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…

EP REVIEW: FLATCAPS & FISTICUFFS- ‘Candy Cane’ (2017)

Twas only a couple of weeks ago that we reviewed Flatcaps & Fisticuffs debut EP and low and behold straight after another one lands on our doorstep. This time it’s a Christmas themed romp and it’s also available as a *FREE* download!

We kind of compared them to Matilda’s Scoundrels in our review of their debut EP Raspberry Cheesecake (here) but releases in a month is even beyond Matilda’s level of prolificness! Poor Bing will be rotating in his grave as the Bhoys annihilate the old-school Christmas banger ‘White Christmas’ as your starter, lay into ‘Good King Wenceslas’ as the chicken-in-turkey mains and then shock us all, especially me, with a cover of Run-D.M.C.’s ‘Christmas In Hollis’ bringing down the curtain as the classic Christmas Pudding dessert. A trio of tunes that will be sure to get your nan swinging from a low-hanging branch of the Christmas tree!

(as filmed in one take!)

You can download Candy Cane for free from SoundCloud or the Flatcaps & Fisticuffs website but you can play it using the Soundcloud player below.

Download Candy Cane

*FREE* FromTheBand *FREE*

Contact Fisticuffs & Flatcaps

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Further Christmas themed fun with this London Celtic Punks Top Twenty

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

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
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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: THE PEELERS- ‘Palace Of The Fiend’ (2017)

Formed way back in 1999 in a small farmhouse kitchen in North Glengarry County in Eastern Ontario and now based in Montreal The Peelers have long become one of the more famous and popular celtic-punk bands in Canada. Glengarry holds a special place in Canadian Irish history being separated from New York State by the St. Lawrence river it was originally settled by Irish immigrants who chose the name Glengarry in memory of their home. It was the place that the coffin ships during Án Gorta Mór, otherwise known as the Irish ‘famine’, sailed when turned away from America. The major quarantine station for immigrant ships was on the St. Lawrence river and it is thought up to 15,000 Irish people are buried on the small island of Grosse Île where a huge Celtic cross now stands as a memorial to their souls. We recently covered this subject on our review Of Declan O’Rourke’s new album Chronicles of the Great Irish Famine here.

The Peelers have, over their long existence, played at just about everywhere you can think of right across North America. From your small town dive to snowboarding championships,  cocktail lounges, festivals and just about every other kind of place a bunch of guys can fit a drum kit. Their debut album, Boots And Suits, hit the streets in 2002 before second album Liquordale a couple of years later. That release was named as Album Of The Year by the Boston based Shite n’ Onions web-site.

They started recording the new album in 2013 but like they say ‘good things come to those who wait’. For me this album is one of the best releases of 2017 and there has been some cracking albums released this year. It has thirteen songs and features guest performances by Finny McConnell (The Mahones) on the third track ‘Going Down Swingin’. Palace Of The Fiend was recorded in five different studios, located in Montreal, Toronto and Casablanca, Morocco and was one of the first releases of 2017, coming out on January 3rd so apologies to the band for taking so long to get the review done.

(The first video released from Palace of the Fiend)

This is a great upbeat tune to put you in the mood for a pint or two. The album opens with ‘New York’ which sets the scene nicely for the fifty+ minutes that follow. Stand out tune for me are ‘Five Roses’, ‘A1a Fla’, ‘Stand Down Clearly’ and ‘The Black Eye Blonde’. The curtain comes down with an amazing version of ‘Cúnla’ and illustrates the link to the past that The Peelers are so proud of. A ‘sean-nós’ (style of unaccompanied traditional Irish singing) children’s song believed written in the 14th century. The album is definitely more in The Flogging Molly school of celtic punk than Dropkick Murphys. I’d highly recommend Palace of the fiend to anyone who likes their Irish music with a twist of punk. – Shane

Buy Palace of The Fiend

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CLASSIC ALBUM REVIEW: FLOYD WESTERMAN- Custer Died For Your Sins (1969)

Floyd Westerman was a Dakota Sioux musician, political activist, and actor. After establishing a career as a country music singer he later in his life became the leading actor depicting Native Americans in American films and TV. He worked as a political activist for Native American causes and released two full-length albums, one of which features here, Custer Died For Your Sins, which took its title from a popular book.
Floyd ‘Red Crow’ Westerman
August 17, 1936 – December 13, 2007 
On the tenth anniversary of his sad passing (or entering the spirit world as he would himself put it) we offer up Floyd Westerman’s debut album as part of our Classic Album Review series. It comes with a free download which you can find further down the page and we hope you will take us up on this. Floyd was an engaging singer-songwriter and it’s a shame he never got around to making another dozen albums of protest songs. After all his people and their sad and tragic history could certainly supply the material to fill them.

