Category Archives: Traditional

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

CD/Vinyl- FromTheBand  Download- iTunes

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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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

FromTheBand (Download coming soon!!)

Contact Clan Of Celts

WebSite  Facebook  YouTube  Twitter  ReverbNation  Soundcloud

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

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.

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

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

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 Christy was hauled before the courts and fined and had his album withdrawn for suggesting, quite correctly, that the fire exits being chained was the reason for the disaster.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

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

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

AN ORDINARY MAN By Scott Feemster

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

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

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

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

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

Buy On The Road- All links here

Christy Moore- WebSite  Facebook  YouTube  ChristyMooreForum  Twitter

SINGLE REVIEW: THE PUNKFOLKERS- ‘Angry Man/ The Blacksmith’ (2017)

London Celtic Punks favourite and London Irish folk punker Anto Morra is back with his new project The Punkfolkers. This isn’t the folk-punk of The Levellers or The Pogues but the punk of the Pistols, The Stranglers and SLF as filtered through some real story telling and traditional folk.

The Punkfolkers are a three piece band based in East Anglia, around Norwich. Their mission in life is to introduce folk music to to the punks and punk to the folkies. This is the band’s debut release and comes out tomorrow, forty years to the very day that the Sex Pistols released the seminal Never Mind The Bollocks album. That album that changed the face of Britain and more importantly the music industry if, only for a short time, from the stale and boring to something alive and exciting and challenging.

This release is an old school double A side in the tradition of those early punk singles. With ‘Angry Man’ an original Punkfolkers song and ‘The Blacksmith’ in keeping with the style of the single is an traditional English folk song. Formed back in 2013 and led by the incredibly talented Anto Morra the band got together when recording Anto’s debut album Never Had To Shout. Accompanied here by John Child on guitar and Thim Flaxman on bass they have so far played an handful of shows including the London Celtic Punks sponsored release show for Anto’s EP ‘The Patriot’ but have been in the studio of late putting some tracks together for this single and a forthcoming album due for release in early 2018. The band’s knowledge of the punk movement is vast and diverse with Anto well known to us at London Celtic Punks and the London punk scene. As said an incredibly talented individual who is also unburdened by any sort of ego and is as nice a fella as could be met within the music scene. Anto has the not only a indepth knowledge of the asthetic and cultural importance of the movement but also a love and understanding of traditional folk music. If you ever want to hear unabashed folk music played on a acoustic guitar with no frills but filtered through the imagination of a dyed in the wool punk rocker then Anto Morra is your man without a doubt. Joined by John and Thim who as ex-members of East Anglian punk band Stain have brought the ability to recreate the sound used in early punk rock with an authenticity rarely seen.

Side A is the punky ‘Angry Man’ and a real time warp taking you back to the days of Liverpool winning the league and industrial disputes! Anto has a great voice and his London Irish twang fits perfectly and when he drops his ‘Aitches’ you know its not done for effect like the public school Lily Allen and co. Anto takes angry swipes at the things that piss him off like fox-hunting and the empire of The Sun but with a great dollop of humour and satirical bite that many Anarcho-Punk bands could only dream of. Chugging guitar and and throbbing bass instantly reminds you of 70’s bands like The Killjoys or Eater and loads of those early bands were London Irish so great to know we’re still doing now! The AA side is ‘The Blacksmith’ and is a bit more like what us Anto fan’s are use to.

Not afraid to play both the more popular or the obscure songs Anto has chosen well here with a song that has been covered by some real legends and pioneers of folk-rock. Steeleye Span, Planxty, Pentangle have all recorded it while into more modern times Runa had a marvellous version on their debut album Jealousy. It is a traditional English folk song also known as ‘A Blacksmith Courted Me’ and was first noted back in 1909.

“Strange news is come to town
Strange news is carried
Strange news flies up and down
That my love is married.
I wish them both much joy
Though they can’t hear me
And may God reward him well
For the slighting of me”

The well worn tale of illicit love and deceit is played by The Punkfolkers with Anto’s voice pushed to the fore but the understated backing is superb and really grows as you notice it more and more each time you hear the song. Of course the banjo that drops in half way simply takes it to another level. Superb.

The Punkfolkers

So keep an eye out for The Punkfolkers album Night Bus To Tombland  due out sometime early 2018 and in the meantime enjoy this single from a band with a great pedigree and to say I am excited to hear it is an understatement I can tell you. Forty years of protest, rebellion and punk and with records like this we can look forward to another forty as well!

Buy The Punkfolkers debut single

iTunes  Amazon

Contact The Punkfolkers via Anto Morra

Facebook  Reverbnation  Twitter  YouTube  Bandcamp

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

AND FREE DOWNLOAD

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

Dick 1

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

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

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

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

In Dick Gaughan’s own words on Handful Of Earth

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

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

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

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

Statement from Dick Gaughan’s management

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

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

FOR YOUR FREE DOWNLOAD PRESS

*HERE* or *HERE*

Password: folkyourself.blogspot.com

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

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

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

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

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

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

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

BEYOND THE FIELDS NEW VIDEO AND TRIBUTE TO ALISTAIR HULETT

The new video from Swiss band Beyond The Fields is a fantastic cover of the Alistair Hulett penned classic ‘Blue Murder’.  Their fine homage to one of Scotland’s finest folk musicians was recorded live at this year’s traditional Grabenhalle Irish Night in St. Gallen, Switzerland on March 18th, 2017. Mixed by Eddy Sloof and filmed by Metunar.
By kind permission of The Alistair Hulett Memorial Trust.

They say it’s easy money
A full page ad in the local rag,
Always nice and sunny.
Come on lad, and pack your bag.
It’s off to West Australia.
Leave the old hometown behind.
Be a winner, not a failure.
There’s money to be made in the Wittenoom Mine.

Day in, day out, everyday they drive us harder.
Day in, day out, they’re getting away with blue murder.

They took me to my quarters,
A stinking bed in an old tin shed.
Got my working orders,
With a lamp, and tin hat on my head.

Day in, day out, everyday they drive us harder.
Day in, day out, they’re getting away with blue murder.

My girl she’s a cook and a cleaner.
Works all day in the canteen hall.
Six days since I’ve seen her.
Some don’t have no girl at all.

Day in, day out, everyday they drive us harder.
Day in, day out, they’re getting away with blue murder.

Sweeps the fine blue dust up.
Tips it into an old wool pack.
Never had a check-up.
If she did she’d get the sack

Day in, day out, everyday they drive us harder.
Day in, day out, they’re getting away with blue murder.

I feel my health is failing
Working down in the thick blue dust.
The kids play in the tailings.
The boss says work, and work I must.

Day in, day out, everyday they drive us harder.
Day in, day out, they’re getting away with blue murder.

For those who aren’t too familiar with Alistair Hulett’s (1951 – 2010) life and work, he was born and raised in Scotland but spent half of his life in Australia. He made a name for himself both as a solo artist and as the lead singer of legendary Australian folk rock band Roaring Jack. Apart from being a gifted singer/songwriter, Alistair was a committed socialist and a dedicated political and community activist. He was indeed one of those artists who consequently used his art trying to make a difference, to fight injustice and exploitation wherever and whenever he could. Alistair wrote songs about crimes against indigenous people, whether it was the British nuclear tests in Australia (‘Plains of Maralinga’) or human rights violations in Papua New Guinea (‘Good Morning Bougainville’). He wrote songs about the Highland Clearances (‘Destitution Road’), detention centres (‘Behind Barbed Wire’), the mistreatment of workers, you name it. ‘Blue Murder’ was one of two songs he wrote about the suffering of those who worked in the blue asbestos mine in Wittenoom, Western Australia. Countless miners and their families who paid with their health and lives after being exposed to lethal asbestos fibres, a health hazard well known to those who ran the mine.
Alistair originally wrote the song for a play while still in Roaring Jack. He eventually recorded it for his third solo album “Saturday Johnny & Jimmy the Rat”, together with folk legend Dave Swarbrick on fiddle!
To find out more about Alistair Hulett and his amazing body of work, visit
http://www.alistairhulett.com

BEYOND THE FIELDS

Eva Wey (Fiddle) * André Bollier (Vocals and Acoustic Guitar) * Marcel Bollier (Bass) * Uwe Schaefer (Mandolin) * Eddy Sloof (Drums and Percussion)

A Celtic folk rock band from the Lake Constance area, playing both acoustic and electric shows. Founded by singer/songwriter Andre Bollier, and featuring classical, folk, jazz and rock musicians from both Switzerland and Germany, the band offers its own distinctive mix of Irish and American folk traditions with rock, punk and other elements.

