk from around the world from London Celtic Punks brothers-in-arms The Celtic Punkcast. Stream live or download to listen to later and enjoy!

G’day everyone, hope you’re surviving wherever you are, between record heatwaves here in Australia through to insane cold snaps in North America the world is truly going a bit mad. Let’s play some songs to get you all in a better mood. Here’s this months track list.

BRACE YOURSELF BRIDGET – ‘Julia Delaneys’

FOX ‘N’ FIRKIN – ‘Too Hip For 4ZZZ’

PIPES AND PINTS – ‘Raise Our Flag’

TC COSTELLO – ‘The Ballad Of Being Born In A Bar’

THE LANGERS BALL – ‘Dirty Old Town’

THE ROYAL SPUDS – ‘Skipping Stones’

FIDDLERS GREEN – ‘No Anthem’

NYAH FEARTIES – ‘Glen Ashdale Falls’

SMOKEY BASTARD – ‘Cheer Up Love (Worse Things Happen At Sea) Pt III’

THE LAGAN – ‘Sailing East’

THE PEELERS – ‘The Glen Will Rise Again’

HANDSOME YOUNG STRANGERS – ‘Poor Ned’

PIRATE COPY – ‘Reckless Alice’

ROUGHNECK RIOT – ‘Parasites’

THE MAHONES – ‘A Great Night On The Lash’

AULD CORN BRIGADE – ‘Star Of County Down’

CRAIC – ‘Irish Rover’

You can listen to the latest November episode of The Celtic Punkcast at the link below. Simply click for just over an hour of the best Celtic-Punk of the past and the present and remember you can listen to it live or else download to listen at another time.

THE CELTIC PUNKCAST #23

Contact The Celtic Punkcast  Facebook  WebSite  Twitter  E-Mail

Check out the London Celtic Punk interview with Gareth the ‘Podmaster’ here and find out what possessed him to join the #OneBigCelticPunkFamily. Also worth checking out was the special article written by Gareth for people who haven’t yet experienced the joys of Celtic-Punk so find Bring Your Mates To The Hooley: A Starters Guide To Celtic-Punk here.

KRAKIN’ KELLYS WIN 2019 LONDON CELTIC PUNKS BEST ALBUM READERS PICK

We always knew that the London Celtic Punks readership had exquisite taste but it sure is nice to have it confirmed! We have the winner of the first ever London Celtic Punks Readers Pick and they are well deserving of the award. Having already walked away with Best Debut Album and fourth overall in the Top Thirty Albums of 2017 the Krakin’ Kellys polled 32.38% out of an incredible 522 votes, almost seventy votes clear of runners-up Tir Na Og from Germany with London’s very own Clan Of Celts coming in in bronze medal position clear of The Rumjacks. And as if by magic on the morning we announce this The Krakin’ Kellys only go and release a new video too so scroll down and enjoy another in a long line of bloody great music videos from the utterly fantastic Krakin’ Kellys- Celtic skate punk, beer and bar fight !

We were blown away at how many of our readership took part and 522 votes far exceeded what we were expecting and so congratulations to the Kelly’s. I’m sure 2019 will bring them the recognition they deserve. You can check out the official London Celtic Punks Best Of list here which includes all the relevant links to find out more about these releases.

NUMBER ONE

Contact Krakin’ Kellys- Facebook  WebSite  Bandcamp  YouTube  Twitter  Instagram

NUMBER TWO

Contact Tir Nan Og- WebSite  Facebook  Instagram  YouTube  LastFM

NUMBER THREE

Contact Clan Of Celts- WebSite  Facebook  YouTube  Twitter  ReverbNation  Soundcloud

So there ends the final link to 2018. Now time to look forward to 2019 and we have already had a bunch of releases land on the doormat so stay tuned for the best in Celtic, Folk, Punk and much more.

ALBUM REVIEW: THE LED FARMERS- ‘Irish Folk Out Straight’ (2018)

Well I never it’s actually an Irish band from Ireland! The Led Farmers hail from Dublin and their brand new EP features seven absolute Irish folk classics done of course in that special Led Farmers way!


The Led Farmers are four Dublin fella’s who love what they do, playing upbeat Irish folk music and more. Boasting a two-time All Ireland music champion and members who have studied music at University level. Having performed throughout Europe and the U.S. they began their career in 2014 playing beloved Irish folk classics but soon after began to concentrate on writing their own material that may nod to the past but also moves folk along to the present and even the future. They take their name from a quote by Robert Downey Jr.’s character in the 2008 film Tropic Thunder. Recently having toured Italiy they went down a storm with their acoustic traditional folk played with passion and energy. They’ll not be a song here new to even the casual folk fan but these songs have become the mainstay of most pub singers for a very good reason. Speaking for myself I heard these songs at my Mammy’s knee and were among the first songs I ever knew the words to. Each song evokes a memory and experience I look back with fondness and I’m sure most people from the Irish diaspora can relate to that. Irish Folk Out Straight has been mixed and mastered by Eoin Withfield and is seven tracks of classic Irish folk done in their own energetic and fun Led Farmers style.

The Led Farmers left to right: Patrick Widmer- Drums * Ross O’ Farrell- Bass and Vocals * Brendan Walsh- Banjo and Vocals * Conor Buckley- Guitar

Now the songs here were originally and, in most cases, made famous by one or two bands but in the case of ‘Whiskey In The Jar’ it’s a song that stepped out of folk music and actually became better known when recorded by Irish rock band Thin Lizzy. Anyone who hasn’t seen the TV recording of them miming away to it from 1973 had better get on it now (here) for it’s never been bettered. Recorded, of course, by both The Dubliners and The Pogues (they even released a version of it together!) it’s given a new lease of life here as The Led Farmers run through it with a jolly and energetic tune bordering on upbeat country and bluegrass at times with Brendan’s guitar aflame!

“With me ring dum a doodle um dah
Whack for the daddy o
Whack for the daddy o
Theres whiskey in the jar”

The song dates from the 17th century though no one is actually sure when and who wrote it but a cracking way to kick things. A very popular song which folk music historian Alan Lomax in his book The Folk Songs of North America, suggests was because

“The folk of seventeenth century Ireland (and Scotland) liked and admired their local highwaymen where the gentlemen of the roads robbed English landlords, they were regarded as national patriots.”

Now the next song has been recorded by just about every Celtic-Punk band in existence and if you haven’t heard it by at least a dozen bands then you need to seriously sort out your music collection! ‘I’ll Tell Me Ma’ is without doubt the most popular trad song in Celtic-Punk and with good reason too. It’s a beauty of a song that is perfect for speeding up and getting a crowd going as well as getting a good auld singsong on the go as well. Here it’s mucked about (in a good way) as the boys have fun with it diving in and out of several genres, including reggae, as its ploughed through in just over a couple of minutes. Originally a a children’s skipping song, it’s another song whose origins are a bit obscure but versions were found in parts of northern England and Ireland in the 19th century. Following now is ‘The Rattlin’ Bog’ and The Led Farmers demonstrate they can play a mean bit of trad Irish folk as well as a good party song. No one knows the exact origins of the song except that its about a bog on the grounds of Collon Monastery in county Louth. Traditionally the song gets faster and faster as the song comes to the end and audience participation is a must here with its easy to remember chorus. As with most folk songs it’s been passed on orally through generations and hence many different versions exist out there but the version as sung by The Dubliners seems to have become the standard.

(The first single from the EP and its great video as filmed by Ger O Donnell in the beautiful fields of county Clare. )

This time its given a bit more time to breathe and at over four minutes is the longest track here and with its’s trad folk flourishes it’s the standout song here and well deserving of the hilarious video that accompanies it.

“And in that bog there was a tree, a rare tree, a rattlin’ tree
With the tree in the bog
And the bog down in the valley-o.”

We get another popular Celtic-Punk cover next with ‘Star Of The County Down’ and for once we know it’s date of birth as it was written by Cathal McGarvey who passed away in 1927. The song is set near Banbridge in county Down and The Led Farmers take a rest and play it nice and slow. It’s beautifully played and the addition of some wonderful uilleann pipes from Roman Haller really lifts the song. Another Pogues/Dubs collaboration follows with ‘Rare Old Mountain Dew’ and they stick fairly close to the standard with Brendan’s banjo leading the show and the gang getting in on the “hi di-diddly-idle-um, diddly-doodle-idle-um, diddly-doo-ri-diddlum-deh” chorus! Written in 1882 the song celebrates poitin, the name for illegal Irish alcohol brewed from, what else but, the humble potato and this is what gets my goat (or in English- on my nerves) when people denounce Celtic-Punk with being obsessed with songs about alcohol when here you have a song that has been belted out for 130+ years doing just that. We shipping up towards the end and appropriately its the sea shanty ‘Leaving Of Liverpool’. Dating from the 1800’s it tells of a prospective Gold miner setting sail for California who pledges to his beloved “so fare thee well my own true love; when I return united we shall be”. Whether your man ever did is debatable. Certainly many didn’t giving this song perhaps a bitter sweet edge to its jocularity. So on a mini-album of seven songs the first six have been much loved and much played classic Irish folk tunes so when I saw ‘Drunken Sailor Odyessy’ was bringing down the curtain I expected the bog standard version but The Led Farmers turn the song on its head and deliver a song pitched somewhere between The Beach Boys and some white-bread Hip-Hop! Great fun as Brendan gives it a go rapping as Ross gets a chance to shine on the bass rumbling away while the band chip in and the whole thing is bloody marvellous and worth the price of the EP alone!

So absolutely nothing original here (except the rap version of ‘Drunken Sailor’ I suppose) but that’s hardly the point of a record like this. Maybe it’s to keep their fans happy in between ‘proper’ releases or maybe they know it’s guaranteed press coverage but whats in it for the casual fan or those like me new to the band. Well hard to say exactly but these songs are extremely well played and the fun is utterly infectious and it’s brilliant to hear a band having such great fun playing songs that are sometimes over a couple of hundred years old. The Led Farmers have a back catalogue of great songs of their own so relish the chance to freshen up these classics and it’s worked out well for them.

Buy Irish Folk Out Straight

iTunes  Spotify

Contact The Led Farmers

WebSite  Facebook  Soundcloud  YouTube  Instagram

(in concerto al Bundan Celtic Festival in Stellata di Bondeno (FE).)

Read a great interview with vocalist and banjo maestro Brendan on the 67 Music site here.

LONDON CELTIC PUNKS PRESENTS THE BEST OF 2018!

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

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

1. THE RUMJACKS- Saints Preserve Us  here

2. 1916- Far Beyond The Pale  here

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

4. KRAKIN’ KELLYS- Promised Land  here

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

6. SIR REG- The Underdogs  here

7. TIR NA OG- From The Gallows  here

8. FIRKIN- We Are The Ones  here

9. THE MAHONES- Love + Death + Redemption  here

10. THE MUCKERS- One More Stout  here

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

12. HOLD FAST- Black Irish Sons  here

13. LEXINGTON FIELD- Dreamers  here

14. THE RUMPLED- Ashes & Wishes  here

15. TAN AND SOBER GENTLEMEN- Veracity  here

16.THE KILLIGANS- Dance On Your Grave  here

17. ALTERNATIVE ULSTER- Pog Mo Thoin  here

18. PADDY AND THE RATS- Riot City Outlaws  here

19. IRISH MOUTARDE- Perdition  here

20. BASTARDS ON PARADE- Cara a Liberdade  here

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

22. PIRATE COPY- Swashbuckle & Swagger  here

23. SINFUL MAGGIE- S/T

24. JOLLY JACKERS- Out Of The Blue  here

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

26. THE CHERRY COKE$- The Answer

27. THE CLAN- Here To Stay  here

28. KINGS & BOOZERS- Still Got The Booze  here

29. FALPERRYS- Nova Abordagem  here

30. AIRS & GRACES- Voting At The Hall  here

bubbling under: MALASANERS- Footprints  here

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

KRAKIN’ KELLYS- Promised Land  here

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

1. THE LAGAN- Let’s Do It Again

2. MEDUSA’S WAKE- Rascals & Rogues  here

2. HANDSOME YOUNG STRANGERS- The Bleeding Bridge  here

4. THE DANGEROUS FOLK- One  here

5. LEXINGTON FIELD- Modern Times  here

6. SCOTCH- Last In The Bar  here

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

8. THE GRINNING BARRETTS- The St. Padraigs  here

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

10. THE ROYAL SPUDS- Unforgotten Lore  here

bubbling under…

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

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

1. MARYS LANE- Wild Unknown  here

2. LOUIS RIVE- The Cheap Part Of Town  here

3. THE CRAICHEADS- S/T  here

4. LANKUM-  Between Earth and Sky here

5. MAN THE LIFEBOATS- Man The Lifeboats  here

6. SLIOTAR- Voyage

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

8. BLACKBEARDS TEA PARTY- Leviathan  here

9. THE LED FARMERS- Irish Folk Out Straight

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

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

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

MERSEY CELT PUNKS

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

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

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

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

THE CELTIC PUNKCAST

CELTIC FOLK PUNK AND MORE

FOLK’N’ROCK

PADDYROCK

MERSEY CELT PUNKS

MacSLONS IRISH RADIO

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

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

 Sláinte, The London Celtic Punks Crew- January, 2019

2018 REVIEW ROUND-UP’S. PART THREE: USA AND JAPAN- THE CHERRY COKE$, THE GODDAMN GALLOWS, RAILROAD EARTH

Here is Part 3 and the final part of our 2018 Round Up’s where we catch up with the releases that we couldn’t give a decent review to first time round. I would make it a new year resolution to do better in 2019 but feel I can’t as the amount of excellent releases we receive far exceeds our ability to review them in time, but we are getting better! We don’t want to dilute our reviews or hurry them so hopefully you will understand the thought and work that goes into our reviews and forgive us. Today we go to the north America and also fit in one of the best Celtic-Punk bands in the world from Asia. Each and every one are worthy of your time so go ahead and check them out and apologies to the band’s concerned that we had to squeeze them in like this. Part 1 was releases from the Celtic nations (here) and Part 2 was Europe (here) so today dive in!

THE CHERRY COKE$- ‘The Answer’  (Buy)

One of the most established bands in the Celtic-Punk scene and yet still widely unknown outside their home The Cherry Coke$ release their eighth studio album, The Answer. Now veterans of the scene since their humble beginnings back in 1999 they have gone onto become huge at home mixing traditional Irish folk music with fast and furious punk rock in the same way as Flogging Molly. They rose to prominence after the release of their debut album Beer my Friends which earned them nationwide attention and appearances on Japanese TV and their video being shown regularly on MTV. Twelve songs here lasting just under forty-five minutes and what you get is an eclectic mix of Irish, Punk, Rockabilly, Folk and more all blended together into The Cherry Coke$ very own style. Imagine a harder edged Mollys but with a bit more bite and dual male/female vocals and you’re on the right track and just to show these guys can play they knock out a couple of traditional Paddy’s Day cover songs in ‘The Irish Rover’ and a blazing traditional version of ‘John Ryan’s Polka’ but it’s their own compositions that really shine.