CUSTER DIED FOR YOUR SINS

For the lies that were spoken
For the blood we have spilled
For the treaties that we broken
For the leaders you have stilled
Custer died for your sin
Custer died for your sin
Now a new day must begin
Custer died for your sin
For the tribes you terminated
For the myth you keep alive
For the land you confiscated
For our freedom you deprived
Custer died for your sin
Custer died for your sin
Now a new day must begin
Custer died for your sin

Now A new day must begin
Custer died for your sin
For the truth that you pollute
For the life that you have cost
For the good you prostitute
And for all that we have lost
Custer died for your sin
Custer died for your sin
Now a new day must begin

Custer died for you sin
Now a new day must begin

SLEEVE NOTES

From our hearts thank you by Vine Deloria Jr.

By a thousand campfires, traveling the endless miles of reservation frustration, huddling in the desolate urban centers and Indian bars, the soul of the American Indian cries out to his gods for justification.

Until now there has been no answer, no joyous cry of freedom. With this album. Floyd Westerman takes the giant step across cultures to bring the anguish and unquenchable pride of the American Indian to the forefront.

Raised in government boarding schools, supporting himself since he was fourteen, victim and conqueror of the society that betrayed his ancestors, Floyd is the only person who could have done these songs.

A veteran of the contemporary Indian movement, his rendition of Where Were You When? reflects the bitterness of those who have fought too hard only to be shunted aside in favor of newly arrived “Indian experts” who have all the answers.

The defiant title song, Custer Died For Your Sins, could only be sung by one who has glimpsed the Indian renaissance in the reservation backwash of American society.

Thirty-five More Miles, the story of Floyd’s mother represents the senseless waste of Indian lives by a society that does not understand and could not learn to care.

Red, White and Black and Missionaries tell of the struggle against hopeless odds which seeks to create in American society new sense of the dimensions of cultures.

Floyd was born to sing these songs and they were written in search of a singer like Floyd. Like the eyapaha, the cryer of old who summoned the camp to action, Floyd will provide the spark, the badly needed war songs that thousands have waited to hear. Hear him well.

The songs, brilliantly penned by Jimmy Curtiss, are a testimony to Jimmy’s ability to transcend time and space and live with the people in their sorrow and triumphs, to understand their sense of hopelessness and yet to see their vision.

With this album the continental divide of oppression is crossed and a new day begins. Remember it as the years pass and a new history for the American Indian is forged out of the decades. Remember how the world was before the songs were heard. The day is corning when you will not remember how it started — that it started with this record.

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Floyd Westerman was born on the Lake Traverse Indian Reservation, home of the Sisseton Wahpeton Oyate tribe. It is one of the tribes of the Eastern Dakota subgroup of the Great Sioux Nation, living within the U.S. state of South Dakota. At the age of 10, Floyd was forced to go to the Wahpeton Boarding School, where he met Dennis Banks, who would later become a leader of the American Indian Movement. There Westerman and other boys were forced to cut their traditionally long hair and forbidden to speak their native tongue. This experience would profoundly impact his later life and as an adult he would champion his own heritage. He graduated from Northern State University with a B.A. degree in secondary education and also served two years in the US Marines, before beginning his career as a singer.

Custer Died For Your Sins was his debut release and is one of his few. He never created a large body of work throughout his career, but the tricks he had up his sleeve were good ones. Whilst playing in Colorado he met and became friends with the author Vine Deloria Jr., also a songwriter. They talked about the lack of Native American issues and traditions in song and a collaboration began. Floyd took sections of Deloria’s book, Custer Died for Your Sins, and created profound, sometimes humorous songs from the subjects. This led to the release of his debut album, titled after his friend’s book. The album has a strong country flavor that suited Westerman’s voice and has remained a sought-after classic ever since. The title song is tough and to the point, while other songs such as ‘Here Come the Anthros’ reveal a stinging satirical sense of humor. Two anthems on Side Two are particularly hard-hitting: ‘Missionaries’, certainly a well-deserved jab and ‘Where Were You When’ which takes a poke at Native American pride of the opportunistic sort. He established a solid reputation as a country-western music singer and his recordings offer a probing analysis of European influences in Native American communities. In addition to his solo recordings he collaborated with Willie Nelson, Harry Belafonte, Joni Mitchell and Kris Kristofferson among others.