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

The Only Folk’n’Irish Band That Matters!

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Download All The Best

FromTheBand

Contact The Gobshites

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gob·shite  (gŏb′shīt′)

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

THE HISTORY OF CELTIC-ROCK MUSIC

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

The London Celtic Punks Admin Team

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

Definition

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

History

Origins

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

Ireland

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

  • THE POGUES AND IRISH CULTURAL CONTINUITY (here)

Scotland

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

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

Brittany

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

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

Wales

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

  • TRIBUTE TO WELSH PUNK ROCK LEGENDS ANHREFN (here)

Cornwall and the Isle of Man

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

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

Subgenres

Celtic Punk

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

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

Diaspora Celtic Punk

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

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

Celtic Metal

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

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

Influence

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

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

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

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

Life is Good!

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

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

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

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

Here it is:

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

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

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

Ger Mellon 2017.

Buy Life Is Good

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Contact Flogging Molly

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

ALBUM REVIEW: ‘THE HANGMAN’S BLUES: Prison Songs In Country Music 1956-1972 (2016)

Grim tales of jailbirds, cutthroats, cuckolds, executioners, murderers and escapees.  Prison ballads form part of the historic lifeblood of Country Music and saw a resurgence after the 1960 execution of controversial convict Caryl Chessman. Here are some of the very best, seldom heard since their original release. Running the gamut from smooth balladeers of woe to ramshackle and plaintive backyard rockabilly.

While these days your more likely to find your folk music heroes went to Eton with Prince William or all met at Cambridge/Oxford/insert other posh university it’s not always been so. While it’s always been true that the music of the working classes has always been adopted by the well-heeled and the image of the bearded Green Party, Real Ale drinking, middle class ‘leftie’ singing away with his finger in his ear still rings true around the folk clubs. This also explains their reluctance to accept other genre’s like celtic-punk as part of the folk scene as at it’s heart is a snobbery to keep others out at all costs. Folk music was never a static thing with bands and singers always finding ways to keep the music alive and relevant though always with a healthy respect for the past. That the celtic-punk scene can be said to be partly responsible for the popularity of bands long gone like The Dubliners, Clancy Brothers and The Pogues butters no onions with these people who just want to keep things as they were at all costs. Happy to be big fish in small pools! What the artists on this album would make of four faux-ploughboy, waistcoat wearing members of the aristocracy representing folk music I don’t know (have to admit here I DO actually love Mumford And Sons!) but one thing is for sure they wouldn’t last five minutes in the company of people featured here and long to be be forgotten while these days be writ high.

One things for sure it has always been, and always will be, the poor that go to jail. Whether for a crime they freely admit (or not!) or through bigotry and lack of decent representation the jails of the world are full of the poorest of our society. Folk and country music has never been a stranger to the inside of prison walls right from the very start and this stunning compilation covers just about every country music offshoot musically as well as covering just about every reason why you could end up inside. The album opens strongly with ‘The Wall’, written by Harlan Howard, given a powerful performance here by Freddie Hart. Born to a sharecropper family in Alabama Hart left school at 12 but still managed to become one of country music’s biggest stars of the 70’s. I love the sound of the harmonica and there’s plenty of it’s woeful sound to be found here to keep me happy.

“The years gone by since he made his try
But I can still recall how hard he tried and the way he died
But he never made that, wall he never made that wall”

All the tracks were recorded between 1956 and 1972 and although I have heard several prison -themed album’s in the past I seriously cannot remember one that came anywhere remotely close to the quality found here. I could wax lyrical about every artist but this review would then run for pages and pages. Suffice to say that all the artists here know what it means to be hungry and many indeed did cross swords with authorities and some others saw the other side of a prison gate. Tennessee born, early rockabilly star Jaycee Hill’s  fantastic ‘Crash-Out’, is typical of many here with the acceptance and regret of a life of crime. Most of the artists here are American but one of the album highlights is the London born Marty Robbins with his intense performance of ‘The Chair’. Inspired by the controversial execution of Caryl Chessman in 1960.

Chessman was an unsavoury character that much is true and something he was intelligent enough to recognise within himself but he was convicted and charged on a law that was later repealed though not retroactively meaning his death sentence still stood. He became the poster child for the anti-capital punishment cause and the most recognizable face on death row. In May 1960 Chessman choked to death in San Quentin Prison’s gas chamber while the phone outside rang, just too late, with his stay of execution. His story is also dealt with in songs on this album by Country Johnny Mathis, one of the album highlights with its sheer, haunting poetry, Ronnie Hawkins and Jimmy Minor. The full story of Caryl Chessman is also told in a fine performance from Hoyle Miller notable for the last line of his song

“you see I too Hoyle Miller was once too on death row”

Dirt farmer’s son Porter Wagoner gives us a compelling version of the Hank Williams penned ‘(I Heard That) Lonesome Whistle’. Known for his flashy suits and for giving Dolly Parton her big break Wagoner never forgot his working class roots often touring in rural areas where many would not perform and was also famous for his friendly relationship with his fans mingly before, during and after gigs with them. The jauntyness of ‘I Always Did Like Leavenworth’ belies the subject George Kent is singing of. Eddie Noack was a honky tonk singer influenced by Hank Williams and his superb version of ‘Invisible Stripes’ tells of the stigma that jail carries throughout  the rest of your days. Named from the stripes of the uniform prisoners were made to wear. A subject also visited here by Howard Crockett who turned to singing after a shoulder injury ended a promising baseball career. He performs a excellent cover of the famous Johnny Cash penned song ‘I Got Stripes’. Artist jailbirds like Johnny Cash, David Allen Coe and Merle Haggard are notable by their absence but the music that inspired them more than makes up for it. There are simply too many great songs and artists here to give justice to and the album comes to an end with ‘A Prisoner’s Dream’ by Charles Lee Guy III. When he was 16 he was convicted of manslaughter and sent to jail. During his imprisonment he learnt to play guitar and started writing songs. He sent a tape to Capitol Records who were sufficiently impressed to bring their studio equipment to Vacaville Prison in December 1962 to record him. Charles’ album, The Prisoner’s Dream, was well-received and in October, 1963 Time Magazine reviewed the album:

“Charles Lee Guy III has been an inmate of California State Prison since he was 16. The songs he has learned to sing there all reflect his sorry circumstance – and among them is the latest composition of a prison chum, country music’s Spade Cooley [himself a wife killer]. Guy’s woeful voice and guitar accompaniment fit the spirit of his music, and in this remarkable album he has the power of a young white Leadbelly.”

One of the songs on that album was titled ‘Wishin’ She Was Here (Instead of Me)’ thought to refer to his mother who many thought had committed the murder that Charles had been found guilty of. A moving, emotional and chilling way for this album to close.