The single ‘Dong Chang Swag’, the Poguesy ‘A-Yo’ and the seven minute song ‘Lilac’, taking in the pomposity of Queen amongst everything else they pack in!, that are my standout track’s here. Another outstanding album and no surprise there!

Contact The Cherry Coke$-  Facebook  LastFM  YouTube

THE GODDAMN GALLOWS- The Trail  (Buy)

The sixth album from a band that is new to me but one I will be definitely checking out. The band formed in Portland, Oregon in 2004 later moving to Los Angeles, living, so they say, in squats and abandoned buildings before spending four solid years on the road dragging their asses from town to town defining their sound. They certainly are a novel band with hardly two songs on The Trail sounding the same. The band mix up a chaotic blend of rockabilly, psychobilly, punk rock, bluegrass, folk and metal to make what some have labelled as ‘hobo-core’. Kicking off with ‘Grassmuncher’ a mental instrumental which begins with the folk elements of the band coming together before the band unleash and metal guitar soon takes it far far away from the finger-in-the-ear folkies. The vocals and music here is gritty and hard and not for those of a gentle disposition. That is not to say that The Goddamn Gallows can’t knock out a quality tune and this album is full of them. Cut from the same cloth as one of my favourite bands Phantom Of The Black Hills (who we did a feature on recently here well worth checking out). Loads of great songs like ‘It’s Gonna Be Ok (no, It’s Not)’ a doom laden slow dirge of a song that also has its speedy bits and a wicked sense of humour, the title track with its folk-punk-metal xylophone (!), the Demented Are Go-esque psychobilly-country-metal of ‘Honeyhole’ and the epic closing track ‘Down With The Ship at over six minutes with dual vocalists and the catchiest song you’ll find here. The little I have heard of Goddamn Gallows gives me the impression that this album is a mixture of the old sound of the band and the new heavier direction they seem to be travelling in. They are on tour throughout Europe later this year, sharing shows with Gallows Bound and Koffin Kats, so I guess we’ll find out then won’t we?

(you can hear the whole of The Trail over on You Tube below)

Contact The Goddamn Gallows-  WebSite  Facebook  YouTube  Spotify

RAILROAD EARTH- Captain Nowhere EP  (Buy)

With some similarities to The Goddamn Gallows this is another release that is certainly not Celtic-Punk but interested me enough to give it a far few plays this year. This is The Goddamn Gallows with all their rough edges gone and a shave! That’s not to say it is in any way weak or wimpy just that its coming from a different angle. Beautifully played Americana with some of the best banjo of the year from a band that has been together for eighteen years! With six albums behind them Captain Nowhere was my first experience of Railroad Earth but carries on in the same tradition as that first album, The Black Bear Sessions, back in 2001. The EP kicks off with the marvelous banjo and mandolin laden ‘Blazin’ A Trail’ accompanied by the glorious sound of an upright bass its utterly fantastic and a surefire foot-tapper if not thigh-slapper!! The kind of song that is guaranteed to get you off your backside and jigging about.

Only six songs here on a record that lasts thirty-five minutes but eleven of those belong to the epic closing title track, ‘Captain Nowhere’. A slow countryfied ballad that ebbs and flows beautifully along that belies it’s length. ‘Only By The Light’ and ‘The Berkeley Flash’ also stand out for me on a release that is kind of hard to pigeonhole but fiddle player Tim says “We’re a Country & Eastern band!” and that may indeed be right.

(The band live in concert at Red Rocks Festival)

Contact Railroad Earth-  WebSite  Facebook  YouTube  Soundcloud

So ends the third and final part of our 2018 Round-Up’s. We are guaranteed to have still missed some fantastic music so all the more reason to send us your releases to review. We are also always looking for people to join the reviews team so don’t be shy if you fancy giving it a go. If you don’t want to miss any of our posts then you can follow us by filling in your e-mail address in the box that is either below or to the left depending on how you are viewing.

DON’T MISS THE HIGHLIGHT OF OUR YEAR ON MONDAY WHEN WE UNVEIL THE LONDON CELTIC PUNKS BEST ALBUM OF 2018!!

EP REVIEW: THE ROYAL SPUDS- ‘Unforgotten Lore’ (2018)

They may have the strangest name in Celtic-Punk but Dutch band The Royal Spuds can also play a mean tune as evidenced on their fourth studio production, a brand new EP, titled Unforgotten Lore.

Wherever these guys got their name from I do not know but since their formation back in 2012 The royal Spuds have been pushing their version of Spud-Rock to the masses. It is certainly true that growing up in a Irish household you do come to the conclusion that the potato is king! Both their debut album Wanted Drunk and Alive and It’s A Feckin’ Freakshow were voted into the Top 10 and 20 over at Irish Pub Radio as well as reaching the heights in the Celtic-Folk-Punk site lists as well.

(have a listen to It’s A Feckin’ Freakshow on the Bandcamp player below)

The boys have toured the length and breadth of the Netherlands and played most of the alternative festivals the country has to offer. They have even managed a tour of Ireland in 2015 and in 2017 ventured further afield across Europe and as they say

“just like any salty spud, once you have had a taste of their powerful music, you will be left craving for more”.

The Royal Spuds are of course available for gigs, festivals and concerts in the Netherlands and abroad.

Coming out in the gap between Christmas Day and New Years Day Forgotten Lore may not have been blessed the most perfect release date but they celebrated it well with a bumper sell-out gig in their home town. The EP begins with ‘The Arrival’ one of several songs here penned by lead singer Maarten. It is cut from the same cloth as the recent upsurge in acapello singing of songs like ‘Old Maui’. The sound of chains and the ocean with the boys belting out the chorus of “Unforgotten Lore”. The song comes to an abrupt end and we are straight into ‘I’m Too Old For This’ and some fast paced melodic Celtic-Punk. The bends in Europe certainly love their flute and though I was late to realise that I actually liked it in Celtic-Punk I am most definitely a convert to it now and Mickey’s playing is superb. Chuck in a guitar solo as well as accordion, banjo and mandolin and we off to an absolute flyer. Needless to say Maarten’s vocals are as clear as the proverbial bell and his English as good (indeed better!) as any English speaking band you’ll find. Next up is the EP’s first cover song. The band have chosen well with ‘Johnny Jump Up’, a lively energetic trad Irish folk song that may surprise some in that it only dates from the 70’s. The song tells of an Cork man who gets in a whole load of trouble thanks to drinking too much extra-extra-strong cider. It’s a popular song on the circuit and deservedly so and The Royal Spuds do it justice.

“So if ever you go down to Cork by the sea
Stay out of the ale house and take it from me
If you want to stay sane don’t you dare take a sup
Of that devil drink cider called Johnny Jump Up”

Its played fast but with a style that would impress both folkies and punkers. ‘The Man’ is one of my favourites here and exposes in me what it is so good about Celtic-Punk generally. I find myself drawn to both the folky ballads and fast punk songs and ‘The Man’ is the closest they come to a ballad here, though not really that close really. Catchy and based somewhat, but no means exclusively, on the auld Pogues number ‘I’m A Man You Don’t Meet Everyday’ it’s a great wee number with all the Celtic instruments coming together beautifully with the vocal chords of the band getting a nice work out with the ‘OOOOOhhhhh’ chorus. The song speeds up at the end with a really nice Irish folk flourish showing these guys know wht they about. A more traditional Celtic-Punker follows with ‘Alley In Killarney’ a drinking song about getting lashed in Kerry. Mickey is back with accordion this time, the talented bastard!, and Maarten gives it a bit extra with the vocals. A cracker of a tune.

Too often Celtic-Punk is though to be only about the music of Irealnd and Scotland but their are seven Celtic nations and The Royal Spuds visit there next with the ‘Tri Martolod’. A traditional Breton song dated back to the 1800’s in Lower Brittany. Made famous by it’s recording by the famous Breton harpist Alan Stivell in the 1970’s. The Royal Spuds version is utterly fantastic and the highlight of the album for me. At a whopping six and a half minutes the song is given time to develop and not once do you start to tire of it. Beginning with a 70’s Folk-Rock vibe the song twists and turns even with time to inject a touch of ska into it. All the songs on Unforgotten Lore are sung in perfect in English and while we don’t mind that it’s not something that matters so was nice to hear the story of three young sailors who leave Brittany for Newfoundland and find love sung in it’s absolutely perfect native Breton! The EP ends with the jolly ‘The Last Wild Haggis’ and they go out on another high with a song about that elusive Scots creature the haggis. While the song almost punks out the band rein it in a bit stopping just short but another cracking song and given over five minutes to evolve.

Their has always been a fantastic scene in the Netherlands and while the bands there do share some similarities they are all different enough to survive independently. The Royal Spuds are on the folkier side of things while still having more than enough punk to keep us all happy. An excellent EP that impressed me no end and to have a song in a Celtic language has even impressed me that bit more!

Discography

Start Your Engines EP (2012) * Wanted: Drunk ‘n’ Alive (2013) * It’s a Feckin’ Freakshow (2015)

Buy Unforgotten Lore

Download (-Apple/Spotify/Google/Deezer etc.,) For physical CD’s contact the band

Contact The Royal Spuds

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

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

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

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

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

Contact Sigelpa- Soundcloud YouTube Facebook Twitter Bandcamp YouTube

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

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

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

Contact East Town Pirates- WebSite Facebook Soundcloud ReverbNation YouTube

LOCKS- ‘Skeletal Blues’ (BUY)

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

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

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

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

Contact LOCKS- WebSite Facebook Bandcamp YouTube Soundcloud

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

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

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

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

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

Contact Irish Stew Of Sindidun- WebSite  Facebook  YouTube

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

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

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

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

Contact LOCKS-  WebSite  Facebook  Bandcamp  YouTube  Soundcloud

CELEBRATING A CELTIC CHRISTMAS

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

Christmas

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

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

SCOTLAND

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

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

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

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

IRELAND

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

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

WALES

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

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

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

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

ISLE OF MAN

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

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

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

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

CORNWALL

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

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

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

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

BRITTANY

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

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

GALICIA

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

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

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

Nollick Ghennal as Blein Vie Noa (Manx Gaelic)

Nollaig Chridheil agus Bliadhna Mhath ùr (Scottish Gaelic)

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

Nedeleg Laouen na Bloavezh Mat  (Breton)

Nadolig Llawen a Blwyddyn Newydd Dda (Welsh)

Nadelik Lowen ha Bledhen Nowyth Da (Cornish)

Further Christmas themed fun with this London Celtic Punks Top Twenty

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

CLICK HERE

Now go have a drink…

ALBUM REVIEW: TAN AND SOBER GENTLEMEN- ‘Veracity’ (2018)

Their has been a few great debut Celtic-Punk albums during 2018 but here is one of the very best from North Carolina’s the Tan and Sober Gentlemen. Raw and unfiltered, a blend of hard-driving, danceable roots delivered with a punk edge and whisky-fuelled abandon they call ‘Celtic-Punk-Grass’.

Holy f*$%*£g shit this is a one hell of a great album!! If anyone out there is still mourning the loss of the great Cutthroat Shamrock then dry your eyes and sit yourselves up as grieve no more as the Tan And Sober Gentlemen are here to fill that big Celtic-Bluegrass-Punk gap in our hearts. We were lucky earlier in the year to be chosen to showcase their debut single a release of the auld Celtic rebel number ‘Follow Me Up To Carlow’ which, needless to say, was absolutely fantastic. This though just left me itching for more so I was doing cartwheels when they sent me their debut album last week and it’s not been out me lugholes ever since!

Recorded in the woods of Chatham County, North Carolina, the album is a riotous take on what the band calls ‘Scotch-Irish hillbilly music’. North Carolina has a rich history of Irish, Scotch and Scotch-Irish history going back generations and the Tan And Sober Gentlemen are rightly proud of their state’s Celtic musical heritage. Musically they embrace the glorious foot stomping sound of their home while welding to it irish and Scots tunes and melodies. Totally acoustic this is the kind of wide-open-throttle, no-holds-barred band that could drown out most Punk bands with their passion, energy and sheer ruggedness.

Tan And Sober Gentlemen from left to right: Alan S. Best- Mandolin, Accordion, Penny Whistle *  Ben Noblit- Bass * William Maltbie- Singing * Jake Waits- Drums * Tucker Jackson Galloway- Banjo * Eli Howells- Fiddle * Courtney Raynor- Guitar

Since forming in the summer of 2016, Tan and Sober Gentlemen’s reputation has garnered them wide support at home in the Appalachians, across the East Coast and even back ‘home’ in Ireland. Veracity was released on 1st December this year and recorded and mixed at BNB Audio by Brett Scott and he has done an amazing job taking Tan And Sober Gentlemen’s live sound and transfering it successfully to record. Kicking off with ‘Rabbit’ and as ferocious banjo picking you ever gonna hear. It’s lively, catchy and totally awesome. The kind of song that almost forces you to onto the dancefloor to kick up the dust or as Black Water County would say “Beat up the floor!”. The song is based on a old black banjo tune from their home in the North Carolina Piedmont. First mentioned in 1913, it is thought to be much much older. Played at breakneck speed leaving the Country’n’Western me Mammy use to listen to in its dust. Mandolin, fiddle and Banjo are on fire while the rest of the band struggle I reckon to keep up. The pace doesn’t let up next with ‘The Day Has Come’ and neither does the catchyness! The first signs of the bands roots comes with an amazing cover of The Pogues classic tribute to Irish-America ‘The Body Of An American’. Beginning with Eli’s tender fiddle that almost stretches into the auld rebeller ‘Boolavogue’ before the band all come together as the song builds up and like the original bursts into life. Guitarist Courtney takes over ably on vocals and belts it out with gusto and heart. Yeah it maybe impossible to fuck up this song but it’s just as hard to impress with it too but a great version and a surefire way to get the dancefloor moving I am sure. ‘Waterbound’ is more traditional Hillbilly/Bluegrass fair but again played at a pace that’ll leave you out of breath just listening to it. A 20’s fiddle tune from Grayson County Virginia, though also thought to be much older. They slow it down slightly for ‘Deep Chatham’ but not by much! Courtney takes over from William on vocals again for ‘Knoxville Girl’, the albums longest song at just under six minutes. As far as I can tell it tells of a rather vicious fight but wrapped around a beautiful country and western ballad with some great fiddle. It’s the sort of song that would have fit perfectly on Nick Cave’s infamous Murder Ballads album. From the 17th century, the song was originally from Shropshire England, where the murder was commited, but it made its way across the broad atlantic to America by Irish immigrants, who sang it as ‘Wexford Girl’. It again took on new life when it was renamed ‘Knoxville Girl’ two centuries later after a second murder occurred. One of the album’s highlights is one of their own compositions and ‘Hold My Hand’ is what every country song should sound like. No mistaking the highlight of the album for me and it totally justifies them releasing it as the lead single for the album too. ‘Follow Me Up To Carlow’ is one of my favourite songs anyway but the Tan And Sober Gentlemen perform one hell of a good version of it. You can check out our review of it as a single here where we also dig into the interesting history of the song too. Veracity ends with ‘Going Home’ and it’s a song packed with history. Black churches in western North Carolina sang hymns in Gaelic well into the 20th century, and many Southern Baptist hymns are based on Scottish melodies. Antonin Dvorak was staying in the mountains of North Carolina when he stole the tune of two different bagpipe songs and wrote the 9th Symphony. It is thought the melodies of those two bagpipe tunes made their way into the repertoire of the black churches in Asheville NC, where Dvorak heard them and incorporated them into the Largo Theme. The song is now sung as the last song of every ceili. The band actually learnt it in Fort William!