After years of performing as a singer Floyd became interested in acting and he debuted his film career in Renegades (1989) alongside Lou Diamond Phillips. Additional film roles included Dances with Wolves (1990), The Doors (1991) and numerous others. His television roles included Walker, Texas Ranger, Northern Exposure and multiple appearances as Albert Hosteen on The X-Files. Westerman was recognized for his political advocacy for Native American causes and at times he participated in and supported the American Indian Movement. Floyd Westerman died on December 13, 2007, at Cedars Sinai Hospital in Los Angeles, California after an extended illness and complications from leukemia.

MISSIONARIES

Spread the word of your religions
Convert the whole world if you can
Kill and slaughter those who oppose you
Its worth it if you save one man

Take the land to build your churches
A sin to tax the house of god
Take the child while he is supple
Spoil the mind and spare the rod

Go and tell the savage native
That he must be christianized
Tell him end his heathen worship
And you will make him civilized

Shove your gospel, force your values
Down his throat until he’s raw
And after he is crippled
Turn your back and lock the door

Like an ever circling vulture
You descend upon your prey
Then you pick the soul to pieces
And you watch as it decays

‘Cause religion is big business
As your bank account will show
And Christ died to save all mankind
But that was long ago

Missionaries, missionaries go and leave us all alone
Take your white god to your white men
We’ve a God of our own

Musicians: Floyd Westerman: Vocals, Rythm Guitar *John Palmer Trivers: Bass * Bob Abrahams: Acoustic Lead Guitar * Jerry Shook: Harp, Dobro * Barry Lazarowitz: Drums * J.C. (Jim Curtiss): Rhythm Guitar * Pete Drake: Steel Guitar

Produced by Jimmy Curtis & Terry Philips

Recorded at Al Studios, New York City and Music City Recorders, Nashville, Tennessee

More On Floyd Westerman

Wikipedia  WebSite  Obituary  JohnKatsMusic

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)

 

EP REVIEW: FLATCAPS & FISTICUFFS- ‘Raspberry Cheesecake’ (2017)

*FREE* download of the debut release of delicious country Folk-Punk from Flatcaps & Fisticuffs from the town of Berkhamsted!
Ukulele, mandolin, guitar, cajon, trumpet and a fragrant hint of rap!
You know when you have made it as a band when you find other bands being compared to you and so it is with Matilda’s Scoundrels and Flatcaps & Fisticuffs. They are by no means clones but I think you could easily bracket them in the the same style of folk-punk with a bit of celtic-ness! I literally found out about them this week so made the short leap to the free download and bloody loved it so thought I’d get in touch with the guys and find out what’s the score with them. Long, long ago is how it usually starts but not this time! Duncan the mandolin player had just arrived in England from South Africa and on meeting Ben the guitar player in a pub and over a few (!) beers it was suggested they start a band. The hardest thing about starting a band, I’m reliably informed, is to find a drummer but they already knew one so it wasn’t too long before they progressed from playing open mic gigs in pubs around Hertfordshire to making their own folk punk sound with uke, mando and other standard band instruments.
The band hail from Berkhamsted, a historic market town in Hertfordshire in the south of England. Now any new appearance of a band in England even remotely sounding just a little celtic-punk is a joyous event to us and so we were more than a little excited to press play and see if they warranted all this excitement.
…well I am glad to say it’s a blooming excellent EP and you’d have to be a right mug not to take them up on their fantastic offer of a free download of it.

Flatcaps & Fisticuffs left to right: Ben- Guitar / Backing vocals * Duncan- Mandolin / Vocals * Adam- Uke / Vocals * Ben- Drums * Will- Percussion / Vocals * Tom- Bass

Raspberry Cheesecake begins with ‘Socks’ and it’s right up my alley with this ode to yer man’s socks hitting all the right notes for me.