All the tracks here were first issued on long forgotten 45’s often on obscure, tiny or private-press labels. All are incredibly rare and many are reissued here for the first time since release and are remastered from the original master tapes giving the album a sound that is as clear as crystal. Their are twenty-eight tracks here and just under eighty minutes of music. Pretty much all of the songs come in around the two minute mark and the pacing on the album is also well thought out. Available on vinyl and CD the amount of care put into this album is to be applauded including the incredibly handsome twenty page, full colour booklet that comes with informative liner notes by Alvin Lucia and rare photos and label shots. This amazing package has been put together by Bear Family Records who also gave us Hillbillies In Hell- Country Music’s Tormented Testament, another timeless compilation telling of Satan, drugs, murder, suicide, demonic visions, infanticide and redemption. Their were plenty of prison songs before the era (1956-1972) chosen here on The Hangman’s Blues but these songs begin from the early days of rock’n’roll and though most are straight up country songs all have a dark edge to them, of course, and some have that raw rock’n’roll sound that many of you will love I am sure.

Declarations of innocence, profound diatribes on capital punishment and mournful odes to the Last Mile. The Hangman’s Blues will chill, thrill and bedevil the dreams of all who hear it. Feel the penal pain. Like the album liner notes say…we are all prisoners in one way or another.

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EP REVIEW: FOLLOW THE CROWS- ‘West is East’ (2017)

London based Celtic folk rock/Irish/bluegrass band with hard-driven vocals fused with guitar and mandolin mayhem, underpinned by riotous folk rhythms of rebellion, redemption and downright recklessness!

Formed in August, 2012 Follow The Crows are the latest in a growing line of bands playing in the London Irish-folk scene that have embraced some of celtic-punk’s harder edges. They have been playing regularly around London for a good while but so far apart from coming across them on Facebook we haven’t had the opportunity to check them out live in person as it were. Then this arrived on the doorstep, their new EP released last January and after just a couple of listens they have swiftly risen to the top of the list of bands I want to see.

Follow The Crows (left to right): James Cannon- Vocals, Guitar * Ben Sumner- Mandolin, Banjo, Lead Guitar, Backing Vocals * Dan Ferguson- Fiddle * Lawrence McNamara- Bass, Backing Vocals * Karl Hussey- Drums, Percussion

East Is West is Follow The Crows debut release and begins with the kind of song that our description at the top of this review fits exactly. ‘Lay It Down’ starts with the sounds of the ocean before slowing morphing into a song combining elements of trad Irish, bluegrass and Americana that makes this EP a real winner. Catchy as hell and a real foot tapper.

Extremely well played by very good musicians and while there are no thrashy guitars, or even drums, it’s given that bit of edge by singer, James raspy vocals.

“Freedom songs don’t say anything
When you’re out on you’re own
With those big wheels turning
Those bridges burning
West is east high is low”

They follow this with the soft rock edged ‘As The Night Comes Falling’. Threatening at any minute to go flat out, and part of me does wish they would, but they reign it in and keep it nicely subdued. Coming off here as part Tom Waits- part Mumford with a dash of rock’n’roll it’s another great number. Third track here is ‘Black For The Crows’ and if you’ve ever heard the Murder Ballads album by Nick Cave then that’s the territory we are in here. Great song and though underpinned by Irish/celtic music influences seep in from everywhere.

“They rose up their banners for glory on high
Sounded the bugle beneath the blue sky
‘Freedom will follow when the day is o’er”

The EP comes to an end with ‘Quiet Land Of Erin II’ and for me they save the best for last. Ever so reminiscent of The Waterboys here I think. With James sounding a real ringer for Mike Scott. The vocals are almost whispered while the Crows get plenty of guests in to give the song a real full band sound once it gets going. More proof that Follow The Crows are fantastic musicians and with the songs to match to bring the curtain down.

“Oh father now she said
The curlew and the cuckoo’s fled
Troubled is the heart that you’re hearin’
Oh father now she said
They buried you among the dead
On the quiet, quiet land of Erin”

At the moment East Is West is only available as a digital download for now and priced at a very reasonable £3. It’s a great introduction to the band and if they want to stray away from the London pub circuit then a follow up album of more like this is a necessity and will surely achieve it.

(listen to East Is West by pressing play on the Bandcamp player below)

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HOW TO BECOME AN AUTHENTIC IRISH-PUNK BAND!

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

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

Bodhrán

bodhran

Imelda May

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

Uilleann Pipes

uilleann-pipes

Liam O’Flynn

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

Tin Whistle

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

fiddle

Fiddle

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

Irish Bouzouki

irish-bouzouki

Donal Lunny

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

Concertina

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

Celtic Harp

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

Folk The System instruments

Folk The System

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

Link1  Link2  Link3  Link4  Link5  Fiddle  TinWhistle  Guitar

EP REVIEW: TOXIC FROGS- ‘The Mermaid’s Song’ (2017)

French celtic-punk chicks band!
Four Girls Two Fiddles

Toxic Frogs are quite the anomaly within celtic-punk circles it has to be said. As much as i hate the idea of segregating bands into male and female it is refreshing to see a all-female band in the scene and standing tall too. Most of the time it seems to me that when ‘female’ music is brought up we are suppose to like it whether or not we do actually like it or not. The failed and discredited identity politics that handed the American election to Trump have ensured that people can no longer have an opinion on ‘certain’ things without being shouted at and labelled by hysterical bigots with no actually basis in fact. Anyway rant over and my point is that as a music reviewer my job is review music not ‘virtue signal’ to you all how right on I am by giving good reviews to bad or mediocre music just because the band fit someone else’s ideological pigeonhole. I don’t not have to worry about any of that shite here mind you as The Mermaids Song is abso-fecking-lutely fantastic!

I have heard plenty about Toxic Frogs in the short time they have been together without actually hearing an awful lot of what they have put out so far. Always on my list of bands to find out more about I just had never gotten round to it. Their 2015 album Kill The Devil somehow passed me by except for this review from Celtic Punk Folk And More here but they have kept up a steady stream of excellent videos that have at least introduced them to the wider celtic-punk scene if not me personally!

Toxic Frogs left to right: Lucianne Wallace- Guitar * Elvina Lynn- Bass/ Fiddle * Lydie Dupuy- Drums * Ella Beccaria- Fiddle/ Lead Vocals

Formed in the east-central French city of Lyon in September 2014 Ella came up with the idea of staring an all girl celtic-punk band so started to advertise the idea and soon enough the team of girls was ready. Having already played fiddle for French celtic-punk legends Celkilt she knew the scene and as soon as they hit the practise rooms something gelled. Taking their name from the not so friendly nickname the English give to French people they began to make waves in the celtic-punk scene almost straight away but the question everyone wanted to know was did the band deserve the hype and the answer listening to The Mermaid’s Tale is undoubtedly a resounding yes!

The EP begins with the instrumental ‘Scott Is Back’ and what a start to proceedings. The band consists of electric guitar, bass and drums and some almighty fiddle playing. The music sits nicely on the fence between celtic-rock and celtic-punk and many a time could fall into each within a single song and the standout here is that amazing fiddle playing though that’s not to say the rest of the band don’t play their part equally as well. The song begins with a Scottish feel to it I think because of the Scottish style drumming before a more traditional Irish sound comes in. The songs builds to a breakneck speed and ends with a fantastic flourish. There are a couple of bands in the scene that have female singers like Irish Moutarde and Brutus Daughter but most of the the ladies are confined to backing vocals or taking the lead on ‘Fairytale Of New York’! The band sing in English and ‘Criminal’s Heart’ is pure pop-punk heaven. Much more of a folk-punk number until near the end when the celtic fiddle kicks in and leads the song until the end.

Title track ‘The Mermaid’s Song’ is up next and there’s some blatant metal overtones here which remind me of all girl punk legends L7. Again the fiddle comes in well after the song has established itself showing that Toxic Frogs could easily get away with being just a run of the mill rock band as well. Again the fiddle brings the last curtain down on the last couple of minutes. We are in celtic-punk territory with ‘Toxic War’ and the girls go about their job with a frantic fast paced song with plenty of gang vocal “Hey, Hey” going on.