So we’ve nine songs that clock in at thirty-three minutes and while they may be better known at home for their raucous, energetic live performances and with Veracity they have captured their wild abandon perfectly. With sold-out shows across the South, and, more interesting for us, international tours on the horizon, Tan And Sober Gentlemen are set for great things.

(you can have a free listen to Veracity before you spend your 10 bucks on it on the Bandcamp player below)

Buy Veracity

FromTheBand

Contact Tan And Sober Gentlemen

EP REVIEW: THE CRAICHEADS- ‘Greetings From Another Land’ (2018)

One of the biggest pullers on the London Irish scene Celtic-folkers The Craicheads are back with an 4-track EP the follow up to their debut album and a taster for their new studio album due next year!

There are two Irish communities living in London. The Irish and the London-Irish. The Craicheads are London-Irish through and through. A product of their environment on the working-class streets of London where the Irish ran everything. Nowadays London is a multicultural place where every nation in the world has rocked up to and the presence of the Irish in it has diminished in a couple of ways. For decades the public face of the Irish was the pub. Only a decade ago Irish pubs dominated the high streets of the capital but gentrification and changing demographics and the ever increasing need to build flats for young yuppies professionals has seen 100’s and 100’s closed over the last few years. On top of that, the ageing population has sadly seen many of the Irish who arrived in the glory days of Irish emigration from the 50’s through to the 80’s either pass away or move back home in retirement. Nevertheless their is a rich vein of Irishness still alive and kicking in the capital and it wouldn’t be unusual to go to an Irish pub these days and find the Irish born well outnumbered by the Irish not born in Ireland!

Music has played an enormous part in this and yeah bands like The Pogues did truly represent us back in the day but more modern bands like The Bible Code Sundays continue the trend. All over London, and other parts of England, Wales and Scotland, the foreign born Irish celebrate their ancestors and their roots listening and singing along to fellow foreign born Irish bands and singers. Into this category we can add the wonderful Craicheads. Formed a decade ago the Bhoys are in constant demand playing in and around the capital and at functions and festivals throughout the UK and abroad. Performances on ITV’s This Morning, at Trafalgar Square for the 2016 St Patrick’s Day festivals, The Irish Post Awards and at The Rugby World Cup too, as well as a residency at one of London’s largest and most well known Irish bars, O’Neills in the west end. They have one release behind them, ‘Brewed In London’, which was basically an album of Irish folk and country tinged covers which was well played and enthusiastically received but it was the two original Craichead compositions on the album that stuck out for me. ‘Take Me Back To Harrow’ and ‘Sligo Shore’ showed exactly what they can do and I never stopped hinting to Mick the bands singer when I would see him that they ought to concentrate on some original material. Well I have gotten my wish!!

The Craicheads from left to right: Sean Douglas- Bass * Ben Gunnery- Fiddle/Whistle/Flute * Mick O’Beirne- Guitar/Lead Vocals * Martin Stewart- Drums * Tim Eyles: Lead Guitar/Mandolin *

It’s a wee bit of a change of direction for them and I can honestly say its for the better. Watching them in O’Neills, as I have done countless times, you come away knowing a couple of things. 1) That you have had a bloody great time and 2) that these guys are wasted on the London pub scene! The songs here are still tinged with folk, country, blues and even good old fashioned rock’n’roll but there’s a bite to these songs that was missing before. Maybe its a bit of punk attitude but as a taster for the upcoming Craicheads second album this will certainly get the juices flowing.

Greetings From Another Land was recorded many miles from London at the Rockfield Studios in Monmouth, Cymru. The studio has in the past played host to such legends as Oasis, Joe Strummer, The Stone Rose’s and Queen. In fact it’s was here where Freddy Mercury wrote the epic song ‘Bohemian Rhapsody’! The EP kicks off with the rousing title-track ‘Greetings From Another Land’ where Mick’s voice sits snugly between fellow London-Irishmen Johnny Rotten and Shane MacGowan but still completely tuneful! The song takes the form of a message from one generation to the next about their experiences and the struggles they faced in emigrating to these shores.

“No Blacks, No Dogs, No Irish was the sign upon the wall, It’s hard now to believe it but it happened to us all”

Times were tough for those Paddies and Biddies we must never forget. The song itself takes in a ska/reggae beat, appropriately enough, alongside some fantastic fast trad Irish. The Irish lived side by side with the West Indian communities on arrival here in London’s poorest areas and many of their children still do.

A cracker of an opener with more than a hint of the Bible Code’s Celtic-Rock but lifted by the influences from around London. All the required instrumentation is here and played, as you’d expect, absolutely note perfect. They follow this up with ‘The Ballad Of John Joyce’, a song about vocalist Mick’s Grandad John Joyce from Connemara. Arriving in England from the Gaeltacht (where only Irish was spoken) with no English he got a job working down the coal mines in Wales, then to London and starting work and raising a family. It’s down to such legends in our lives that we are Irish. Here The Craicheads give it some Country’n’Irish with a snappy, catchy tune with Ben’s fantastic fiddle and tin-whistle moving it along nicely. It’s hard to imagine what he must have gone through to leave the green fields of home to go to work two miles underground. It literally must have seemed like another planet. On ‘Larry’s Song’ Mick tells the story of a man he worked with many moons ago. Like many of these long gone Irish over here, they all had a story to tell. A great hurler from Gort, Co Galway he helped the young Mick figure out what life was all about. His advice be sure to chase your dreams is truly good advice. The slowest song here though not quite a ballad but some lovely Irish folk played under Mick’s voice who proves he can still hit the notes when needed. A beautiful song with a strong and positive message. Class.

We’re rolling up to the end and the curtain comes down on Greetings From Another Land with ‘Leave Me Alone’ and The Craicheads go out in style with a knockabout Poguesy Celtic-Punk number. Telling the story of a man looking for a bit of peace and quiet away from it all down the boozer who won’t be left alone. Yeah there is still a trace of country still in there but its fast and furious and a great way to end things. Four new songs that are knocked out with power, passion and pride and it would be criminal if The Craicheads were confined to the pubs of London town. We will keep you posted as to when the full length album will be delivered but we must never forget that we built the roads, schools, hospitals (and staffed them too), tubes and plenty more besides in London and we have a not too shabby musical legacy to be proud of as well.

Buy The EP

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ALBUM REVIEW: TIR NAN OG- ‘From The Gallows’ (2018)

From The Gallows is the fourth album from German Celtic folk punk band Tir Nan Og. Released in January 2018 according to Marvey Mills it delivers an instant slab of authentic folk punk loveliness from the opening song to the very last drop of the fourteenth track.

It is necessary, when reviewing an album, to draw comparisons with others of the genre in order to locate it in the broad and diverse spectrum, for the delight and delectation of the reader. I have found that many European Celtic folk punk bands tend to focus on a few keys themes; drinking, fighting and wenching, wrapped up in fast aggressive tunes with the distorted guitar turned up to 11 and the drummer beating out a rhythm like a runaway train. Songs you might imagine singing along with at the top of your voice, pint of booze in one hand and the other clenched in a fist punching the air in defiance of the oppressive overlords of the past. From the Gallows is not one of those albums. Think of a combination of Black Water County, The Biblecode Sundays and Mad Dog Mcrea with a little of the whimsy of Merry Hell thrown in for good measure and you will get somewhere close. Don’t get me wrong, all those good old familiar party themes are well represented here, but the musical underpinning is layered, sophisticated, varied, skilfully delivered and occasionally surprising.

The opening track, “O’ Hanlon’s Last Words”, sets out the stall for the album and I knew by twenty seconds in that I would love the whole album. Leading from the front with some capering-pace solid fiddle licks and acoustic strums it melds seamlessly into the opening lyrics. Robert Meyer, the most Irish sounding German voice I have ever heard, delivers “Bless me Father for I have sinned done quite an evil deed”. His gravelly tones supported by dancing flute riffs, you know instantly where this track is going. He is joined on vocals by Sarah Kucharek, sounding for all the world like Shannon from Black Water County, in some fabulous backing harmonies as the song build pace.

Tir Nan Og left to right: Sarah Kucharek- Vocals, Traverse Flute * Robert Mayer- Guitars, Vocals * Andreas Fingas- Backing Vocals, Bagpipes, Whistles * Volker Katzki- Drums, Bodhran * Joachim ‘Joggi’ Fink- Bass * MatthiasPracht- Fiddle, Nyckelharpa

Loosely themed, naturally enough, around the struggles of life and death with the shadow of the gallows ever-present, the album keeps up a blistering pace, throwing in the ubiquitous tin whistle, flute and some alternative percussion I could not quite identify, as it romps from song to song. By  track three, Sarah takes over on lead vocals on the excellent “Firestorm” with scaffolding ably provided by some growling fiddle, droning pipes (maybe!) and backing harmonies from the rest of the band. The thoughtful fourth track “Monster (In My Mind)” dials down the pace a little and is pushed along by interwoven flute and whistle harmonies, with a beautiful flute and fiddle breakdown towards the end.

Sarah returns on haunting lead vocals for my personal favourite track on the album, ‘Last Farewell’, telling the sorry tale of Myles Joyce, one of three men wrongfully convicted and hanged in 1882 for the murder of a local family on the border between Mayo and Galway after a shameful trial by British authorities. “Toll for me the Angelus bell, let it ring let it sing my last farewell”.

The pathos is punctured admirably by the next two tracks “Three Nights in Town” and “Shaun O’Malley”. Riotous and ribald romps documenting the misfortunes of drinking too much when seeking romance and of being mistaken for the ne’er-do-well Mr O’Malley wherever the author turns. The latter being the perfect song for spinning and reeling audience participation at any whiskey-fuelled gig at a certain point in the evening! I am looking forward to being in that crowd one day, screaming “Who the fuck is Shaun O’Malley” along with the band onstage.

The fun doesn’t end there though. Seven more tracks complete the album, including two bonus tracks, with the instrumental “Bastard Reel” being a standout joyous and fiddle-driven reel, with one of the final songs sung in the band’s native tongue. The final track “Johnny Pirate”, with alternating English and German verses, is happy pirate rock documenting the life and times of Johnny Depp!

Tir Nan Og’s music is familiar, even on the first listen. Authentic and eclectic in its influences it draws on a pantheon of instantly recognisable themes. This absorbs you, quickly and completely. But just when you think you know where it is going, the band changes tempo, drops in a change, adds a different instrument or goes in a new direction. That is one of things I really enjoyed about this album, it never seems to get complacent or relies on regurgitating that which has gone before. Skilled and layered musicianship expertly woven together with glorious vocals and harmonies create dynamism and energy exhibited by the best that Celtic folk punk has to offer. I like this band so much I am off to purchase their first three albums and I will be looking out for them eagerly on the gig and festival circuit.

Discography

Ardacris (2016) * Jack Of Folk (2015) * Bitter Brew (2012) * After Work (2019) *

Buy From The Gallows

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Contact Tir Nan Og

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BRING YOUR MATE TO THE HOOLEY: A STARTERS GUIDE TO CELTIC-PUNK

Alright straight of the bat I know what you’re thinking: I’m reading a site called ‘London Celtic Punks’ I don’t really think I need a starters guide to the Celtic Punk/Rock/Folk Punk scene. Well steady on for a second and hear me out: This isn’t for you. This for your mate who has shown a bit of interest or even a passing interest in this music. Maybe they’ve watched The Departed, or heard the Dropkick Murphys on a sports broadcast, or maybe they’re just looking for some kick arse tunes to play on Paddy’s Day. It can be tough trying to think of where to start introducing them to the genres, so many great bands to choose from after all, so here’s my recommendations to help you help your mates out.

DROPKICK MURPHYS – THE WARRIORS CODE

This is the song that got me into this genre, stomping beats, wailing pipes, lyrics that fire you up. Written for Bostonian boxer Micky Ward, it’s a fantastic tune for any mate of yours who’s looking for some music to play while at the gym. Even after all these years it’s still my favourite Murphy’s song, great mix of punk rock sensibilities and some fantastic piping by the bands former piper Scruffy Wallace.

FLATFOOT 56 – KNUCKLES UP

A great punk tune that is a great bridge track for those just getting into the genre. Fast and hard, this song wouldn’t be out of place in a mid-2000’s skateboarding video. Flatfoot 56 are an excellent starting point band for people new to the genre. Once you’ve played them this get them onto to tracks like ‘Black Thorn’, ‘Ollie Ollie’ and of course ‘Winter In Chicago’.

KRAKIN KELLYS – ANARCHY IN THE DOUBLE K

Similar to Knuckles Up, just a flat out great punk tune, another skate punk style banger from one of the newer bands on the scene. The Kellys have a big future ahead of them and your mate will want to be on the ground floor for these guys.

KILMAINE SAINTS – THE SAINTS ARE UP!

Honestly, I could’ve picked any one of about a dozen songs from these guys, but I went with the opener from their fantastic debut album ‘The Good, The Plaid And The Ugly’. Similar to The Warriors Code in as much as it combines a great punk rock tune with some tremendous piping work. You and your mates will be belting out ‘raise a shot, raise a pint, put your arms around your mates, ‘coz we’re the noisy drunken bastards called the Kilmaine Saints!’ in no time.