“My socks, my socks, without them I’d be lost”

Fast paced with plenty of slow bits and a lovely gang chorus that’s easy to singalong to. It’s a bit daft but hey-ho give me the Toy Dolls over The Subhumans any day of the week. As stated already it has a tinge of Matilda’s Scoundrels about it with classic English folk and punk colliding and almost very nearly spilling over into celtic-punk.

On ‘Capo On A Jew Harp’ it’s more of the same if not punked up a bit but just as accessible and as catchy. The lyrics take a harder edge while still keeping the fun element. Politically directed lyrics but with a good sense of humour thrown into the mix is always going to be a winner. Bland virtue signalling has had its day and with the world seemingly on the brink every couple of months we want our politics to lift us don’t we? The final song here is a cover of the, frankly annoying, New Zealander Lorde’s debut single ‘Royals’. While her version is ok Flatcaps & Fisticuffs blow her away with the cobwebs with the catchiest little number here. The uke stands out loud and proud and it all has a bit of a celtic-ska thing going on. Seriously a fantastic number and enough here to keep fans of about five different genres delighted!

Raspberry Cheescake (where on earth did they pluck that name out of??) was released only last month and so we have been lucky to have found it so quickly. Flatcaps & Fisticuffs have made it available for free so just follow the link at the bottom of this review and I am absolutely certain you will be extremely glad you did. In this country we don’t have a wealth of bands playing this style of music so when one comes along its always a bit of an event and even better when they deliver something so special. So now that we have found them our next step is to get them on the short road to a London Celtic Punks gig. So here’s what to do… download the EP, find them and then like them on Facebook (link below) and lastly keep an eye out for them playing very, very soon. Enjoy!

Download Raspberry Cheesecake

*FREE* FromTheBand *FREE*

Contact Fisticuffs & Flatcaps

WebSite  Facebook  Soundcloud  Twitter  YouTube

While plans are afoot to bring Fisticuffs & Flatcaps for a London Celtic Punks show you can catch them at The Horn in St Albans on 18th of January, Nottingham on the 27th of January for a Homeless charity fundraising gig (TBC) and in London for somebody else at the Finborough Arms in Kensington on the 3rd of February. See you at the bar!

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.

EP REVIEW: HEADSTICKS featuring STEVE IGNORANT- ‘Lies, Lies, Lies’ (2017)

The new four track EP from northern England folk-punk powerhouse Headsticks featuring the legendary voice of Mr. Crass Steve Ignorant.

On first listen to this you may wonder why its being reviewed on these pages. After all we pride ourselves on being celtic-punk and covering (or trying to cover) every aspect of the Celtic music diaspora. While this has seen us feature everything from trad to metal to hip-hop the one kind of music that we haven’t really gone into is what I use to describe as ‘festival music’. The sort of alternative folk-rock pumped out for the last few decades by the likes of New Model Army or The Levellers. But they do own, much like everyone in England!, some rather special Celtic credentials too with the bands roots firmly in the ashes of two much loved, and sadly long gone, celtic-punk bands ‘Tower Struck Down’, who were one of first English celtic-punk bands back in 1985, and Jugopunch.

Headsticks (not The Headsticks) hail from the once proud industrial town of Stoke once amed for the manufacture of pottery (the area is known as The Potteries), coal mining and steel making. All of the areas main industries are long gone having been decimated by successive governments of Labour and Tory who care nothing for the working class while they chase the votes and follow the whims of the urban ‘chattering’ classes. They have featured on this site before with reviews of their debut album, Muster and their follow up Feather And Flames. Both albums were very well received and have seen the bands star rise with each release and having graced the 0161 Festival in Manchester among others and even reached London several times, each time with a growing number of fans.

While there is nothing particularly ‘Celtic’ going on within this EP what you do get is four songs of expertly played catchy as hell and in-yer-face folk-punk with a biting and still humorous at times social commentary which takes well aimed strikes at those who blight our lives with their misrule while all the time knowing exactly who their music is aimed at.

“It’s a social commentary that the working classes can easily relate to…..we aim to make people stop and think with our songs and it does seem to do that! It’s not so much about smashing the statues and setting fire to the government buildings, but more of asking people to look outside their own bubble, basically to start giving a shit before it’s too late!”