Last year Katie out of The Mahone put down her accordion for five minutes to record the now infamous ‘F*** You’ for the Hunger And The Fight Part Two album and now Toxic Frogs can add to that with their own ‘F**k You’. At just over six minutes long its a bit of an epic and begins with a slow and soaring guitar rock solo. Ella comes in with her vocals and the music lifts and then all of a sudden we back with the more trad Toxic Frogs sound. A great song that never drags and a brave song to record knowing that celtic-punk fans much prefer short n snappy songs …unless they are ballads and then you can go for as long as you like. Shades of grunge are back in ‘Go!’ with the chugging guitar and the EP ends with the majestic ‘Violins and Hammers for Ever’. Yeah they save the best for last in my humble opinion. Like I said just a few lines ago I am a absolute sucker for a well played ballad and here Toxic Frogs manage it in spades. A beautiful song where Ella’s voice on this EP never sounds better. The best way to bring the curtain down at the end of a celtic-punk record without a doubt.

So an excellent record and good enough for me to leave you in a minute to go and check out their back catalogue as well. Seven great songs that clock in at over thirty minutes so probably long enough for us to call it a album seeing as it is longer than a few other 2017 album’s. Their is talk from our fellow London celt’s Urbankelt about bringing Toxic Frogs over to play so hopefully that will come off as they deserve to be seen far and wide.

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

ST PATRICK’S DAY BLESSINGS BE UPON YOU

Beannachtaí na Féile Pádraig oraibh

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

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

Irish Songs Of Drinking And Blackguarding

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

FREE DOWNLOAD

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

clancy

Bob Dylan claimed in the early 1960’s

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

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

clancys-2

(Tommy and Liam)

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

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

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

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

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

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

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

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

clancys

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

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

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

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

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

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

Tracklist

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

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

CLICK HERE!

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

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

(listen to the album below just press play!)

COME FILL YOUR DRINKS WITH US ALBUM SLEEVE NOTES

by Patrick Clancy

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

More Information On The Clancy Brothers And Tommy Makem

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

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

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

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

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

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

The Langer's Ball 2

The Langer’s Ball have long been hailed as one of the most interesting and innovative bands in the north American celtic-punk scene. They have never been afraid to mix in other genre’s of music while all the time keeping one toe firmly in the music of The Emerald Isle. It’s bands like The Langer’s Ball that keep the scene alive and fresh and bring new ideas to the celtic-punk table. Just recently they took the unusual step of releasing their entire Bandcamp back catalogue for free download,a move that will I am sure get them the recognition they so richly deserve.

The Langer’s Ball two studio albums

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

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

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

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

They followed this up last year with the stunning Whiskey Outlaws, their first full-length studio album in 4 years. An absolute killer of an album which made all the Best Of lists of the major celtic-punk media and confirmed their place as one of the best bands in the scene.

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

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

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

Contact The Langer’s Ball

WebSite  Facebook  Twitter  YouTube  ReverbNation  Bandcamp  Google+  Soundcloud

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

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

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

ALBUM REVIEW: ORTHODOX CELTS- ‘Many Mouths Shut’ (2017)

Sixth album from Serbia’s Orthodox Celts. The first and still one of the best Irish/Celtic bands from not just Eastern Europe but anywhere!

orthodox-celts-lp

There are so many bands in the celtic-punk scene that for one reason or another can be regarded as legendary. One of these bands well deserving of that word are the Orthodox Celts. They may not be a name very familiar to you but as the first band in Eastern Europe to play Irish music we can safely say that all who came after them owe them a debt for popularising Irish music and culture. Orthodox Celts hail from Belgrade in Serbia and celebrate a quarter of a century together this year with the release of their new album Many Mouths Shut. Over the last 25 years they toured right across Europe with their energetic and mesmerizing performances playing to packed houses wherever they go. I have never seen them live but a friend of a friend had a live DVD of the band and i can certainly attest to the amazing show they put on with a great and positive atmosphere for an army of fans that follows wherever the Celts play.

Despite Irish/Celtic music being unheard of in their home country the Celts have risen to become one of the biggest bands in the Serbian rock scene and have gone onto influence many, if not all, of the newer Celtic punk bands in the region. While we were getting all excited at ‘An Irtish Pub’ by The Rumjacks easing into the millions of views on You Tube Orthodox Celts version of ‘Star of the County Down’ recently racked up an incredible 10,000,000 (aye ten million) views and continues to grow.

orthodox-celts

Orthodox Celts left to right: – Dragan Gnjatović- Whistles * Dušan Živanović- Drums, Bodhran, Percussions, Accordion * Dejan Lalić- Octave Mandola, Mandolin, Guitar * Aleksandar Petrović- Vocals * Dejan Grujić- Bass * Vladan Jovković- Acoustic Guitar * Nikola Stanojević- Fiddle.

Many Mouths Shut begins with ‘One / Milk & Honey’ which was the first single from the album released last year and you can tell from this opening song pretty much what you going to hear for the next half hour. Put simply its energetic mostly acoustic Irish folk. The sort of stuff you use to only hear where the Irish gathered but bands like the Orthodox Saints have helped introduce it far and beyond almost anyone could ever have imagined.

“Many Are Drowned In This Sea That I Swim
Many Nailed To The Cross That I Bring
Many Are Burnt In The Flames That I Feel
But I’ll Never Be The Fallen One”

The first part of the song is followed by a beautiful Irish tune and shows right from the start that the standard of musicianship is outstanding and there’s more than a bit of a punk rock spirit in there too. These Bhoys play louder than Motorhead live! They follow this with the cracking ‘I Wish You The Very Worst’ with some great lyrics about someone who somebody doesn’t like.

“I’m So Sick Of Being The Lamb, In This Game I’ll Be The Wolf”

Wouldn’t want to be on the receiving end of this! The first of the album’s rockier songs but again the song is interspersed with some brilliant Irish reels and has some great fist (or pint!) in the air chants to get the crowd going.

As I already said about the standard of musicianship here and with ‘Morrison’s Jig’ they take an old Irish traditional folk song named for the Sligo-born, Irish-American fiddler James Morrison from the 1930’s and breathe new life into the tune. They take it and make it almost unrecognisable while still keeping true to the song itself. We are back in more in more upbeat Celts territory next with one of the poppier songs on the album, ‘Save Me’, a song that would fit snugly into a set of The Saw Doctors or The Bible Code Sundays. They have come a long way since their debut album of all Irish standard covers.

Not one of my favourite songs here I have to say but great lyrics again and I never cease to be amazed how some celtic-punk songwriters who have English as a second and sometimes third or fourth language can write such great stuff. It is a talent I will be eternally jealous of.

“Save Me Girl
Give Me Shelter In Your Arms
Save Me Girl
And Blow Away My Harms
Save Me Girl
Arise Me From The Dead Tonight”

The second of the traditional Irish songs is next and again they come up trumps with ‘The Banshee’. A fast and furious reel that was thought to have been written by famed Monaghan tin-whistler James MacMahon (1893-1977). The sort of reel that at a session just gets louder and faster and faster till your head bursts!  Named after the female spirit in Irish mythology that heralded the death of a family member by shrieking. ‘King Of The Hill’ is next and is a bit more upbeat with a great drum back beat keeping the lot of them in time. Another traditional instrumental ‘Flowers Of Red Hill’ keeps the momentum flowing and the tin whistle playing here is exemplary with the only problem is that again it’s over in just over a minute. Recorded by many great Celtic bands like De Dannan, Bothy Band, Silly Wizard we can now add Orthodox Celts to that esteemed list. You can compare The Bothy Band here to the Orthodox Celts here. Been waiting on a ballad for half the album and with ‘Lone Wolf’ its arrived. A simple song that starts with just voice and acoustic guitar before the rest of the Celts team join in and takes us through to ‘Revolution’ where as usual the same old story comes out of politicians betraying the very people who put them into power.