THE DREADNOUGHTS – LEONARD COHEN

One of my mates upon hearing this song said to me ‘It’s a great song, but why is it called Leonard Cohen?’ I honestly had no idea, but really it’s irrelevant because he was right, it is a great song. The Dreadnoughts have always wholeheartedly embraced the folk side of the folk punk genre, playing everything from polkas, shanties and great punk rock songs. Once your mates have gotten a taste of these Canadian mainstays point them towards songs like ‘Back Home In Bristol’, ‘Eliza Lee’ and ‘Grace O’Malley’

THE BOTTLERS – HADES WAY

Regular readers of this site will know that the lads of London Celtic Punks love them some Australian bands and for good reason: we have some incredibly good bands down here. From bands like The Go Set, The Ramshackle Army, The Dead Maggies, Fox N Firkin, Medusas Wake and so many more Australia has an amazing scene that is going strong, even with The Rumjacks no longer calling Australia home. For mine though, Hades Way is one of the absolute top shelf songs by an Australian band. The Sydney lads from The Bottlers embrace all things Australiana and Hades Way is a cracking song.

THE YOUNG DUBLINERS – THE FOGGY DEW

Of course if you’re going to introduce your mates to this music, then you’re going to have to throw in a few traditional songs that have been covered by modern artists. This track is one of my favourites, great vocals backed by some tight music make this a powerful version of a powerful song. Once you’ve introduced your mates to this then move onto songs like ‘Botany Bay’ by The Blaggards, ‘The Wearing Of The Green’ by the Kilmaine Saints, ‘Danny Boy’ by Happy Ol McWeasel and of course the Pogues and The Dubliners teaming up on ‘The Irish Rover’.

SIR REG – FECK THE CELTIC TIGER

Based in Sweden and with a majority Swedish band. Sir Reg are a good way to introduce your mates to the wider world outside of the main hotspots of North America, The UK & Ireland and Australia. Feck The Celtic Tiger is an amazing tune about the exodus of Irish nationals riding high on the so called Celtic Tiger boom of the 90’s/2000’s. Well paced and well played with a catchy chorus, it’s a great song to introduce people to the many non traditional scenes, from there you can bring bands like The Barley Hops from Indonesia (great scene in Indonesia btw), Raise My Kilt from Argentina, Selfish Murphy from Hungary and of course the many great bands from central and Eastern Europe.

THE TOSSERS – SIOBHAN

Anyone who listens to the Celtic Punkcast will know that The Tossers are my favourite band, so of course I’m going to include them on this list. Siobhan is such a great song and in my opinion no other band seams trad and punk together as well as The Tossers. Siobhan is a prime example of The Tossers at their absolute finest. If I was to list all my Tossers recommendations this article would become something challenging Tolstoy in length. Pick any Tossers song and you can’t go wrong really.

THE POGUES – STREAMS OF WHISKEY

If you’re introducing you mates to Celtic Punk, you have to give them a taste of the band that started it all. A bit like some of the other bands on this list, you could chose any number of their songs by these legends (ok, maybe not Fiesta). I’d go with Streams Of Whiskey over some of The Pogues mainstream hits such as ‘Fairytale Of New York’ or ‘Dirty Old Town’. A great singalong chorus surrounded by some of Shane McGowan’s finest lyrical work makes for a tremendous song.

So there you go ladies and gents, 10 songs to get your mates to dip their toes into the waters of the Celtic Punk and it’s offshoots scene. Of course there were dozens of great bands I didn’t get to mention, the world of Celtic Punk and the number of bands out there continues to surprise me. But set your mates up with some of these and you’re off to a good start.

Or if it’s easier, just point them in the direction of the Celtic Punkcast.

CelticPunkcast

 

We have teamed up with The Celtic Punkcast to bring you the best in Celtic-Punk, Celtic rock and folk punk from around the world. You can find the Podcast here and we recommend you head over there as soon as you get the chance and take a listen. Check out our interview with Gareth the ‘Podmaster’ here and find out what possessed him to join the #OneBigCelticPunkFamily.

Contact The Celtic Punkcast  Facebook  WebSite  Twitter  E-Mail

ALBUM REVIEW: LANKUM- ‘Between Earth and Sky’ (2018)

Their new album has been called the most exciting album of traditional Irish song in decades and Dublin natives Lankum show how to perform old songs in new ways. Distinctive four-part vocal harmonies with arrangements of uilleann pipes, concertina, Russian accordion, fiddle and guitar. Their repertoire spans Dublin music-hall ditties and street-songs, ballads from the Traveller tradition, traditional Irish and American dance tunes and their own original material.

lankum.jp

There is only one thing I’d rather do more right now than listen to Lankum’s ‘Between Earth and Sky’ and that is go and see them live. Lankum bandGushing a bit I know, but as someone oft accused of having music tastes severely in the past, my favourite two albums being The Fureys, best of compilation ‘ The Spanish Cloak’ and The Pogues ‘Rum Sodomy and the Lash’, suddenly my taste is brought into the 21st century after going to see Lankum live and buying their CD ‘Between Earth and Sky’ at the gig.

 

Their powerful voices, guitar, uilleann pipes, harmonium, fiddle and accordion create a sound lit in the hearth of tradition and fired up with the sensibilities of injustice whether the tune be their own or one already owned by lovers of folk.

Radie Peat’s haunting voice on traveller traditional ‘What Will We Do When We Have No Money’ and original lament to women’s plight ‘Granite Gaze’ pleasantly weave into the fabric of your mind. Similarly Ian Lynch’s Déanta in Éireann, about Irish emigration is stoked with bitter indignation with a voiced end that has the power of Shane MacGowan’s finish to the ‘Old Main Drag’.

By contrast the Turkish Reville is played with the wildness of Tom Waits’ ‘Frank’s Wild Years’, ‘The Townie Polka’ had me whistling Cormac Mac Diarmada’s fiddle refrain all day at work to the extent that the lads thought I was on a promise and the wit of ‘Bad Luck to Rolling Water’ had me laughing out loud.

Seeing them live had the bonus of hearing Radie Peat and Daragh Lynch rendition of ‘Hares on the Mountain’ and the whole troop thoroughly enjoying themselves singing out ‘Fall Down Billy O’Shea’ that led us all stamping our feet and whooping.

Buy Between Earth and Sky

Here (iTunes, Google, Spotify etc.,)

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Named after the the child-murdering villain from the classic ballad, Lankum were originally named Lynched after brothers Ian and Daragh Lynch before changing their name. You can hear their debut album on the Bandcamp player below.

* Thanks to Stephen Francis Bourke for the review and you can check out his great web-zine, Midlife With Attitude here.

ALBUM REVIEW: THE RUMJACKS- ‘Saints Preserve Us’

The new album from the undisputed Kings Of Celtic-Punk hits the decks right across every corner of the globe. I never thought they’d ever come close to their out of this world debut album but as Shane O’Neill shows they have not only made an album to compete with Gangs Of New Holland but possibly even surpassed it!!!

To say we’ve been excited and eagerly awaiting the release of The Rumjacks new album is a major understatement. It’s no secret that we’re big Rumjacks fans (if not a little obsessed) over here at London Celtic Punks. True to form, The Rumjacks didn’t disappoint. This is another absolute crackin’ album – 42 minutes of pure brilliance. I haven’t been able to turn it off since I got my hands on it. Totally addictive! The album, Saints Preserve Us, is released on the tenth anniversary year of the band and what a way to mark the occasion. Originally formed in Sydney in 2008, the band recently set up camp in Europe and have been touring rigorously over the past few years. They have just kicked off their tenth anniversary tour which will be ripping through Europe and Asia over the next few months. The crowds and venues are getting bigger which is down to their hard work and of course the exceptional tunes they continue to churn out. This is their fourth studio album and the third to be released in the last three years. Over the past few weeks the band have been drip feeding with a few tracks to wet our appetite. First up was the title track and video, ‘Saints Preserve Us’.

This track is full of the energy we’ve become used to from the band. There’s also a hint of ska-punk on the track. This was followed up with ‘Bus Floor Bottles’, ‘The Foreman O’Rourke’ and ‘Cold London Rain’. All of this within a week!!! ‘The Foreman O’Rourke’ is a cover of Matt McGinn’s folk tune. It features Paul McKenzie and Troy Zak from Canadian punks The Real McKenzies. And bhoy have they transformed this song…It’s been given a boost a speed with bagpipes thrown in for good measure.

The album features a host of guest appearances from the Celtic-Punk world with Mike Reeves of Mickey Rickshaw popping up again, after a recent spot on German band Kings & Boozers debut album, doing a spot of vocals on the second track ‘Billy McKinley’. The combination of vocals between Mike and Frankie on this track works wonders making this one hell of a tune. Other guests include Maurizio Cardullo (Folkstone – Whistle & bagpipes), Robert Collins (Blood Or Whiskey – Trumpet & accordion), Angelo Roccato (The Clan – Guitar), Francesco Moneti (Modena City Ramblers – Fiddle), Denis Dowling (Clan of Celts – Guitar and backing vocals) and last, but definitely not least, our very own Shelby Colt (London Celtic Punks – backing vocals). Beat that!! The fourth track on the album is a rendition of ‘An poc ar Buile’ (The Mad Puck Goat). I’ve heard some of the traditional versions of this tune before but nothing anything quite like this. The song is almost entirely in Gaelic and played at a high tempo with bagpipes, which works well. I had trouble getting it out of my head a few nights.

It’s difficult to pick the best songs on this album. They’re all feckin’ brilliant. If I was pushed I’d have to say ‘A Smugglers Song’, ‘Bus Floor Bottles’, ‘Billy McKinley’ and ‘Cupcake’ would be the favourites. ‘A Smugglers Song’ is a revisit to The Rumjack’s roots and you’d be forgiven for thinking it had been plucked from one of their early days EP’s. We’ve listened to quite a few Celtic-Punk bands here at London Celtic Punks and The Rumjacks are a tough act to follow. Everything they’ve released to date has been highly acclaimed throughout the Celtic-Punk world and they’re going from strength to strength. It’s widely accepted that their debut album Gangs of New Holland is probably the best Celtic Punk album to have even been released. I never thought another album would get anywhere close to it, however I have to say, Saints Preserve Us is most definitely a contender to knock it off the top spot. So there you go… Drop whatever you are doing and get your hands on a copy of Saints Preserve Us now.

Rumjacks band

The Rumjacks left to right: Top: Gabriel Whitbourne- Guitars, Vocals * Adam Kenny- Mandolin, Banjo, Bouzouki, Bodhran, Acoustic Guitar, Vocals. Bottom: Johnny McKelvey- Bass, Vocals * Frankie McLaughlin- Vocals, Tin-Whistle, Guitar * Pietro Della Sala- Drums, Vocals.

Also make sure you try to catch The Rumjacks in a town near you. Buy Saints Preserve Us

FromTheBand  Here  (iTunes, Google, Apple etc.,)

Contact The Rumjacks

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For more on The Rumjacks check out the following articles Album Review: ‘Sleepin’ Rough’ (2016)  here

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

IT’S OUR 500th POST!

Holy Shit! October has been kind to us. Not only did we breach 4,000 members on the London Celtic Punks Facebook page but this is our 500th post! Yes 500! Thanks to everyone who has contributed along the way and if you fancy having a go at writing or reviewing then drop us a line on the Contact Us page.

Now onto the next 500!

LONDON CELTIC PUNKS

BONDED BY SPIRIT NOT SUBSCRIPTION

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

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

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

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

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

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

Oh well, let’s move swiftly on…..

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

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

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

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

Buy The Underdogs

FromTheBand  DespotzRecords  Amazon 

Contact Sir Reg

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

PHANTOM OF THE BLACK HILLS

Phantom of the Black Hills are one of the most innovative bands you will ever hear that has a banjo! This isn’t the Country music of Nashville or the Grand Ole Opry instead its angry polemic over bluegrass banjo, mandolin and upright bass mashed together with raucous punk guitar, blistering drums and dirty, snarling distorted vocals with extreme sound effects and movie dialogue samples. They are one of my favourite bands so I thought I’d attempt to convert a few of you lot too.

The Black Hills are a mountain range in South Dakota famous for the Mount Rushmore memorial of the four presidential heads of Washington, Jefferson, Roosevelt and Lincoln carved into the granite. It’s also an area where large populations of Scots and Scots-Irish settled which may explain the areas fondness for moonshine. Production of illegal alcohol that is still widespread today. Another possible by-product of the Celtic on the local population is widespread mistrust of all government. Many see themselves as outlaws and in the Black Hills you are unlikely to find a Vegan coffee shop or demand for stricter gun control laws. Phantom Of The Black Hills are a band that shy away from publicity. From the bandana’s that hide their faces in their videos and photos to their Web-Site and Facebook page that are very careful not to give away any clue as to their identities. We can only hope they are the real deal and not a bunch of music school rich kids!

The musical worlds of Phantom of the Black Hills couldn’t be more different. In the Celtic-Punk scene we are used to bands fiddling with traditional music and adding, sometimes taking away, things to come up with something fresh. Country And Western though sometimes seems so staid and set in its ways its hard to imagine a band doing to it what say the Dropkick Murphys have done with Irish music. That was until the Phantom Of The Black Hills rode into town. With their cowboy hats pulled down over their eyes and frightening outlaw masks they look more like they have come to relieve you of the gold in your purse. Violence, drunkenness, debauchery abound in these tales of South Dakota’s doom country and hellbilly punk outlaws.

Relatively unheard of over this side of the pond I thought it only fair to share my good fortune with you. They have released five albums, the links to hear each one are included as well as one of their amazing videos from each album. You can buy all together from the Bandcamp site for a reduced rate just check there and the link is at the bottom. This is surefire music to go to hell for.

Whoever said the devil had all the best tunes must have heard the Phantom Of The Black Hills.

Ghosts

Released January 1, 2009

Ghosts was the 2009 debut album of the Phantom Of The Black Hills. It was released on Ratchet Blade Records who specialise in ‘Dark Roots Music’. They have supported the Phantom Of The Black Hills from the beginning and have released all their albums thus far. Ghosts  introduced the  world to their relentless Hellbilly music and rants. Opening with the insane  ‘Confessions Of A Barn Burner’ it goes from weirder to weirder right up to album closer ‘Read My Bible’. Banjo laden doom music for a generation of country and folk fans who want something a bit more extreme and it don’t come no more extreme than this!