The band describe themselves as “where folk and punk collide” and is as perfect a way to sum them up in five words as could be imagined. The songs start side 1 and ‘Big Game Hunter’ and features the unmistakable dulcet tones of the one and only Steve Ignorant of seminal English anarcho-punk band Crass. We have all seen the photos on Facebook of these utter shits standing next and smiling over the corpse of some amazingly beautiful animal they have shot from safety while on safari. While our hope is that they turn the tables on these monsters it rarely happens and ‘trophy hunting’ only seems to be getting more and more popular among the rich and powerful. Maybe one day they will doing it to us? The song has managed to catch both the typical sound of Headsticks and a couple of Steve’s better previous bands pitched somewhere between Schwartzeneggar and the Stratford Mercenaries.

“Arrogance personified, the abuse of wealth and power”

Side 1 comes to an end with ‘Dying For A Lie’ which gives its name to the record. The sad tale of war criminal Tony Blair and the lies. lies, lies that he told to bring us to war in Iraq. The song is catchy and a real head nodder for those of us well past our moshing days. Like a lot of their previous stuff there are touches of country music here and there and it all makes for an enjoyable romp with a nice fist in the air chorus to shout along to.

Flipping over we have side 2 and we are off with the fantastic folk-punk anthem ‘Soaps & Costume Drama’. The recent fad of fancy BBC dramas is a world away from the lives of most people and nowhere on this EP do the words resonate so powerful.

“She escapes into another costume drama, as she waits for her knight in shining armour”

Absolutely classic Headsticks and it sees the welcome introduction of one of my favourite instruments the harmonica too. The disc comes to an end with ‘You’re Killing Me America’, both a band and a crowd favourite re-recorded from the Muster album. It’s brought slap bang up to date beginning with Donald Trump’s voice starting the song off and I would say the rough edges are gone but I don’t think the old version had any but they have added something to it besides a few samples but its kind of hard to put your finger on it. It may have only acoustic guitar and harmonica as ‘folk’ instruments but Headsticks have an unmistakable traditional English folk sound that I’m sure would appeal to all fans of celtic-punk.

(a live version and without the samples and harmonica and extra flourish of the version on the EP but just to give you a wee taster!)

The whole thing comes in a package of a 10″ record on red vinyl that is quite possibly the most beautiful package we have ever received at London Celtic Punks towers. You don’t just get the record either with a whole bunch of stickers, postcards, lyric sheet and download code included. Having been around a bit I’m more than happy to see the resurgence of vinyl even if I do personally listen to most of music on my mobile! The band have also released a live album recently and we will be getting round to that soon but the urgency and honesty and just plain good old fashioned folk’n’roll from their album’s is still very much in evidence and while they may be heavy on the mind they are also light on their feet. An EP of four superbly crafted songs that reflect perfectly what the band represent- the place “where folk and punk collide”.

Buy Lies, Lies, Lies

FromTheBand

Contact Headsticks

WebSite Facebook  YouTube  Soundcloud

Tower Struck Down WebSite here

EP REVIEW: BogZH CELTIC CATS!- ‘Kazh al Lagenn’ (2017)

Celtic celtic-punk and rock, rage and Celtic swing from Naoned.

Rearranged and adapted Breton rock, trad Irish and Scottish Celtic rock’n’roll punk-folk.

Released last month this is the debut release form the latest Breton celtic-punk band to grace these pages. Earlier this year we published a review of the great debut album from Sons Of O’Flaherty. In that review we told a faction of the history of Brittany so rather than go over it again hightail it here and learn a little of the story of this proud Celtic nation. The Breton’s have embraced the celtic-punk revolution with open arms and bands like Les Ramoneurs De Menhirs, The Maggie Whackers and Sons Of O’Flaherty use their Celtic heritage and music to push for more civil rights and recognition for their language.

BogZH Celtic Cats! were formed in late 2014 out of the ashes of famed Breton rock band Daonet by three of their former members. Daonet were a rock band playing dynamic rock music with celtic rock melodies with lyrics mostly in Breton embodying the image of a free, conscious and future-oriented Brittany. Hervé and Gilles were drummer and bassist in the Daonet and were playing in a rock and blues band Bogzh until they were joined by JJ, blues harp player and singer and Hervé’s brother, Fabien who also played in Daonet and Gilles son Gwenolé on both bass guitar and upright bass though not at the same time! The band started off with a repertoire of celtic-punk classics from the likes of the Dropkick Murphys and the Real McKenzies as well as adapting some traditional folk songs of Brittany, Ireland, Scotland and singing in a combination of Breton, English and French. Kazh al Lagenn is the bands first release and came out last September. Self produced and distributed by the band themselves it’s truly a DIY release and a sign of the healthy celtic-punk scene in Brittany.