“Hey You Are The Same As Those Who We Dethroned For You, You’re Spitting On The Faces Of Those Who Cleared Your Way
We Bled For You, We Fought For You, And Gave You All Those Years, You Became A Kind Of Master For Whom We’ll Never Be Obeyed”

The break up of Yugoslavia and the subsequent war that followed saw many innocent people killed and homes destroyed across the region. That the Serbian people deserve something better cannot be in dispute and I hope they get the politicians in power that will deliver it. ‘Banish Misfortune’ is another traditional instrumental folk song arranged by the Celts followed by ‘Double Cross’ which delivers an album standout of epic proportions. With an album that is roughly half and half Celts compositions and trad folk covers I love that they choose to avoid the better known tunes and delve deep into Irish folk history to find some tunes worthy of them. For the penultimate track they do come out with ‘The Parting Glass’ and as is their way the Celts turn it on it’s head and while 99% of the time bands play it as a slow ballad the Celts speed it up and deliver something as close to original as a cover can be.

“Goodnight and joy with you all”

Another old Irish trad song brings down the curtain on Many Mouths Shut and a rollicking version of the ‘Kesh Jig’, again made famous by, and I would say right up there with, The Bothy Band.

Orthodox Celts are that thing that raises shackles back in Ireland.  A band that plays Irish music as good and as great as any Irish band at home or abroad. Their love for the music and culture of our tiny island is evident in all they do. Band front man Alex said to me

“The Pogues were the only major influence when we talk about music as we didn’t want to sound like any other band so we sound very different from all the other bands in this genre. My definitive personal literary influences are Shane MacGowan and Alexandre Pushkin. Talking about the whole figure my major influence is Ronnie Drew of The Dubliners”

They have established themselves as unique ambassadors of the Emerald Island and have spread and continue to spread the very best of what we are to the entire world.

Discography
Orthodox Celts- 1994, The Celts Strike Again- 1997, Green Roses- 1999, A Moment Like The Longest Day- 2002, One, Two… Five- 2007

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(you can hear the whole album below by playing via You Tube)

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

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

planxty-between-jigs-reels

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

planxty2

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

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

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

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

“the realisation that it was opening time”

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

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

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

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

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

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

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

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

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

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

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

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

the-lougues-2016

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

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

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


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


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


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

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


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

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

the-logues-band

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

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Band Interview here

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

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

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

johnny-cash-christmas

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

cash-christmas

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

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

The Christmas Spirit by Johnny Cash

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

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

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

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

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

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

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

cash-and-june

Johnny and June

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

FREE DOWNLOAD CLICK HERE

cash-csc

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

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

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

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

2016 REVIEWS ROUND-UP PART ONE. PINT KILLERS, THE MUCKERS, NOWHEREBOUND, HOIST THE COLOURS, SKILTRON, BAY STREET BASTARDS

Every year we have been doing this has got better and better for celtic-punk releases. As happy as we are that this is so it also means that we just cannot keep up with everything out there. We haven’t had the chance to review everything we received or heard so here is Part 1 of our 2016 Round Up where we catch up with some of the releases that we missed first time round. Here at 30492- LONDON CELTIC PUNKS blog we much prefer to do really detailed reviews but it has been impossible to keep up so here’s a few quick ones just to catch up and get 2016 out of the way. Each and every one are worthy of your time so go ahead and check them out. This time round we head to the America’s. Well four from the USA, one from Canada and one from Argentina!

PINT KILLERS- ‘Boston Brewed’ EP (CDbaby)

pintkillersYeah I know we are hardwired to like ANYTHING that comes out of Boston but this is some killer street punk right enough. Only founded earlier this year Pint Killers feature ex-members of Nowhere USA, Dot Rats, Third Knuckle, The Struggle and the Pug Uglies. “Boston Brewed Punk Drinking Songs And Anthems” they call it and fair enough that’s exactly what you get. Their shared Irish ancestry looms large over everything they do in this four track EP about celebration, drinking, friendship, and brotherhood. The songs flash by in… well a flash of only eight minutes. Fists in the air and heads down working class punk rock, or blue collar as the Yanks prefer to put it. All the songs burst with energy but it’s the longest track ‘Around The Hood’, all of two and a half minutes!, that tick’s all the boxes for me. It may not have bagpipes but so what! And what a great name too…

 THE MUCKERS- ‘The Muckers’ LP (iTunes  GooglePlay)
the-muckers-2016The Muckers are coming at you from Atlanta city in Georgia in the deep south of America. The city rose from the ashes of the Civil War to become a major city and later on in the decades following the Civil Rights Movement, during which the city earned a reputation as too busy to hate for it’s progressive views compared to other cities in the deep south, attained international prominence. The band take their name from the word ‘mucker’, a colloquialism meaning good friend used in main by the Irish and people from Yorkshire in England. The Muckers are Atlanta’s only Irish rock band with a massive following in the city among the Irish and their friends. A five-piece folk-rock band that as well as a strong emphasis on Irish music also blends in influences of gypsy music, sea shanties, country, rockabilly and anything else they can get their hands on. Eleven songs( and a mental hidden track!!) lasting well over forty minutes and what you get is exactly what is outlined above. Kicking off with a short accordion intro it soon launches into the superb ‘There is A Time’ with very much a bluegrass feel. Other notable songs here include both ‘Molly’ and ‘Eddie Connors’ which were originally recorded by a couple of The Muckers old bands but given a real lease of life here. A few self penned numbers and some standard Irish covers make up the rest of the album. A great knees up of an album with a grand sense of humour and infectiously good fun and well played.

NOWHEREBOUND- ‘Hearts And Arrows’ LP  (Bandcamp)
nowhereboundWe have been long time fans of Texan band Nowherebound and while they may not be a celtic-punk band, or even a folk-punk band, but they are simply fantastic so deserve their spot here. If you can imagine a fast and heavy punk rock band that somehow manages to squeeze enough folk melodies into their songs then that’s them. A folk band in all but their music! Coming out of the same camp as punk bands like Social Distortion, Rancid, and Gaslight Anthem but with their cap tipped firmly in the direction of the Murphys or The Pogues. Much more straight up punk rock then their previous releases have been they toured Europe again in 2016, for the umpteenth time, but unfortunately have not made it to Blighty yet. From hard rock in-yer-face to pop punk melodies to raise-your-glass-and-sing-along-anthems Nowherebound that hit you in both the heart and the head.
HOIST THE COLORS- ‘Mourners’ LP  (FromTheBand  iTunes)
hoistthe-colorsOne of the better known of the North American celtic-punk bands Hoist The Colors come from the urban metropolis Los Angeles. They play a blend of punk rock, trad Irish, Americana and bluegrass that is as original as the city they call home. Now this is one album I would have loved to have gone into real detail about but it only landed in LCP Towers a few days ago so I am having to write this on just a handful of listens. And my first impression is the same as my tenth. It’s a fecking masterpiece! A wonderful LP that really shows the depth of the scene and the willingness to push the boundaries of what is celtic-punk. From first track ‘Little Rebel’ right through to ‘Something More Than This’ their is not a single bad track on Mourners. The title track was the first song released from the album and came with a superb video. Excellent use of the mandolin and the punchy punk rock keeps the toes a tapping.

The second release from Mourners was ‘Rainier’ and for me was the album standout. Fast paced, punk rock that is accessible without being at all lame and again some excellent mando to keep the celtic among us happy. The rest of the album flows as smoothly as a pint of Guinness with the music uptempo and catchy as hell. Twelve songs and a running length of almost fifty minutes of non-stop quality celtic-punk that would surely be loved by anyone from you’re studs’n’spikes nephew to your auld Nanna.
and from South of the border we have

SKILTRON- ‘Legacy Of Blood’ LP  (From The Band  iTunes)

skiltron

At the forefront of the Folk-Metal genre, though really it is in fact Celtic-Metal, Skiltron were formed in 2004 and come from Argentina. Now thats not so strange as it may appear as plenty of Celtic people emigrated there back in the day mostly Irish and Welsh. In 2016 they embarked on an epic European tour taking in an amazing nineteen countries in under two months. I missed their London date as it was my brothers wedding unfortunately but was absolutely stunning from other people told me. We have touched on metal a few times here and there seems to be a quite a scene growing out of what was once a handful of bands. We even have a London based celtic-metal band worth checking out Isamos (here). Legacy Of Blood is only eight songs long but as you can imagine it’s all quite epic and the songs take their time. The longest track is also my favourite, ‘Sawney Bean Clan’, about a clan of Scottish  murderers who reportedly killed and ate over 1,000 people anywhere between the 13th and 16th centuries.