(Part One of the ‘Government Demons’ trilogy)

(Listen to Ghosts below on the Bandcamp player)

Born To Gun

Released January 1, 2010

The second album from the Phantom Of The Black Hills and again it was released on Ratchet Blade Records. If you thought Ghosts was dark then prepare yourselves. With loops and sampling, and with as much distortion as twang the two worlds of country and punk crash together. Bluegrass banjo pickin’ and mandolin, upright bass thumpin’, with loud punk guitar, hard-hitting drums and angry, snarling distorted vocals it carries on in the same vein as Ghosts but more so…

(Part Two of the ‘Government Demons’ trilogy)

(Listen to Born To Gun below on the Bandcamp player)

Enemy!

Released January 1, 2012

Lyrically more dark and intense than the previous two releases, Enemy! is filled with musical imagery of war, lust, death, and hell… Produced by Cramps bassist Chopper Franklin and mixed by legendary punk rock producer Geza X they pushed the banjo, fiddle and mandolin up even more to the fore but with the guitars as brutal as ever. The arrangement of the music is flawless. Able to spend two years on Enemy the band were able to create heavier sound effects and loops and with ever more controversial lyrics. Hard-hitting, controversial dialogue permeate the raw, rusty sounds of the record. Their best release to date.

(Listen to Enemy! below on the Bandcamp player)

Moonshine Bright

Released January 1, 2014

This was the album that somehow winged its way across the Broad Atlantic to me and saw me play it to death over the next few years. The highly-anticipated fourth album release  was again produced and mixed by The Cramps bassist Chopper Franklin and he captures the band absolutely perfectly. On Enemy! the banjo, fiddle and mandolin were to the front, so for Moonshine Bright it was time to grind the guitars up more. The result is as memorising mix of traditional country instruments with searing guitars, distorted vocals, intense sound effects and movie dialog. One of the most innovative bands around their songs are brutal missiles that encourage all to live a life of full freedom.

(Listen to Moonshine Bright below on the Bandcamp player)

Scalped

Released August 25, 2017

Which brings us nicely onto the Phantom Of The Black Hills last release and you can tell from the album sleeve who exactly they would like to scalp! Still blending a lively mix of styles from Southern Rock, punk, Alternative Country and a B-movie aesthetics but always experimenting and never standing still. For a band that don’t give anything away and pride themselves on their anonymity they had this to say about Scalped “our previous records have either leaned more toward the roots music or the aggro approach, but on ‘Scalped’ we’ve combined everything on one on album”.

(The first music video from Scalped, directed by Chopper Franklin and featuring Mather Louth from the Heathen Apostles)

(Listen to Scalped below on the Bandcamp player)

Phantom Of The Black Hills

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

The untraditional Anti-Folk punk band.

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

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

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

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

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

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

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

Buy Of Pain And Glory

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EXCLUSIVE VIDEO OF KRAKIN’ KELLYS NEW SONG

Celtic skate punk, beer and bar fight !

https://youtu.be/39nb8Mf4b68

Director : Matthieu HENDRICK & Stephan MOSSIAT   Shooting : Ludwig PINCHART
Editing and graphics : Matthieu HENDRICK  
Special thanks to Maxime Dechamps, Claire, Sarah Tennina & Rock’s Cool
Written by David Leroy. Composed by Pierre-Yves Berhin. Played by Krakin’ Kellys
Krakin’ Kellys released one of the years best albums so far and we wouldn’t be at all surprised if it went on to the top the Best Of 2018 polls it is that good. Full of energy, attitude and humour it’s good auld fashioned drinking music. No revelations about politics and no songs about nuclear war but the perfect music to take the pressure off. Its music to drink to, to dance to, meet folks and make friends and Krakin’ Kellys have delivered a must have album, Promised Land. Read our review here and have a listen on the Bandcamp player below before you part with your hard earned. Here on new track ‘Come And Get Some’, released today, the Bhoys show there’s a whole lot more to them than just fast and noisy Celtic-Punk.

Contact Krakin’ Kellys

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ALBUM REVIEW: LOUIS RIVE- ‘The Cheap Part Of Town’ (2018)

The debut album from Louis Rive a Scottish singer-songwriter drawing on all aspects of folk music from traditional to barroom ballad to modern day tale-tellers and poets. Influenced by The Pogues, Hamish Imlach, Michael Marra and The Corries Louis has set out to continue the grand tradition of the Celtic storytelling musician.

Funny sometimes the circumstances you first hear a new song or a new album. In the case of the new Louis Rive album I was trying to get to sleep one night but had such a pain in my knee I could not drop off so having the next day off work I got up in the middle of the night and went downstairs. The Cheap Part Of Town had been in my huge to-listen pile for a couple of weeks so on a whim I thought I’d give it a whirl and see what it was like. Well initially I thought it was the combination of a couple of beers and a handful of strong painkillers but I ended sitting up till the early hours with the the album on repeat so much did I love it!

The Cheap Part Of Town is just Louis on his own. Nothing else just him and his acoustic guitar. Plenty of thrills but no gimmicks, except for a wee bit of fiddle. Just straight up acoustic folk with tales of Louis life tacked onto it. Born in the Edinburgh you won’t see on the postcards in the centre of the city or on programmes about the Festival he later had the same ‘rite of passage’ as many Scots of his, and indeed many previous, generation and moved to London. It was in London he garnered many of the ideas of the songs on the album but three years grafting shitty odd jobs in London was three years too many and he fled to Spain where after two years getting pissed and stoned in a village in Andalusia before a cheap flight took him to Barcelona, basically because of a cheap flight. Not wanting to go back to that existence of badly paid jobs purely to cover the rent he decided to concentrate on his music and with a wealth of stories from the shiteholes he has lived and the interesting folk that he has met he began to put these stories to music. As Louis himself says

“Folk music is storytelling. Storytelling is poetry. Poetry is songwriting when you can’t play the guitar.”

The Cheap Part Of Town begins with ‘Francis Drake’s Last Trip’ and after all my talk about the album being full of his life experiences this I doubt does. The tale of Sir Francis Drake famed English sea captain, privateer, slave trader, naval officer and explorer of the Elizabethan era and his adventures fighting the Spanish whilst attempting to capture gold and silver and bring it home to London. Drake died of dysentery in January 1596 and while he is celebrated here he has always been labelled a pirate in Spanish quarters.

As stated their are no gimmicks just Louis and on this evidence he doesn’t need any. Blessed with a strong voice and a ear for a catchy tune as well as a way to tell an interesting story all wrapped up in just over four minutes. He follows this with ‘Streetlights Of London’ and the story of the N19 bus which use to take Louis from the working class Highbury Estate to the graveyard shift in posh hotels in the centre of London. The song tells of the life on that bus from cleaners in the morning to drunks in the evening with all of society’s excess and necessity reflected on the top deck of an out-of-hours mode of transport. The song is played faster than ‘Francis Drake’s Last Trip’ and still carries on the theme of catchy, tuneful and interesting story telling that flows throughout the album.

“Running through the underground
with a carrier bag of sin
Constabulary absence opportune moment for another tin
The carriage was dark but there’s nobody there”

Another fascinating character in Louis life was the subject of the next track ‘Cider Al’. Drinking in the The King’s Arms, Tollcross back home in  Edinburgh the karaoke gave you a free shot of shit whiskey for entering so all the local pissheads would come down and do a song and get free booze.

One such fella was Cider Al who always sang the same song ‘Common People’ by Pulp. In life you come across these people who come and go in your life.

“We heard Pulp’s ‘Common People’ for the seventh time
You stumbled through the lyrics as you spilt your wine
And we all laughed and joked and said that you’d be fine,
we were wrong”

I am getting sick of using the word ‘Catchy’ but there yo go there’s no better word for what I’m listening to. A loving tribute but also a sad one. The sad songs pile up now with ‘Mulberry Mews’ up next and the stories of childhood and growing up, buying drink and fags, the boredom of the high street, visiting his great-aunt in an old people’s home and that you can never get away from where you came from.

“Oh mister barman pour me another
I know the night is drawing near
They’ll carry her body down to the churchyard,
Sunday morning
Where there’ll be no-one to shed a tear”

A bleak tale about a neighbourhood of Edinburgh that doesn’t exist. next up Louis writes about Hospitalet de Llobregat, a satellite town now merged into Greater Barcelona, in the title track  ‘The Cheap Part Of Town’. The forgotten part of Barcelona and the song speaks about all the folk on the street, the gypsies, drunks and prostitutes. It was a tough area with a incredibly rich array of characters but these places are always more interesting than the rich part of town, which is why the rich always want to live there but without the threat and danger. Give it a couple of years and I’m sure the yuppies will have turned Hospitalet de Llobregat into just another bland suburb. Gerry Denis adds some reserved fiddle here that fits just in. All the songs here are varied and original and from ballad to foot stomper’s like ‘House Of God’ and ‘Lowlife’ great tunes abound with great hooks. Every song tells a story. The failings of the church towards the poor or the awful memories of a life in service that a soldier attempts to block through drink. While the rite of passage for recent Scots was a journey down South to Kings Cross in times past it was Americas that the Scots went. Large-scale emigration began in the 1700’s, after the defeat of the Jacobite rising and the resulting breakup of Highland Clearances (the Scottish An Gorta Mór). Displaced Scots left in search of a better life and settled initially around South Carolina and Virginia and then further in successive generations. ‘Take Me To Virginia’ tells of one of these Scots working his hands to the very bone but refusing to give up on the land he works.

“They took me to Virginia
Four and twenty years ago today
I’m still working the land
Blood and stones with both my hands, Virginia”

The idea that there’s always something better over the horizon is something I can relate to. Being half Scottish and having left the frozen north back in 1990 I can testify the sight as you got off the train at Kings Cross back then would be enough to make you turn tale and head back to comfort of your Mammy’s bosom. The curtain comes down with the album highlight the beautiful ‘Alone’ and here Louis brings together all the strands of the previous songs and as with all the songs presented here it offers you the chance to enjoy the music wash over you as well as to listen to the words and dissect them.

A truly wonderful and original half hour plus in the company of a singer-songwriter that deserves to more widely heard. To tell tales of working class life in folk music is not unusual but what is unusual is for them to be told with such passion and feeling and the taste and smell of authenticity that fills your senses with the legends of Louis life across Europe. Louis has a grand future ahead of him and on listening to The Cheap Part Of The Town I want to come with him.

(have a free listen to The Cheap Part Of Town before you buy on the Bandcamp player below. It’s only a fiver so support independent artists and get your wallets out!)

Buy The Cheap Part Of Town

From Louis

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ALBUM REVIEW: CLOVERS REVENGE- ‘Gotta Get O’Raggednized’ (2018)

Based In Sarasota, West Florida, the Irish speed Folk trio Clover’s Revenge take a break from playing all of Florida’s best Irish pubs and festivals and have just released their debut full-length album!
One of the beauty’s of Irish music is that it is best heard in a certain setting. Not sure why but it is the live arena that Irish music, and all Celtic music too, really comes alive. Its not easily done but to transfer the sound of essentially a pub band onto a live recording is not easily done but here on Gotta Get O’Raggednized Irish speed Folk trio Clover’s Revenge have pulled it off. Formed on St.Paddy’s Day back in 2015 Clover’s revenge have been gaining fans and building excitement throughout their home state of Florida but also all along the Southeastern United States.

Clover’s Revenge are only a trio which is unusual in itself for Celtic-Punk/Rock bands but their sound certainly fills your ears and gives the illusion that their is a lot more of them! Made up of John Barron, the group’s frontman and mandolin player, Dr. Zachary Johnson, the band’s other frontman and guitarist, and Beau Wilberding, the sitting-down frontman who plays the cajon. Now until just a few years ago I had absolutely no idea what a cajon was but the last few years have seen both a reduction in the amount of drummers with drum-kits and the need for a type of percussion in bands that wouldn’t quite warrant the full on drum effect. The cajon has its roots in South America and is basically just a box that is played by slapping the front or rear faces with the hands, fingers or sticks. All three have very diverse musical backgrounds from rock to alternative right up to classical music.

Gotta Get O’Raggednized may only be eight songs but clocks in at a very reasonable twenty-six minutes long. When the band set out to release their debut album the aim was to convey the energy and drive of a Clover’s Revenge live show onto CD. Beginning with ‘Will We Ever Make It Home’ the album kicks off with a original composition and is a rousing Flogging Molly-ish ditty that is surefire footstomper. As I said you’d never believe their were only three of them and if the sound on the video is a bit rough ‘n’ ready then the guys have certainly smartened it up for the album but have lost none of the charm of the live version. At its heart a driving traditional Irish tune but played wild abandon and a punk rock soul. John’s Irish-American brogue is clear and precise and fits the music perfectly. An existentialist speed Folk tune that examines the Irish diaspora in all its faults and glories.

Now not only are they very much a pub band they also sing a lot about being in the pub and for my money those kind of songs embody what we all fell in love with Irish music in the first place. When I think of my Nanna singing in the kitchen it was these kind of songs even though she thoroughly disapproved of that kind of life! The first of the album’s covers is up next and they are a mix of both well known (or over used in other words) and lesser known traditional Irish tunes. ‘Little Beggar Man’ is most famous for The Clancy Brothers version back in the 1960’s but has been recorded several times since. Again the tune is a jaunty one and catchy too. The lyrics tell of a lowly beggar who despite his low station in life is happy with his lot. We all have a lot to learn from him. A much more well known song follows and ‘The Irish Rover’ is played fast and folky and is a solid version that no matter how often I heard it will always get me belting out the chorus at the top of me voice. The Bhoys sound like they had a great auld time recording the album and this transfers well into their sound. The album has thus far sounded as Irish as they come but on ‘Banish Misfortune’they really nail it. An absolutely stunning jig played to perfection here. First published back in 1873 it has had several different names over the years but its great hear such a fantastic trad Irish tune in the middle of this album. Influence from The Pogues rears its head again next with ‘Waxies Dargle’. Its again a solid version but Clover’s Revenge come into their own next with another original song ‘No Irish Need Apply’ about the struggles of the Irish in the USA and the hope that the Grandchildren of those Irish will never forget their struggles. It’s hear that Clover’s Revenge most sound like a Celtic-Punk band. With anger and passion the rousing anthem is the tale of Irish people and their children in those early days. Rooted in  traditional Irish folk music but with a very real punk rock soul. The Irish have more in common with modern day immigrants to the USA than perhaps many would like to think. The album ends with two traditional Scottish songs that have seen plenty of versions over the years both in Folk music and in Celtic-Punk. The ‘Raggle Taggle Gypsy’ was first published in 1808 and ‘Wild Mountain Thyme’ in 1821 bring the album to a close with one a rousing shoutalong and the other a beautifully played ballad.