The EP begins with ‘Ye Jacobites By Name’ a traditional Scottish folk song written in 1791 by the legendary Scots poet Robert Burns. The Jacobites were Scots rebels trying to return James II, the last Catholic British monarch,  to the throne after he had been deposed by Parliament during the Glorious Revolution. The series of battles took its name Jacobitism, from Jacobus, the Latin form of James. With the defeat of the Jacobite army at the battle of Culloden in 1746, the union of England and Scotland was sealed, and this song is a call to the Jacobites to take up Scottish independence but with a more anti-war outlook. Recorded untold times through the years it’s a song that lends itself well to celtic-punk and BogZH Celtic Cats! give it a good seeing too playing with a heap of gusto with strong performances from all.  Starting off with some lovely western overtones before the band jumps in and harmonica, pipes, electric guitar, bass and drum taking us firmly into celtic-punk territory. Fast and catchy before slowing down and speeding back up again before ending on a flourish. Gilles’s voice is powerful and backing vocals from the rest of the band are equally as strong. Next up is the EP highlight for me the extremely brilliant ‘An Avel’ ( meaning ‘The Wind’). I love harmonica and wish it was more widely used in celtic-punk circles. Sang in Breton the song is catchy as hell and harks back to the days of Daonet with a song fit to grace any rock bands set. We are in Ireland next for a song covered by just about everyone in the scene and it takes a lot to get much of a rise out of me for ‘Star Of The County Down’ these days but BogZh Celtic Cats! keep it slowish and rocky rather than punky and yeah it’s fine and faithful to the original.

Does the scene need another cover of this admittedly great song? Probably not but there’s a very good reason why songs like these are so popular and while we may be a little jaded on hearing it we have to realise that to fans of BogZh Celtic Cats! it’s quite possibly a new song to them. The pipes are the standout on the next track ‘Kenavo Da Viken Ma Breur’ (meaning ‘Farewell My Brother’) and in the longest track on the EP the Bhoys really go for it and at times it could drift off into Goth or Post-Punk but always Celt.

Dropkick Murphys ‘Prisoner’s Song’ from their Signed And Sealed In Blood album is given a faithful and if anything outCelts the Murphys on this great track. The EP ends with the lads version of the traditional Breton folk song ‘Son Ar Chistr’ and those elements are out in force again and it’s a winning combination for me. As a punk with a few Goth tendencies I love that that they aren’t just a straight up punk band but something a little different. Vocals on the EP are shared between JJ, Gilles, Gwenolé and Fabien and work extremely well.

A great way to start their recording history and another welcome addition to the Breton scene. With bands like this the Celtic revolution is in safe hands. While they may not be as celtic-punk as say the Sons Of O’Flaherty they have taken the rock sound of Daonet and embraced punkier elements to it and come up with something that actually sounds quite fresh to these ears. The only problem being that five songs is not enough and we want to hear a lot more from these.

BogZH Celtic Cats! from left to right: JJ- Harmonica, Vocals * Maxime- Bagpipes, Vocals * Corentin- Tin Whistle * Gwenolé- Bass Guitar, Upright Bass, Vocals * Fabien- Folk/Electric Guitars, Vocals * Hervé- Drums * Gilles- Tenor Banjo, Guitar, Vocals.

(you can listen to Kazh al Lagenn for *free* on the Bandcamp player player below before you buy. Available as download or CD)

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You should also check out THE FOLK’N’PUNK BRIGADE which is a local celtic-punk collective similar to London Celtic Punks. A group of friends and musicians from French bands The Moorings and Saints and Sinners and Breton bands The Maggie Whackers and Sons Of O’Flaherty- Facebook

The Celtic League is an inter-Celtic political organisation, which campaigns for the political, language, cultural and social rights, affecting one or more of the Celtic nations- Facebook  WebSite

Gilles from the band also runs an extensive Blog featuring both Daonet and BogZH Celtic Cats! as well as heaps of Breton and Celtic music so check that out here- WebSite

ALBUM REVIEW: THE LUCKY PISTOLS- ‘Where The Orioles Fly’ (2017)

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To put it as simply as we possibly can The Lucky Pistols are an Irish folk punk band based out of Baltimore, Maryland. There.