It’s fast metal music with two bagpipes at times and the sound is quite incredible. The whole album is brilliant and if you like the sound of bagpipes then open your mind and get on board here. Fast as feck with rapid drumming and Scottish topics with clearly sung lyrics. No growling or grunting here!! I love it and seeing as how we have recently made friends with the people who put the gig on in London we hope to be bringing some more of this interesting scene to London soon.

WebSite  Facebook  Twitter  Soundcloud  YouTube

BAY STREET BASTARDS- ‘Small Batch’  (Bandcamp)
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The Bay Street Bastards from the wonderful sounding Thunder Bay in Ontario in east-central Canada. The band proclaim their influences on their Facebook page as
“Canada, hockey, metal, punk, beer”
and listening to this corker of an EP that figures! WE caught their debut album in last years Round-Up’s here and if they keep releasing things in December then we’ll never get the chance to do a proper one! Anyhow that was bloody brilliant and this EP continues where they left off. Small Batch begins with ‘Hooligan Crew’ and its fast paced accordion led celtic-punk rock with some great dual vocals, which I always think works well. This is followed by ‘Blood, Sweat & Teeth’ and things speed up with a song that is significantly different from the opener but carries all the same elements. ‘Ships of November’ slows it down a tad and just as you think you’ve a lovely ballad coming along ‘Bang’ and we’re back into celtic-punk territory. ‘Slappywag’s’ appeared on that debut album and has been re-recorded here. It was the standout track then and it’s the standout track here as well. A ton more energy and a ton more oompf where you thought it would be impossible to add but they done it.  Where the fiddle held court last time here it’s the mando and the accordion in charge in a brilliant song about the Bastards favourite boozer. The EP comes to an end with ‘Private Reserve’ and another beauty of a song. Less manic than the previous songs and perhaps the closest they come to sounding like the Dropkick’s. So what you get here are five songs that is over and done in a fast and frantic seventeen minutes. Every song here stands up on it’s own and the Bastards show they ape no one with their subtle changes of style. One of the many things that made their debut album stand out was their innovative style and they have lost none of that here. This isn’t just music for beer swillin’, foot stompin’, mosh pittin’ Canadians it’s music for beer swillin’, foot stompin’, mosh pittin’ wherever you come from!
So ends Part 1 and we are sorry we weren’t able to give each album the full on London Celtic Punks treatment. Apologies to all the bands as each and every release deserved the full treatment. We are always looking for people to join the reviews team so don’t be shy. Anyhow more to come in Part 2 so check back after Christmas Day and catch up with some more of our favourite 2016 releases from around the world this time. 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.

ALBUM REVIEW: STEELEYE SPAN- ‘Dodgy Bastards’ (2016)

With the release of Dodgy Bastards, the 23rd studio album of their career Steeleye Span remain one of the most influential names in music. Pioneers of folk-rock, they changed the face of folk music forever. Taking it out of small clubs and into the world of gold discs and international tours. Steeleye Span have remained at the forefront of the genre they helped to define and 38 years later have become an institution in British music.

steeleye span LP

Steeleye Span and Fairport Convention were two of the most successful and popular British band’s of their generation. Both bands made their mark on the music scene by taking traditional British folk material and adding rock arrangements, something that hadn’t really been done before and both featured female singers, Sandy Denny for Fairport and Maddy Prior for Steeleye. Both mixed self-penned and traditional songs but it can be argued that it was Steeleye Span who went on to have a much more lasting effect on the folk-rock scene and indeed on music in general too. At their peak Steeleye Span’s revolving door of members certainly kept their fans on their toes but the one constant in the band has always been the ethereal voice of Maddy Prior that gave the band their identity at all the different phases of their existence. The major difference between the bands was that Fairport came to traditional folk from a rock background, whereas Steeleye Span arrived from the opposite direction.

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Formed at the beginning of 1970 in in Winchester, Hampshire that original line-up included Ashley Hutchings, at the time bassist in Fairport Convention, who had wanted to pursue a more traditional folk direction and so left them and joined forces with future Pogue Terry Wood, who had been in a trad Irish group called Sweeney’s Men, Maddy Prior, who had been in a folk duo with guitarist Tim Hart and Gay Woods (Terry’s wife) to become the starting line up of Steeleye Span. Lasting only one album Terry and Gay soon left and were replaced by Martin Carthy, one of the most respected artists on the folk circuit. While Bob Dylan fought his own fans and the critics to introduce electric guitar into folk music in the mid-1960’s Martin Carthy was instrumental in taking Steeleye Span in the same direction. They may have played folk music but they played it damn loud! Hutchings and Carthy left by the end of 1971 and while the loss of their two most influential members would cripple most bands the ‘Span not only drove on but actually entered into their most successful stage. Tim Hart was quoted as saying that the group wanted to

“put traditional music back into current musical language — to make folk music less esoteric”

New bassist Rick Kemp became Maddy Prior’s husband and in 1973, they added drums for the first time to the band. With the revolving door of players, artists as famous as David Bowie and even Peter Sellers guested on their albums. Their first major hit came with the Christmas song ‘Gaudette’ reaching #14 in the British music charts and in 1975, they released their huge smash hit ‘All Around My Hat’ which charted all over the world and made them big players everywhere. With the coming of punk and new wave in 1977, they took on even more traditional elements with the return of Martin Carthy, and the addition of John Kirkpatrick on accordion. Sadly though they split the following year. However they periodically reunited while pursuing their own projects and the occasional studio album appeared while the group performed at festivals and toured with enough regularity making it confusing whether they were a band that was together or not. They had a strong and large enough fan base that remained extremely loyal to them ensuring that whatever they did they always had an audience to hear it. Of all the ‘Span members it was Terry Woods who went on to have the most success playing mandolin in The Pogues while Martin Carthy may not have had the commercial success of Terry Woods but certainly commanded great respect

“If the English folk revival of the 1960s had a single “father” and guiding spirit, then Martin Carthy was it”

Maddy Prior’s most notable work was her recordings with the respected folk singer June Tabor. Tim Hart released a handful of notable solo outings before retiring to the Canary Islands, where he sadly passed away after a long battle with cancer in 2009.

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So all this, and that intro could easily have run into several thousand’s of words (have a look at their Wikipedia page here to see how!), lands us in 2016 and Steeleye Span’s new album. Dodgy Bastards is their 23rd album release is a mixture of self penned songs, traditional songs and some original tunes put to traditional lyrics. The group today consists of Prior, Kemp, drummer Liam Genockey, guitarist Julian Littman, fiddler Jessie May Smart, and Andrew ‘Spud’ Sinclair, who was filling in for six-year member Pete Zorn before Zorn passed away from cancer in April 2016. The main inspiration for Dodgy Bastards is taken from the work of the 19th century American Francis James Child. Starting in 1860 Child began to anthologize over 300 traditional ballads from England and Scotland, and their American variants. Their lyrics and his studies of them were published as The English and Scottish Popular Ballads. The themes were often dark and thought not suitable for the times containing such subjects as diverse as romance and half-human creatures or enchantment and forbidden love. The abuse of authority and the depiction of very real historical events and the boldness of outlaws and folk heroes made these songs dangerous to the authorities.