Entirely acoustic these guys have the ability to rock up anywhere play and next Summer they will wash up on Ireland’s shore in a reverse of their ancestors with a shipload of their biggest fans to visit Dublin and Galway. The Bhoys are looking for venues and are available to play pubs, parties, fights, wakes, festivals, and any other venues that either defy definition. Taking traditional Irish pub songs and soaking in influences from scene legends The Pogues and Flogging Molly. Both of which you can hear within Gotta Get O’Raggednized’s eight tracks. Just drop them a line and get them on in your back garden if need be!
 Buy Gotta Get O’Raggednized
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EP REVIEW: JAMES McGRATH- ‘Live At The Shed’ (2018)

What a fortnight for acclaimed Tipp born singer-songwriter James McGrath with both a new must-hear EP out this week and a must-see gig in London soon too!
My family come from Tipperary (shout out to Ballylooby and Clogheen Wilkinson’s) so at this time of year I would normally be hurting after our annual defeat to Kilkenny in the All-Ireland Hurling Championship but with not even that to look back on I have had to cast my net a bit wider. Following the well trod route of many many Tipp people he has moved to London and with the release of his latest EP, Live At The Shed is hoping for the breakthrough that will see him reach the heights his talents deserve.

Ireland has no shortage of talented singer-songwriters, and never has had to be honest, and among the most talented the name James McGrath is up at the top of the list. Hailing from Nenagh in the north of Tipp James has a voice that has been compared to both Neil Young and Eddie Vedder and the songwriting skills of the legendary Shane MacGowan. Live At The Shed is his third EP release and showcases James live at Shed Studios in the once heavily Irish enclave of Enfield in north London. Just him and his guitar and no knobs twiddled or fiddled about with to change anything. James exciting and passionate live performance transfers onto this recording so well and his warmth shines through. He has already tasted success at home in Ireland when his track ‘8 Cans’ from The Cans EP hit the #1 spot in last years Irish Download charts.

Live At The Shed begins with ‘Can’t Get Out’ and the first thing you notice is James voice. Clear and precise and with a brogue as Irish as Damo Dempsey but without the over inflated ‘Dubb’ inflection. The shortest song here its a tale of having no cash and trying everything you can to make your life work. There’s only four songs here and ‘Bad Bends’ is up next. It’s much more laid back but far from a ballad again it’s no tale to eat popcorn too and despite it being a downbeat song it’s also full of hope and tender emotion. It’s certainly not what I am use to reviewing on these pages but I like to challenge myself and I got over the idea that I cannot like things that my Mammy would like years ago. Now i am not one to bander Ed Sheeran’s name around much but if you draw a line between the wee ginger billionaire and Shane MacGowan then you’d be right to put James on the Shane side of the middle. Third song is ‘Walk Away’ and not much to add here except its more of the same mid-tempo folk.  Extremely well played and James has stamped onto these songs his own brand. At times you can imagine the songs coming from Christy or Damo but young James has certainly developed his own style. The highlight of the EP for me is ‘Race To The Bottom’ which brings down the curtain after only eleven minutes.

One of James stated goals in moving to London was to write an album so here’s hoping he gets onto it as soon as possible. Things move fast in London so he needs to strike while he’s building up some momentum. One bad habit he seems to have picked up in London like the many before him is a love of the bookies. Did your Ma never tell you there’s no such thing as a poor bookmaker? It’s a downbeat song and its not unusual for any of us who arrive in London to find it too much and a combination of the capital’s excesses and homesickness often is too much for new arrivals. A real beauty of a song.

james mcgrath gigJames has released a fine EP and his humour, passion and sincerity shine through and if like me you can’t wait to see him live in concert we will get our chance in just a couple of weeks at the EP’s official launch night at The Swallow Bar in Uxbridge. James favourite venue a packed, fun, lively night is in store and to top it all off it’s free entry as well. He takes the stage at 9pm and you can find the FB event here. The Swallow Bar is a old fashioned Irish bar on Long Lane in Uxbridge, UB10 9NR and is situated right next to Hillingdon Station. It’s on the Picadilly and Metropolitan lines but bring a book if you coming from central London as its a bit of a slog but never let that put you off. Up to a hour on the tube may seem long in London but having just got back my home town I can honestly say it is not! It may  not be the raucous Irish music we are use to here in London Celtic Punks towers but man can’t live by that alone. It’s good for your soul to listen to someone like James occasionally. He has a very exciting future ahead of him and I think the dark streets of London will suit him well.
Buy Live At The Shed
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(James McGrath singing his fantastic hit single ‘8 Cans’. Filmed at Fat Pigeon April 2016)

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Buy Hard Time in the Country

CD/Vinyl- FromTheBand Download- Bandcamp

Contact The Langer’s Ball

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

ALBUM REVIEW: BODH’AKTAN- ‘Ride Out the Storm’ (2018)

Bodh’aktan feature seven characters from vastly different musical trends disembarking to forget the daily grind and all the hassle and leave only good times and a good mood behind them!

To fans of Celtic-Punk music traditional Irish music is part and parcel of why we love it so much. It is rather surprising then their are hardly any links between the ‘old’ world of trad Irish and Celtic music. Sure The Dropkick Murphys did a wonderful collaboration with Ronnie Drew of The Dubliners (see here) and Derek Warfield and his Young Wolfe Tones regularly play with the best Celtic-Punk bands but only in the States. So it was a shock, but a welcome one, to find the legendary uileann piper Paddy Moloney of The Chieftains collaborating with Bodh’aktan on their new album, Ride out the Storm. Many of the legends of Irish folk that we grew up with are no longer with us so its no exaggeration to say that Paddy is truly treasured by everyone and even at the tender of eighty (his birthday was just last week) he has lost none of his brilliance and his contribution here is both faultless and incredible. More on that to come but now on with the review!

Ride Out The Storm is sort of Bodh’aktan’s second album. I say sort of as they have also recorded an album Against Winds and Tides which was basically a collection of some of their own songs re-recorded in French. The band hail from Quebec, the French speaking semi-autonomous region in eastern Canada. The region has a totally different feel to the rest of Canada and French is the only officially recognised language. Within this French culture is also a large Breton influence and their are no shortage of Celtic influenced bands and music coming out of Quebec and to that merry band we can now add Bodh’aktan! The British never like to give up their colonies and in 1980 and 1995 referendums were held on whether or not to leave Canada. Sadly in 1995, the people of Quebec chose to stay in Canada by a 1% margin and so it is they remain subjects of the British crown.

 

Ride out the Storm came on the 1st of June and features fourteen brand new songs with three trad folk covers and a set of reels featuring three Irish trad instrumental tunes. It begins with ‘About Things To Come’ a short intro of just over a minute that starts off like Hell’s Ditch era Pogues with a Western feel to it and just as you expect the following song to explode out the speakers at you ‘Nothing But A Game’ is a soft and gentle Celtic number. With whistles and acoustic guitar it gallops along at a steady pace. Upbeat and friendly and alcohol infused it’s a cool start to things before it gets rocky with next track ‘Get Loud’. A while ago the AC/DC video for ‘Its A Long Way To The Top (If You Want To Rock’n’ Roll (check it out here!) went viral across the Celtic-Punk world thanks to singer Bon Scott and his bag-piping. Well i had to look and check this wasn’t a AC/DC cover and it isn’t but Christ it could be. Showing the band can turn their hand to more rockier songs its as catchy as hell and I’m sure Bon is looking down with a smile on his approving face!

Again it’s as catchy as hell and leads us nicely onto ‘Heave Away’. A traditional sea shanty from Newfoundland it’s given an upbeat Celtic feel and while it is a complete contrast to the rocky ‘Get Loud’ it doesn’t for a second feel out of place.

“Sometimes we’re bound for Liverpool
Sometimes we’re bound for Spain
But now we’re bound for St. John’s town
To watch the girls a-dancing”

The album’s second cover is next and while ‘The Black Velvet Band’ is not exactly a rare song to be found on a Celtic-Punk bands album it is transferred to a different level by the inclusion of the fore-mentioned Paddy Moloney of The Chieftains. The song itself is as solid a rendition as you could expect but Paddy’s piping is truly remarkable. His contribution to the traditional Irish music scene is immeasurable so hopefully the album may make it into the ears of the folk music purists (or snobs as we call them) and they will see that Celtic-Punk music is a part of the same tradition. It’s a real stormer of a song and one for waving your pint int he air with your hands round your mates. The songs so far while all being fairly obviously Celtic influenced have all actually been quite diverse with everything covered, including Goth if you include the ‘gloomy’ opening intro.

More trad Bodh’aktan can be found next on ‘Ride Out The Storm’ another modern day sea shanty that has a Dropkicks feel to it for me but rocks along in a standard Celtic-Punk way although with perfectly executed vocals. ‘The Bridge’ is next and again that classic sound is there but the influences this time seem to be shared with 70’s era heavy (air?) metal and trad Irish folk. This is followed by a song simply titled ‘Reels’ and shows these guys can certainly turn their ear to a trad song or two. Three tunes are included showing how marvelous their musicianship is while not being afraid to ‘punk’ it up a little too. A song you could both Irish dance and mosh too is a rare thing indeed. It’s fast and furious and proof for those folk ‘purists’ we mentioned earlier that they are missing out on something good. They are cut from the same cloth as those who derided The Dubliners and The Pogues back in their day. They would be more happy if the music died that to have someone respectfully adapt and change it. We may never get through to them. It’s their loss. ‘You Are The Ones’ and ‘Chasing The Wind’ are again classic Bodh’aktan with the music at all times highly charged whether fast or slow. The final cover is of ‘Mick McGuire’, a song that no one really knows how old it is. Recorded by many greats over the years most notably The Clancy Brothers the song tells of a man who pisses away his marriage

 “Johnny, come up to the fire, come up, you’re sitting in the draft
Can’t you see it’s old McGuire and he nearly drives me daft
Ah, I don’t know what gets into him, for he’s always on the tare
Arragh, just sit where you are and never you dare to give old McGuire the chair”

The melody was used for the tune to ‘Hot Asphalt’ by Ewan MacColl. Shipping up to the end of Ride OUt The Storm and we get the first version of ‘We Cannot Fail’ recorded by Bodh’aktan. A real singalong with a great chorus, heavy bass line and catchy as feck tune with loads of band chants in the background. ‘While I’m Away’ is a modern day Irish folk song and a beaut of a song before we get the bonus second version of ‘We Cannot Fail’ and if I thought #1 was a belter then this version wipes the floor with it. Aided and abetted on the song by German Celtic-Punk legends Fiddler’s Green it brings down the curtain brilliantly and will get your leg pounding the floor as you listen to it!

So fourteen songs with a small smattering of trad covers all clocking in at literally just under fifty minutes that while tipping their hat to the bigger bands of the Celtic-Punk scene also showcases their original sound and their ability to ceaselessly drift in and out of different genre’s without you even noticing! Everything here is perfection personified with the production top notch without being overdone and in songs that veer from trad folk to heavy metal its quite a feat to capture Bodh’aktan’s sound and massive array of instruments so well. This is an energetic album that comes with thoughtful and thought provoking lyrics in the traditional story-telling way that, thankfully, is quite common in Celtic-Punk. The spotlight may be on Irish folk here and the punk elements more subdued but this is an album for all fans of Celtic music whether it be your Grandad or your young nephew!

Buy Ride Out The Storm

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Contact Bodh’aktan

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

FREE DOWNLOAD

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

WHO DO YOU THINK YOU ARE KIDDING MR. HITLER?

Now this is an American release so that means the theme tune from Dad’s Army is sadly missing but that is still no reason to not to indulge yourself with a free download of this collection of anti-fascist songs written, performed and released between 1940 and 1944. Its often thought that the Japanese attack on Pearl Harbour started the American involvement in the war but America had already made massive loans to the British war machine and having placed a oil embargo on Japan steps were being made to join the war before they were pre-emptied by the attack on Pearl Harbour. The US army for instance had grown massively from 267,767 in 1940 to 1,460,998 by mid-1941, an increase of 446%. Pearl Harbor was an American naval base in Hawaii, that was the scene of a devastating surprise attack by Japanese forces on December 7, 1941. Just before 8 a.m. hundreds of Japanese fighter planes descended on the base. More than 2,400 Americans died in the attack and another 1,000 people were wounded. The day after the assault, President Franklin D. Roosevelt declared war on Japan.

Knowledge coming out of Europe was slow but many in America, and not just on the left, realised the danger of Hitler’s rise to power and sought to agitate against it. It’s a little known fact that Germans made up the largest ethnic base in the States at around 17% which just happened to be the exact percentage of the American population who did not express support for Britain. Only 1% wished for a German victory suggesting that even this was inspired as much by pride in Germany as any dislike of Great Britain. The artists featured here contain such renowned figures as Woody Guthrie and The Almanac Singers folk singers from the from the protest movement all the way to bluesmen like the legendary Lead Belly and jazzmen like Spike Jones & His City Slickers. The album contains eighteen songs from fifteen diverse artists who in the main have disappeared from the air-waves but deserve to be known and studied and celebrated. Of course God is assumed to be solely on the Allies side, something I’m sure all in war believe.

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

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

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

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

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

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

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

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

To download Kickin’ Hitler’s Butt click

HERE

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

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

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

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

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

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

Mickeybo 1991-2006 qui tacet consentire vidétur

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

FOR DOWNLOAD CLICK HERE

AVAILABLE TILL THE END OF THE MONTH FOR JUST £5

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

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

JUSTICE FOR THE CRAIGAVON 2

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

Justice For The Craigavon 2
WebSite  Facebook  Twitter

thanks to Andy in NSW for help

HUNGARIAN CELTIC-PUNK WEEK PART 4. THE WHO’S WHO TOP TEN!

So hopefully by now you will have equipped yourselves with at least three bands from the Hungarian Celtic Punk scene over the last few days so what better excuse than to give you a Top Ten of the best bands in that wonderful scene. They range from traditional Irish to folk-rock to full on punk but each band contributes to the scene without copying another and that is what makes the Celtic-Punk scene in Hungary so great. Some of the bands have overlap of members and it’s even possible by now that some have disbanded but these are the bands that have given Hungary such a great reputation among the worlds Celtic-Punks! Feast your ears on these lot!

PADDY AND THE RATS

Formed 2008 * From Miskolc * Buy Rat’s On Board

Facebook  Twitter  YouTube  LastFM  MySpace  Spotify  Google+

FIRKIN

Formed 2008 * From Budapest * Buy Finger In The Pie

WebSite  Facebook  Twitter  YouTube  Soundcloud

JOLLY JACKERS

Formed 2013 * From from Dunaújváros * Buy

Facebook Bandcamp YouTube Deezer Spotify

THE SCARLET

Formed 2012 * From Budapest * Buy Midnight Avenue (here)

Facebook  WebSite  YouTube  Twitter  Soundcloud

THE CRAZY ROGUES

Formed 2012 * From Veszprém * Buy Rebels’ Shanties (here)

Facebook  Bandcamp  Soundcloud  Instagram  YouTube

THE O’NEILLS

Formed 2013 * From Budapest * Buy Chapter One (here)

Facebook  YouTube

LOCH NESZ

Formed 2010 * From Budapest * Buy Leave The Captain Behind (here)

WebSite  Facebook  YouTube  Soundcloud

MAD MAN’S CREW

Formed 2015 * From Veszprém * Buy Riot Without Weapons (here)

YouTube Facebook

COLLEEN

Formed 2014 * From Budapest * Last I heard they had changed their name to Kolorful

Facebook  YouTube

PUNK WHISKEY

Formed 2011 * From Budapest * Buy Delirious (here)

WebSite  Facebook  YouTube  Soundcloud

If you are interested in finding out more about the great celtic-punk scene in Hungary (and you better be) the best place to visit is the ‘Celtic Punk/ Irish Folk Hungary’ group on Facebook here

STOP-PRESS in the following weeks after we published this article yet another Hungarian Celtic-Punk band appeared on the horizon so we thought we would add them in at the end here. So here’s one more. The more’s the merrier!

HIGHLAND BASTARDS

Formed 2016 * From Ózd * Buy Lost At Sea (here)

Facebook  YouTube

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

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

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

ABOUT THE ARTISTS

Ewan MacColl- January 1915-October 1989

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

Dominic Behan- October 1928-August 1989

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

Streets Of Song sleeve notes by Kenneth S. Goldstein

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

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

DOWNLOAD STREETS OF SONG

PRESS HERE!

DOWNLOAD THE 8-PAGE INSERT BOOKLET HERE!

Great article on the Life And Work Of Dominic Behan here

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

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

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

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

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

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

STRAIGHT LEFT RIGHT HOOK

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

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

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

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

Get Straight Left Right Hook
Contact The Cradinal Sins

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

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

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

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

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

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

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

The Fureys And Davey Arthur

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Buy Don’t Stop Me Now

Download- From Finbar  iTunes/Amazon/Google  Compact Disc- Amazon  Base  E-Bay

Contact Finbar Furey

WebSite  Facebook  YouTube

RAISING FUNDS FOR IRISH DRINKING SONGS FOR CATS, PAW’T 3!

Do you love cats? How about Sea Shanties? What about traditional Irish folk music? Then why not adopt a new CD of Sea Shanties for Cat Lovers!

Yeah you read that right it’s Irish Drinking Songs For Cat Lovers and if you think that’s a bit odd then where have you been? They already released two volume’s (or paw’t!) and they are ready to unleash a third but they need your help. I’m a bit of a cat fan myself with two of the most wonderful companions anyone who runs a mildly successful celtic-punk website could ever want. Here’s my beauties!

Murphy and Molly

HOW DID A CAT ALLERGY TURN INTO A SUCCESSFUL CAT SONG SERIES?

by Marc Gunn

I love cats. I currently have three in my household. Okay, four if you add in the stray ‘Orange Kitty’ living on our porch. I was not raised with cats. I thought I was allergic. (turns out I wasn’t). When I finally took the plunge after pressure from an ex, I fell in love… with cats. My relationship with my ex didn’t last, but my love of cats remains.

I adopted my boys Tiziano and Torre. They were educational to say the least. They tore up my couch. They peed in my bed. They yowled and played wildly as I tried to sleep. But they also sat in my lap. They rubbed their heads on my legs. They were a constant comfort and joy in my life. It was no surprise then when one day while singing the famed Irish drinking song ‘Wild Rover’, I started meowing in the middle of the song. PURRR! An idea was born. The idea turned into a three-song single. Then a website. It blossomed into a full-length CD. It bred into a second album. That launched into a live CD. It’s been ten years since I released my last cat album. Throughout that time, my Celtic Cats meowed for more. It’s time to see if we can make that happen.

Will you adopt a cat CD?

WHO ARE MARC GUNN AND THE DUBLINERS’ TABBY CATS?

My name is Marc Gunn. I sing drinking songs. It started with traditional Irish and Scottish songs at Renaissance festivals. But soon, I became a staple at science fiction conventions, like Gen Con and DragonCon. You’ll hear me beautifully fuse traditional Celtic songs with themes about Firefly, Star Wars, Star Trek, Lord of the Rings, Doctor Who, and yes, CATS! I’m not just a musician though. I’m also a podcaster. I host the largest Celtic podcast in the world. The Irish & Celtic Music Podcast has three times won the award for Best Podsafe Music. It’s been featured by Apple Podcasts numerous times. I tell you this because I love Irish music. When I decided to record these albums, I wanted to make an album that might’ve been recorded by The Clancy Brothers, The Dubliners, The Chieftains, The Wolfe Tones, or the Irish Rovers… but with cats. So I started a band–The Dubliners’ Tabby Cats. The original band was made up of a variety of traditional Irish musicians from Austin, Texas, where I lived. Plus cats of course. Together, we created a beautiful mix of Irish music along with meows, yowls, hisses, and purrs. Fourteen years later, it still sounds amazing!

SEA SHANTIES FOR CAT LOVERS

Each of my albums was themed. The first was a tribute to The Clancy Brothers, Tommy Makem and The Dubliners. It was Irish drinking songs, but with cats. The second was more like The Chieftains, Planxty, or Lunasa. It had an even more traditional Irish sound, but about cats. The third album is heading out to sea…again… with cats.

Sea Shanties are tremendous fun to sing. They’re easy and upbeat. They’re also fairly easy to parody. I want to share the cat versions of some of these incredible songs.

You can listen to previous albums when you follow Marc’s Cat Loving Spotify playlist here.

WHY I NEED YOUR HELP?

The music business has changed. I used to think I would one day retire on the 20+ albums that I released over the past 14 years. I used to be confident that I could have a thousand CDs adopted in a year. For better or worse, streaming music came along. Now I don’t know if I can afford to create an album with the same quality as my original CDs: Irish Drinking Songs for Cat Lovers and Whiskers in the Jar. Please make a pledge to adopt this exciting new cat CD by Marc Gunn & The Dubliners’ Tabby Cats. I decided to reach out to the cat loving community. My hope is that you will adopt a CD and help me bring the third album in the series to life. And maybe, just maybe, I can keep recording and releasing new cat songs for years to come. Irish Drinking Songs for Cat Lovers is more than just a pet project. It’s brought joy to thousands of cat lovers. I want to bring you even more happiness.

I’m gonna need every cat lovers help to spread the word about this album. I have a ton of videos and MP3s and old podcasts that people can share to help us reach the goal. But this will not succeed without your help. Please make a pledge and share on Forums, groups, mailing lists, social media and even at vet clinics and animal rescue shelters.

Visit Marc’s website to learn more and sign up to my mailing list here to be kept informed about what’s new and you get six free cat songs when you subscribe.

EP REVIEW : IN FOR A PENNY ‘Sometimes It’s Better To Not’ (2018)

We called In For A Penny the hottest new Celtic-punk band of 2017 and with their new EP that came out for St. Patrick’s week they only cement that view in our eyes!

One of the highlights of 2017 amongst all the album releases from the ‘superstars’ of celtic-punk was the discovery of a new band out of Savannah in Georgia in the USA. In For A Penny hadn’t been going very long and both their releases of 2017 both featured high in the upper echelons of our Best Of Albums and EP’s of the year.

So it was then could they keep it up? Well on the evidence of their EP which hit the streets of Georgia last week then the answer is a resounding yes. With their previous release they have trodden a similar path with sometimes an equal amount of Irish standards and self -penned songs. Needless to say I much prefer their own songs. While they do play the standards in their indomitable way I much prefer to hear bands play and record their own material. A perfect example is their last album One More Last Hurrah! which has the perfect mix of covers and originals. You can still download the album for free or as the lads put it

“Don’t wanna pay nuthin? Cool, download it and enjoy. Think you wanna toss us a couple of bucks to help support our Irish punk habit, great. Want to give us one million dollars… well, you get the idea”.

A fantastic album recorded in just 7 (seven!) hours in in the back room of The Sand Bar on Tybee Island, GA. Not that you’d notice mind as the sound is fantastic and if you need to know anything just think that in a year of album release from the Murphys, Mollys, Flatfoot, Tossers, McKenzies and many more established and well known bands we placed it as #8 in the years album releases.

Here on Sometimes It’s Better To Not the band do not disappoint and all the songs are written by the band themselves. Irish-American Sean McNally is both songwriter and lyricist for In For A Penny and in him they have found someone who has his finger right on the nations Irish-American community. Hard to believe he first picked up a mandolin in anger in 2014 but after only a few open mic performances Sean soon realised that the response he was getting to stripped down cover’s of The Dubliners and The Dropkick Murphys on just mandolin and vocals was so great then the next step must be to form a band. Roping in old friends in Henny ‘da butcha’ on drums and Jeremy Riddle on guitar and Sean’s son Bryce on bass In For A Penny took their home state by storm and judging by the wider celtic-punk media they have taken everywhere else by storm too.

This EP, Sometimes It’s Better To Not, is only four tracks long but sails in at nearly twenty minutes long. In For A Penny while they don’t go in for short songs they also know when to bring the curtain down so the EP never drags on. Sean’s gravelly yet distinctive voice again shines through and it’s incredible to think that the whole thing started off as just a jam but within a few days the band had taken Sean’s melodies and turned them into what we have here. The EP begins with ‘Before The Devil’ and it’s unmistakable In For A Penny. For a band with such a short time span they have really nailed their sound. With Bryce, bassist and Sean’s son, having moved to Colorado Matthew Price has been filling in and opens the EP off nicely before the band join in and it’s a fast, danceable number catchy as hell and as pretty the template for celtic-punk to these big ears. A story of redemption and trying to steer clear of you know.

(the bands submission for last years The Salty Dog Cruise)

On ‘Broken’ Bryce returns for a song with him recording his bass bits at home and then sending it on to Sean to mix. Bryce played their recent St. Patrick’s shows so maybe they could go all Ned’S Atomic Dustbin and have two bassists! With a opening that sounds like a Irish rebel song it soon changes to into a track telling the tale of ‘every man’. The homeless, lost and broken in society. A brilliant track that ends on a positive note of hope. Great words and music. The EP’s epic is ‘Dancing With The Stars’ at not far off six minutes! A slower song than usual but with an intensity that makes it seem faster. The song builds and builds and amazing to think theirs only four fella’s playing here. A real foot-tapper and at times could veer off in metal but they keep it subdued and in my opinion just right.

The EP ends with the standout track next ‘Your Claddagh Heart’. Johnny Piper of London Celtic Punks faves Alternative Ulster guests on bagpipes on this one and really makes the song shine. Sending his pipe track over to Sean from New York like Bryce did making this EP certainly wasn’t a easy process.  Dedicated to Sean’s Mrs it’s a lovely song and though it’s sentimental as feck it’s not gushing and I reckon the kind of song we’d all secretly like to write for our loved ones.

“when I said I love you, I meant forever”.

Johnny’s pipes are perfect and again it’s a fairly lengthy (for celtic-punk anyway) song at just a few seconds under five minutes but still the only thing i got left to say is the EP ends all to quickly. So there you go, yet another contender for our Best Of charts from these extremely talented Bhoys from Georgia. Sadly Sean is working away from home for a few months after St Patrick’s is over so this will be the last we hear of them for a while but plenty of plans are afoot on their return so don’t let this great band slip from your thoughts. They will be back!

(you can listen to the whole of Sometimes It’s Better To Not before you buy on the Bandcamp player player before you buy. G’wan it’s only 5 bucks!)

Buy Sometimes It’s Better To Not

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Contact In For A Penny

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The Bhoys over at Mersey Celt Punks beat everyone to the first review of Sometimes It’s Better To Not and is well worth looking at for another opinion. It’s a great site and well worth subscribing to so check it out here

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

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

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

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

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

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

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

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

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

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

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

Buy Beggars, Celts And Madmen

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Contact Clan Of Celts

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Clan Of Celts Merchandise  Here

COMING VERY SOON

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

NEW MOVIE- THE BLOODLUST OF THE DRUID OVERLORDS

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

THE BLOODLUST OF THE DRUID OVERLORDS

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

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

Music by the Brian Wilson Shock Treatment

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

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

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

LONDON CELTIC PUNKS PRESENTS THE BEST OF 2017!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

25. CELKILT (France)- ‘Stand’ here

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

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

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

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

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

Just bubbling under:

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

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

BLACK WATER COUNTY- ‘Taking Chances’

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

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

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

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

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

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

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

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

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

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

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

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

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

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

3. CRIKWATER- ‘Crikwater’  (here)

4. BEOGA- ‘Before We Change Our Mind’

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

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

7. DAMIEN DEMPSEY- ‘Soulson’

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

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

10. ANTO MORRA- ‘From The Vaults’

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

MERSEY CELT PUNKS

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

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

CARLTON HUNT

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

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

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

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

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

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

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

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

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

Ladies and Gentlemen, on drums.. Mr Carlton Hunt

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

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

CELTIC FOLK PUNK AND MORE

FOLK’N’ROCK

PADDYROCK

MERSEY CELT PUNKS

SHITE’n’ONIONS

MacSLONS IRISH RADIO

CELTICPUNK.PL

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

 Sláinte, The London Celtic Punks Crew- January, 2018

vvvv

 

 

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

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

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

“would make slaves of us all”.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

FOR YOUR FREE DOWNLOAD CLICK

HERE

This is a collection that can be truly recommended.

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

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

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

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

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

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

2017…THE STATISTICS!

a London Hun realises he will never beat the London Celtic Punks!

I know we say this every year but once again it’s been another absolutely fantastic year for both the celtic-punk scene in general and for us personally.  The amount of visits to the site exceeded last year by a whopping 10%! Far beyond anything we could have ever imagined. Once again we have been told by several bands that our reviews have a positive effect on music sales and things like Facebook Likes so we’re even more grateful that you seem to be listening and acting upon our recommendations.