Dodgy Bastards begins with ‘Cruel Brother’ and from the start we have a song about a man who kills his sister! It’s classic Steeleye and starts with just the voices of the band before it kicks off. It’s certainly gentle and even hard to believe that this was classed as folk-rock back in the day but it’s catchy and extremely well played and Maddy’s voice is still as striking as ever. Lasting almost eight minutes it never outlasts it’s welcome and if you think this was gentle then ‘All Things Quite Silent’ takes it down further. Maddy’s voice dominates over a simple backing of guitar and fiddle. ‘Johnnie Armstrong’ is the story of Scottish raider and folk-hero Johnnie Armstrong of Gilnockie, who was captured and hanged by King James V in 1530. Big and gutsy, again it lasts over seven minutes. This is powerful stuff and the words can be dated to before 1724. This leads us nicely into the only song here I knew before, ‘Boys of Bedlam’. Loud and bombastic and with great fiddle and guitar.

(not the version on Dodgy Bastards but still worth a spin)

Recorded by Steeleye before as a simple folk version above here they give it plenty of welly and show those folk-rock credentials loud and proud even including a rap from Alex Prior, son of Maddy and Rick. Unrecognisable next to the earlier version from 1971 album  Please To See The King. The sleeve notes say of the song

“Priory of St. Mary of Bethlehem at Bishopsgate founded in 1247 became the male lunatic asylum known as Bethlehem Hospital or Bedlam in 1547. In 1815 it was moved to Lambeth in the buildings now housing the Imperial War Museum and in 1931 was moved to Kent. The hospital of St. Mary Magdalen was its female counterpart. During the 16th and 17th centuries the man in the moon was depicted as a bent old man with a staff leading a dog, carrying a thorn bush and lantern”

It’s an album standout for me though that’s hardly surprising I’m sure. On ‘Brown Robyn’s Confession’ recent addition to the band Jessie May Smart takes on the lead vocal before the distinct tones of Maddy joins her during the superb chorus. Another unusual tale this time of a ship’s captain and his men who go to sea and encounter a terrible storm. They cast lots to learn who is to blame, and it is Brown Robyn himself who is thrown overboard with him admitting that he has fathered children with both his mother and sister. Before he drowns he sees the Virgin Mary, who offers to let him come to heaven or return to his men. He chooses heaven. Next is ‘Two Sisters’ a murder ballad recounting the tale of a girl drowned by her sister with a great production as it is throughout the album. Accordion is great here and a real foot stomper of a song with Maddy’s voice soaring. The next song is about the dodgiest bastard of them all! A new song penned by Rick ‘Cromwell’s Skull’ clocks in at nearly nine minutes and with a beautiful fiddle solo from Jessie May Smart in the middle.

So now to the title song ‘Dodgy Bastards’ and folk music is jam packed with them and this jig is a full on tribute to them all. Great guitar work and shows exactly what great musicians they all are. Energetic and full of life which is what music should be. No one dies in ‘Gulliver Gentle and Rosemary’ which reminds me of a few songs that became successful in the 70’s/80’s. Them at their most pop friendly they soon return to darker themes with ‘The Gardener’. Nearing the end we have another new song, this time written by Julian, ‘Bad Bones’ in which Steeleye show their humorous side in a story of a right bastard. A totally unrepentant right bastard! The song includes another spoken word/rap and again it doesn’t feel forced or seem out of place. Not many bands could get away with it I tells you. Dodgy Bastards comes to an end with the epic ‘The Lofty Tall Ship/Shallow Brown’, lasting a serious ten minutes. Beginning as a slow ballad before gaining momentum its a is a traditional Scottish folk song about Henry Martin who turned to piracy to support his family. This develops into a beautiful rendition by Maddy of Shallow Brown a West Indian slave song/sea shanty and this then becomes another instrumental that brings the curtain down on this exceptional album with the highlight saved for the end.

(great half hour sampler of the album below)

The album is appropriately titled with its tales of murder, religion, incest, honour killings and tormented spirits and with their 50th anniversary fast approaching it’s simply unbelievable the quality of their work. Their work rate is incredible with Dodgy Bastards their eighth album in twelve years. The stories here are at the very heart of the what we know as Steeleye Span. The album clocks in at a incredible seventy-one minutes and deservedly so as the themes here are not for the short of attention span. Their audience these days may well be the preserve of the middle aged but they show here that they deserve better than to be pigeonholed like that. Constantly innovative and inspiring and as inspirational as ever they need to be heard and any readers here interested in the development of celtic-punk must make Steeleye Span one of their first stops.

Contact The Band

TheOfficialSteeleyeSpanSite  UnofficialSteeleyeSpanHomePage  Facebook  Twitter

Buy The Album

FromTheBand  iTunes  Amazon

Band Members Sites

Peter Knight  Maddy Prior  Gay Woods  Troy Donockley

ALBUM REVIEW: THE NARROWBACKS- ‘Arrogance & Ignorance’ (2016)

If Joe Strummer, Shane MacGowan and Bruce Springsteen survived a drinking session through the 5 boroughs, the hangover would be called The Narrowbacks.
narrowbacks
nar·row·back /ˈnæroʊˌbæk/ [nar-oh-bak]
–noun Slang.
1. Disparaging. an Irish-American.
2. a person of slight build who is unfit for hard labour
The Narrowbacks are from New York City and don’t they let us know us with their new album released this month Arrogance & Ignorance. Around the world Irish bands represent their city like The Wakes and Glasgow or The Bible Code Sundays and London and even though their are several absolutely brilliant New York Irish bands none are quite so linked to the city as The Narrowbacks are. They live and breathe their community and a listen to them brings alive the past, present and future of that community. With a sometimes painful history of tragedy and hardship that became a history of pride and celebration the Irish community today is again flourishing with increased emigration from Ireland and the way the Irish pass on that pride in their roots. One instance is the massive explosion in the playing of Gaelic Games in America and not just because of the newly arrived but those of Irish descent as well. With many of the old areas changing and other communities moving in, those places once known as Irish ghettos are no longer but the Irish still exist in vast numbers and their pubs and sporting venues are still reeling them in.
narrowbacks-band

The Narrowbacks from left to right: Anthony Chen – Bass (No Irish Ties) * Chris Moran – Drums (Irish American a few generations) * Seamus- Vocals and Patrick Keane- Accordion * (Father from Connemara Co. Galway, Mother’s family from Cork, Clare and Limerick) * Barry Walsh – Banjo, Mandolin (Father and Mother from Dublin) * Fionn McElligott – Acoustic Guitar, Electric Guitar (Father from Kerry, Mother from Kilkenny)

This is The Narrowbacks second album after Fire It Up in 2013 and they also released an outstanding EP last year, After Hours (review here). These records have for the main taken the same route of some seasoned Irish trad covers, some unusual or rare Irish trad covers and a smattering of self-penned numbers so it was a lovely surprise to see that every song here is one of the band’s own. All twelve tracks are written and arranged by the band and none disappoint too. If you thought they could do a catchy as hell version of ‘Sean South Of Garryowen’ then you need to hear them playing ‘Shannon’!
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Arrogance & Ignorance opens with ‘The Banner County’, which for those who don’t know is the nickname of County Clare in mid-west Ireland in the province of Munster. The song was written by Seamus and is about his and Pat’s Uncle Matt who is from Clare, who got drafted to go to Vietnam and ignored advice to dodge the draft so he could stay in the States. The accordion, played by Seamus brother Pat, leads the boys out and tits all at a fast and furious pace and it may be mostly acoustic but these are not your normal finger in the ear folk band by any stretch. The song moves along and is a superb catchy start to proceedings telling of Seamus Dad’s arrival in America and his dream of
“going back to the Banner county someday”
This is followed by Shannon which came out as a single for St Patrick’s Day earlier this year as an album taster and this song runs away as the album standout. That New York Irish feel is all over this song and only two songs in and I’m already using the word ‘catchy’ twice!