TOP TEN COUNTRIES VIEWING

(2014/2015/2016 in brackets)

1. United Kingdom (!) (1/1/1 )

2. USA  (2/2//2)

3. Germany  (3/3/3)

4.  France  (5/5/5)

5. Ireland  (7/4/4)

6. Spain  (8/6/7)

7. Australia  (4/8/6)

8. Italy  (9/10/9)

9.Canada  (6/7/8)

10.Netherlands  (11/11/10)

We know from regular checks on our WordPress stats page that we have regular readers from all over the world and a big shout out to our fan in the Ivory Coast. We look forward to seeing Catalonia listed separately soon along with all the Celtic nations as well as the Basque country, Sardinia and Corsica (all countries we have regular viewers from). Until they gain independence they continue to be listed under the counties that occupy them. Not for much longer we hope…

TOP TEN ARTICLES VIEWED
(click to read)
So there you have it. Not particularly interesting to anyone but me but maybe there’s someone else out there who gives a feck!!! The next week will see the unveiling of the London Celtic Punks Best Of 2017 lists so be sure to check back and find out who rocked our odd boat the last twelve months.
Why not follow the blog and receive a e-mail every time we post by clicking on the logo at the top of the page and, depending how your viewing this, by clicking on the ‘Follow’ button either on the left hand side or scroll down after the posts.
* 2014 THE STATISTICS here
* 2015 THE STATISTICS here
* 2016 THE STATISTICS here

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

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

CELEBRATING A CELTIC CHRISTMAS

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

Christmas

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

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

SCOTLAND

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

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

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

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

IRELAND

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

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

WALES

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

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

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

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

ISLE OF MAN

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

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

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

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

CORNWALL

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

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

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

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

BRITTANY

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

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

GALICIA

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

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

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

Nollick Ghennal as Blein Vie Noa (Manx Gaelic)

Nollaig Chridheil agus Bliadhna Mhath ùr (Scottish Gaelic)

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

Nedeleg Laouen na Bloavezh Mat  (Breton)

Nadolig Llawen a Blwyddyn Newydd Dda (Welsh)

Nadelik Lowen ha Bledhen Nowyth Da (Cornish)

Further Christmas themed fun with this London Celtic Punks Top Twenty

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

Now go have a drink…

ALBUM REVIEW: LES RAMONEURS DE MENHIRS- ‘Breizh Anok’ (2017)

Proper authentic Celtic celtic-punk from the masters of the genre!

With more than 50,000 sales and over 600 gigs on the clock the Menhir Chimney Sweeps are one of the scene’s best and biggest bands, and they deserve that fame to spread beyond Brittany too.

There really is nothing like a Celtic celtic-punk band. By that I mean one from the celtic nations and I don’t just been anyone either but a campaigning radical Celtic celtic-punk band and their really is no one in the world to compare to Les Ramoneurs De Menhirs. Their are tonnes of great bands out there playing music inspired by their ancestors but their are only a tiny handful that sing in their native Celtic language and most of those come from Brittany. The north-west corner of what some know as France is in fact an ancient Celtic nation with its own customs, traditions and language. All of which the French government have for centuries tried to destroy. In common with all the other Celtic nations this has been resisted and in Brittany the Breton language is having a revival due in no small part to the wider community being so accepting of modern trends. Where as in Scotland the leaders of the Gaelic speaking community would rather it die out than mention that anarcho-punk band Oi Polloi sing in Gaelic. The reverse is true in Brittany as celtic-punk has been embraced and used as a weapon to push French away from the lips of Breton youth.

Les Ramoneurs De Menhirs with the incredible Louise Ebrel and the Bagad Bro Kemperle

Les Ramoneurs De Menhirs were founded in 2006 and its members include Éric on the bombard, Richard on the bagpipes, traditional vannetais singer Maurice Jouanno and Loran, famed guitarist from Bérurier Noir. Their first album Dañs an Diaoul (The Dance Of The Devil) came out the following year. The famous Breton singer Louise Ebrel, daughter of Eugénie Goadec, a famous traditional Breton musician, guests on several songs on the album and has accompanied them throughout their career often playing with them live or on their records. We tried to get them over to these shores before but it was just too expensive sadly. If anyone out there fancies subsidising a wee tour drop us a line. They did play these shores before in early 2008 they played in Scotland with Oi Polloi and Na Gathan. Since then they have played 100’s of gigs and released two other album’s, Amzer An Dispac’h! in 2010 and Tan Ar Bobl in 2014. That LP was voted into 4th place in the 2014 London Celtic Punks Best Album list and deservedly so with it’s blend of hardcore punk accompanied by celtic instruments and shouty gang choruses and vocals. Guests from across the musical spectrum were asked to perform and did freely showing the lack of snobbery within the Breton folk/language scene. They choose to embrace Les Ramoneurs De Menhirs (not that it’s always been plain sailing) while as we have said Oi Polloi are put down and, even worse, ignored by their Scots compatriots despite all the positive work they are doing to promote Gaelic in Scotland.

Having got into them via a couple of Breton friends it really is amazing the sound that they can garner from trad Breton instruments and it was with no little shock and a wry smile that I only just found out what the band name means. It is Breton for chimney sweeps and a Menhir is the Breton equivalent of a Stonehenge style standing stone. These stones are found all over the Celtic nations as well as England and France. It is estimated that their are about 50,000 in these areas with over 1,200 in Brittany. The largest surviving menhir in the world is located in Locmariaquer, Brittany, and it is known as the Grand Menhir Brisé. Once nearly 68 foot high, today, it lies fractured into four pieces, but it weighed near 330 tons when intact. It is placed third as the heaviest object moved by humans without powered machinery. It seems apt that the band take their name from these ancient monuments as their music is so firmly rooted in Breton history and tradition.

To us the idea of a punk band playing with ancient instruments does not seem strange but outside our small but perfectly formed scene it is different but the Chimney Sweeps of Menhirs have won over everyone from young punks to their Grandad’s and Nannies and everyone in between. You may think it an exaggeration to say they are an institution but just about everyone in Brittany has seen or heard of this band that combines bombards and bagpipes with punk and is accompanied by and respected by some of the biggest names in traditional music.Using their music as a weapon to promote Breton independence it’s not too far fetched to say Les Ramoneurs De Menhirs are not just a band they are a movement and their new album Breizh Anok (Coop Breizh) is again a call to arms both literally and figuratively. You get ten songs clocking in at forty-six minutes that carries on their tradition of chugging, choppy guitar and Celtic pipes and whistles. They have always been a band that captures perfectly their live sound and here they have done it again. On Breizh Anok they are accompanied in part by the Bagad Bro Kemperle (a Breton traditional group comprising up to forty members). They joined the band on stage at Hellfest 2017 their whole performance is captured below but be careful it will bring out the Celtic warrior in you.

Now as much as it bugs me that I can’t understand what the songs are exactly about you can get a decent idea overall. Their is still no bassist and only a drum machine but by Christ can these Bhoys whip up a racket. Kicking off with ‘Dir Ha Tan’ the sound of the ocean is soon accompanied by the bombard, a sort of Celtic trumpet!, and soon we are off to that legendary Des Menhirs guitar sound and it’s fecking excellent. The drums are harsh as only a drum machine can be with its military style precision it makes sure you pay full attention. We get more like that until ‘Sucks’ rolls in and the band give the Crass song a real ear bashing with its anti-religion message. originally from the Feeding Of The 5000 album in 1978 its given a tweak here and there and

“Do you really believe in the system? Well O. K.
I believe in anarchy in Brittany.
Is it alright really? Is it alright really?
Is it working?”

The songs are given plenty of time to develop but they know when is enough as none drag on, despite a couple of songs lasting over six minutes and most well over four. Next up is the famous partisan song ‘Bello Ciao’ called here ‘Bell’ A.R.B.’. Written during the 1944/45 winter when Italians fought against German Nazis and fascists of their own country. Simple lyrics straight from the heart and more popular now than ever again it’s given a tweak and sang in part as a tribute to the ARB who were the Breton version of the IRA. I’m not afraid to say that a lot of this album has gone over my head and I have definitely, I’m sure, missed several really important bits but it’s far more important that they sing in their own language.  The album ends with a bunch of songs that nail their colours to the wall like ‘Fuck The System’ a straight up punk number. Their are no ballads here but the amazing Louise Ebrel pops up on ‘Pach Punk’ and shows that age don’t matter just so long as you got spirit. The album ends with ‘Oy! Oy! Oy!’ and goes out with a bang.

What to say here. It is powerful in music and I daresay in lyrics too. A band doesn’t get to where they are without meaning an awful lot to a lot of people. To be listened to with a free spirit as they will I promise you release that Celtic warrior inside us all. Now if only London Celtic Punks can find that sugar-Daddy (or Mammy! we not sexist) that will help us get them over here to play!

(you can listen to the whole album on You Tube below starting with ‘Dir Ha Tan’)

Buy Breizh Anok
Contact The Band
WebSite  Facebook-  Group  FanClub
email- contact@ramoneursdemenhirs.fr
 

here’s a list of YouTube videos here  well worth trawling through on a quiet night accompanied by a few beers!

easily the best English language web site check out THE BRETON CONNECTION “a portal to the Breton movement for self-determination and cultural rights”.

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

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

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

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

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

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

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

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

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

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

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

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

“When I die they’ll put me over

That’ll cure my broken heart

My dreams can go no further

We’re buried in the deep

Where hunger cannot find us”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The awfulness of the situation is captured perfectly.

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

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

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

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

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

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

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

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

Buy Chronicles of the Great Irish Famine

SignedVinyl  SignedCD  Amazon

Contact Declan O’Rourke

WebSite  Facebook  Twitter  YouTube  Soundcloud

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

Further Recommended Reading:

Let Ireland Remember

Irish National Famine Memorial Day

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

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

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

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

It’s the first of December so let your pint glass be half full for a change and get into the festive spirit with what started as a Top Ten but but soon became the London Celtic Punk’s Top Twenty of the best kick-arse Christmas celtic-punk tunes ever written and absolutely no surprises at #1.

20. THE PRIESTS FEATURING SHANE MacGOWAN-  ‘Little Drummer Boy/Peace On Earth’

Yeah you read that right. It may not quite reach the heights of Bing’n’Bowie but feck it nothing this man does is anything short of brilliant!

19. THE RUFFIANS- ‘Christmas In Killarney’

The Ruffians cover the holiday classic Christmas in Killarney on their 2005 Christmas EP Together at Christmas.

18. REILLY- ‘Paddy’s Christmas’

Milwaukee Celtic punk band Reilly’s version of Snoopy’s Christmas, now called Paddy’s Christmas on their 2008 album Kick Ass Celtic Christmas.

17. THE GOBSHITES- ‘Christmas Eve in the Boozer’

Boston Celtic punk band The Gobshites’ cover of the Yobs’ Christmas Eve in the Boozer. On The Gobshites’ album When the Shite Hits the Fan.

16. IRISH ROVER – ‘Christmas Time In Hells’

Performed entirely by  Rover MacChroi and one for the miserablists out there. This guys glass is definitly half empty!

15. DROPKICK MURPHYS- ‘AK47 [All I Want For Christmas Is An]’

Proof the Murphs can do no wrong…

14. THE REAL McKENZIES- ‘Auld Lang Syne’

Now not strictly a Christmas song but I’ve met Scots who actually enjoy Hogmaney (New Years Eve) more than Christmas!

13. THE MAHONES- ‘Angels Without Wings/Merry Christmas Baby’

From The Mahones 2012 album Angels & Devils here is their awesome Christmas song featuring Felicity Hamer.

12. SHANE MacGOWAN- ‘Christmas Lullaby’

Gotta love this tune. Irish blues with a punk rock edge. McGowan nails it again.

11. STIFF LITTLE FINGERS- ‘White Christmas’

Belfast punk rock legends, and still going from strength to strength, cause Bing to rotate in his grave with this which appeared on the B-side of ‘The Edge’ 7″ in 1979.

10. SHILELAGH LAW- ‘Christmas in New York’

Christmas is many things to many people. I will always remember that a good mate Steve died on Christmas Eve and so it’s also a good time to think of those who have passed and raise a glass to them. Here’s a tribute to the victims of the terror attacks on September 11, 2001, by NY’ers Shilelagh Law.

9. MALASAÑERS- ‘Xmas Tree’

Rousing celtic-punk from Spain and available to download for free at: malasaners.bandcamp.com. Watch out for their new album due any day soon.

8. FINNEGAN’S HELL- ‘Drunken Christmas’

Sweden’s Finnegan’s Hell deliver an unorthodox Christmas anthem and yeah, yeah, yeah some Irish stereotyping sure but get over yourselves. What is it you think The Dubliners sang about? My house at Christmas was more like this than what you see on the BBC I can tell you. Anyway judge for yourself!

7. CelKILT- ‘Santa Santa!’

CeltKilt from France even released a full album of Christmas themed songs Kiltmas Songs! in 2015 and as they say themselves, and it sounds better in French I think, “festive celtic rock celtique festif”.

6. THE WAGES OF SIN- ‘Merry Christmas from the Wages’

Enjoy the festive sights, sounds, and smells of the season with Wages Of Sin and their first, and possibly last, holiday single!

5. DARBY O’GILL AND THE LITTLE PEOPLE- ‘Baby It’s Cold Outside’

Possibly a bit much for this Catholic Bhoy to bare so if you of a delicate disposition skip to #6. It is hilarious though from this Oregon band from their 2007 album Christmas Songs for Drunken Atheists.

4. THE GENTLEMEN- ‘Oi! To The World’

Oi to the world! so said old punkers The Vandals and this cover by The Gentlemen from West Virginia captures perfectly. One of the celtic-punk scenes most under rated bands does anyone know what became them? Any family opening up Christmas presents to this album is an top one in my book.

3. THE NARROWBACKS- Prodigal Son(I’ll be home for Christmas)

Part filmed at Paddy Reilly’s in New York this song actually brought a tear to my eye when I first heard it. After a couple of years of not speaking to my Mammy after a stupid argument we had only just made up. Kids look after your family. Keep them close and love them lots.

2. THE DROPKICK MURPHYS- ‘The Seasons Upon Us’ (2016)

Unfortunate to go up against The Pogues this is The Murphys superb Christmas epic. Hilarious video of Irish-American life. Sure to lift the spirits.

1. THE POGUES FEATURING KIRSTY MacCOLL- Fairytale Of New York

When you see other Christmas best of list’s they always put ‘Arguably the greatest Christmas song of all time’ well we’ve no time for that bollocks. It is without a doubt THE greatest Christmas song of all time so there! R.I.P Kirsty

so there’s our Top Twenty. If you think we missed any post in the comments as is usually the way with these things we couldn’t stop there so bubbling under here’s one to play loud and proud!

…and so we end with some great words “let’s not fight tonight”. Just listen to The Ramones instead.