The accordion and banjo are amazing and Seamus vocals are raspy and hoarse but in a way that won’t put off your Mammy or your Nanna. Its heading towards St Shane but still manages to fit the music perfectly. ‘Loisaida’ slows it down a little and is the first taste of the band playing a real Irish traditional song. Even then there’s room for a bit more and song takes in a few styles and influences under it’s Irish wings.narrowbacks-pale‘Home’ brings out the tin whistle and its a rollicking good tune about you know what. It would seem that the NYC Irish and the Irish here in England never stopped dreaming of ‘home’. As the saying goes ‘Home is where the heart is’ and The Wolfe Tones hit the nail on the head with their song ‘My Heart Is In Ireland’. ‘Whiskey River’ slows it down again and its the usual tale of the love/hate relationship we Irish have with alcohol as well as some unrequited love thrown in its a bad mixture. ‘Fourth Of July’ is up next and is the biggest American holiday and also known as Independence Day when the war started that saw the British Empire given the boot. Nowadays its just an excuse for a big party and why not! Accordion and banjo again are flying here but I must add that none of this would be as effective if it wasn’t for the rock instruments of bass and drums. The whole band play as a unit and the album’s production is exemplary with the mix of everything absolutely perfect. Nothing is competing to be heard but rather it all accompanies including the voice,for as we know the Irish voice is also an instrument. Chugging guitar and a track that wouldn’t be out of place with that other son of Ireland The Boss singing with ‘Rosie’ and ‘Prodigal Son’ is a good auld fashioned Christmas song directed at a Irish mammy waiting for her off-the-rails son to come home. Starting off as a, here’s that bloody word again, catchy Irish tune it feels like it may go off at a tangent at some point and then it doesn’t disappoint and it all comes off with some beautiful words about making it home all wrapped it a nice touch of ska/reggae that doesn’t stick out at all.

As hard as it is to make a unsentimental Christmas tune The Narrowbacks have managed it. A real beauty. I’ve had this song stuck in my head for a week and we have made it the London Celtic Punks Christmas song of 2016. ‘Ole’ is up next and this has to be the bands signature tune. Not sure why Irish football supporters have embraced this song so much but embrace it they have. This is the kind of tune that their gig’s must get messy to!
“my Daddies a Paddy and I’m a Narrowback”
We are nearing the end and another album standout track is ‘Want you Back’ featuring the amazingly wonderful voice of Emily McShane. Acoustic guitar and piano start the song off and Emily and Seamus sing to each other about a terrible mistake. The flute gets an airing for ‘Out On The Avenue’ and excuse me but its a fecking glorious sound! An excellent song that leaves the final song as ‘Bastards Of The Borough’ where Seamus is unaccompanied on acoustic guitar and belts out the names of those old Irish areas of NYC with gusto and pride.

narrowback-jfkTwelve songs that, as we said, are all penned by the band that comes in just shy of three quarters of an hour. The Narrowbacks are the sons of Irish-immigrants who found each other at their local pub in the Bronx and for that we and the New York Irish can be grateful. We a expressive race and there is nothing we love better than a sing-song and with the Irish communities outside of Ireland changing and having to re-adapt bands like The Narrowbacks have never been so important . Our history needs to be remembered and passed down to the next generations. Those that sacrificed before us must never be forgotten.This six-piece group may propel itself with punk rock in its heart but it has the soul of an old Irish folk band and we are blessed that they do.
Buy The EP
Contact The Band

EP REVIEW: BLACKWATER BANSHEE- ‘Blackwater Banshee’ (2016)

 A cracking new Irish band from Bristol in South-West England and with bands like this the celtic-punk scene is in safe hands!

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I came across Blackwater Banshee on Soundcloud a few weeks back but didn’t listen to any of their recordings till last week and what an eejit I was to wait so long. The five piece band are based in Bristol in South-West England and formed earlier this year. The band is made up of Karin Gormley on banjo and tin-whistle who is originally from Derry in Ireland, Richard Chapman is the vocalist and also plays mandolin, Bryn Llewelyn is Welsh and is on guitar and backing vocals and then we have Nige Savage on bass and Richard Underhill on drums. Bryn and Nige played in a classic rock band together and were looking to form a celtic rock band so after seeing his profile on Bandmix showing his background in Irish music they approached Rich and gathered him in. They then found Karin playing in an Irish folk session in Bristol. They soon started rehearsing back in June and recorded the EP in October. With Karin and Rich’s background in Irish folk and Bryn and Nige’s in rock they got the right blend of Irish folkness and rock to fit right into the celtic-punk scene.

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The EP is only four songs and as such is just a taster really of what they are capable of. All the songs are pretty standard trad Irish covers and concentrate on showing their folkier side. It begins with ‘Nancy Whiskey’ an old trad song that is about the dangers of drink rather than the dangers of women!

“I bought her, I drank her, I had another
Ran out of money, so I did steal
She ran me ragged, Nancy Whiskey
For seven years, a rollin’ wheel”

it’s played straight up and if your looking for comparison try O’Hanlons Horsebox or even the Bible Code Sundays. Its folk-rock designed to be played in an Irish Centre or pub full of 1st, 2nd, 3rd generation Irish and their friends. Their are several different versions and this is the one favoured by Shane MacGowan. Up next is the classic ‘Dirty Old Town’. Written by Ewan MacColl who has featured many times on these pages (have a look here where you can still get some free Ewan album downloads) back in the 1950’s and recorded most famously by himself, The Dubliners and The Pogues. Ewan MacColl actually hated The Pogues version of his song. In an interview Ewan’s wife Peggy Seeger, a renowned folk artist in her own right, contends that when Ewan wrote the line

“We’ll chop you down like an old dead tree”

he was implying improvement of Salford rather than destroying it. While as writer Jeffrey T. Roesgen quite rightly saw it

“In the Pogues performance we have little trouble seeing Shane, with spite seething from his lips, wielding his axe like a banshee, hacking his dismal town to splinters”

Love the tin whistle here at the beginning and the Banshees certainly give it their all. ‘Spancil Hill’ follows and is famous as one of the saddest songs about Irish emigration, and as you can imagine there’s at lot of competition when it comes to that subject. Recorded by Christy Moore with Shane MacGowan, The Wolfe Tones, Johnny McEvoy I’d go so far as to say its been recorded by just about everyone. Written by Michael Considine who was born in Spancil Hill in County Clare and emigrated to America around 1870. He intended to bring his love out to join him but knowing it would not happen he wrote the poem and sent it back to Ireland to his nephew and in 1873 he was dead at only 23 years old. The tragic story of poor Michael’s life only adds to the sadness of the song.

“I dreamed I held and kissed her as in the days of yore
Ah Johnny, you’re only jokin’, as many’s the time before
Then the cock, he crew in the morning, he crew both loud and shrill
I awoke in California, many miles from Spancil Hill”

More than once with a drink in me I have found that last line a bit too much myself… Blackwater Banshee make this their most personal song of the four adding electric guitar and the wonderful mandolin while the drums keep up the beat giving it a real pint in the air feel with Richard belting it out with real conviction. The EP ends with ‘The Leaving Of Liverpool’ and it’s one of the livliest of Irish folk songs. Liverpool was once one of the major sea ports in the world. It was collected by Richard Maitland, a resident of Sailor’s Snug Harbor a home for retired seamen on Staten Island, who learnt it on board The General Knox around 1885. Designed to be shouted at the top of your lungs while banging your pint on the table during the chorus. Here the tempo is high, the energy is up and just listening to it now has got me headbanging away.

So their you have it. Four songs sixteen minutes. Admittedly their is nothing unusual here but what you get is some expertly played Irish trad that promises much much more for the future. When playing live they feature tunes from The Pogues and Dropkick Murphys so there is definitely a punk element to their sound. They are certainly a band to watch as if they can play these standards so well we gotta look forward to some of their own material and soon I hope. For a new band its always hard to get going so give them a like on Facebook and have a listen to the EP and lets awake the world to Bklackwater Banshee!

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

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

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

Red Hot Chilli Pipers

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

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

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

“if it aint broke don’t fix it”

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

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

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