Back in the year 1816 only 6,000 Irish people immigrated to America but within just two short years tragedy and an deliberate attempt to wipe out an entire race this number would double and would sadly continue to grow for the foreseeable future.  The greatest spike in the number of Irish who immigrated to America came during 1845-1853 the time of The Great Hunger which completely devastated Ireland.  In 1846, 92,484 immigrated and by 1850 that number had grown to 206,041. By the end of 1854 over two million had immigrated to America, astonishingly this was over one quarter of the population of Ireland. These were the lucky ones with the dead left by the roadside at home and many more dying on what became known as ‘Coffin Ships’ on the long torturous journey to what they hoped was a better life. It was during this dramatic exodus that Baltimore experienced it’s boom in its Irish population with close to 70,000 arriving in the city in the 1850’s and 60’s. Those who arrived in Baltimore settled in the southwestern part of the city with the men working for the Baltimore & Ohio Railroad and the women finding work usually as domestics. The work was hard and dirty and dangerous but as employment opportunities were scarce and these Irish immigrants were mainly farmers so due to their lack of skilled labour, they faced a great deal of discrimination and were viewed as inferior people. They lived in tiny crowded and subdivided homes. Unable to afford better housing they were still better off than if they had stayed in Ireland and despite the low wages they were still were five times more than the eight pence a day that a farmer back home earned.

Baltimore became the third most common point of entry for European immigrants, behind New York and Boston.  In 1867, the Baltimore and Ohio Railroad entered into a partnership with the North German Lloy Stemship Line to build immigration piers at Locust Point.  The ships landing at Locust Point would drop off German, Irish and English immigrants.  From there, immigrants could immediately go and work for the railroad or board a train and continue westward. The Irish experience in Baltimore was not a happy one but one of hardship and challenge.

Their children are The Lucky Pistols.

The Lucky Pistols left to right: Tony Graham- Bass, Backup Vocals * Sean Suttell- Guitar, Mandolin, Harmonica, Lead Vocals * Jay D’Annunzio- Drums (joined after release of the album. Drummer on the album is Matt Toronto) Victoria Renee Grier- Fiddle (Joined after release of the album)

The roots of The Lucky Pistols rather surprisingly begin in the German town of Heidelberg in a band called The Cold Shots. Pistols and good mates Sean and Tony spent five years ago playing Irish folk punk supporting many great Irish punk bands like Paddy And The Rats and The Mahones. As is the way with many immigrants the lure of home became too great and on the break up of The Cold Shots Sean and Tony moved back to the United States in 2013. After a short break Sean began playing solo gigs on the Irish pub scene in Baltimore and Annapolis and it wasn’t long before the Bhoys got the bug and decided to give it another shot and have been trying out their style of Irish folk punk on the east coast ever since.

Where The Orioles Fly is The Lucky Pistols debut album and to their absolute credit have made it available a free download so regardless of what you are about to read you ought to download it straight away. After all who is to say our opinion is worth anything anyway? The album begins with ‘Songs Of Ireland’ and straight from the off its fast paced acoustic Irish folk-punk. Yeah my favourite! I get off on this stuff I really do. A tale of drinking with mates and belting out Irish songs is, I am sure, familiar to many of you. My own brother when he was younger and hadn’t embraced his Irish roots as much as some in the family (ahem…) still knew the words to the entire Irish emigrant songbook. Catchy as hell and that north American celtic-punk sound that definitely has crossover appeal in that it is basically folk music for punks.  I love the harmonica and it is sadly underused in celtic-punk but used to great effect in ‘Girl At The Gallows’. Two songs in and you get a feel for what The Lucky Pistols are about and it’s good. The album’s title song, ‘Where The Orioles Fly’, rolls in next and the oriole is the official state bird of Maryland and the name of the local major league baseball team and tells of Sean and his journey home from across the sea.

Sean’s voice leads the band along and is the more stronger for it. The songs tell stories in that Irish tradition and also in the tradition of Ireland a few drinking songs wouldn’t go amiss and more importantly those warning of the perils of the demon drink and ‘Moonshine (Howlin’ At The Moon)’ is the first here. Country influence especially strong here but not of Nashville but of working men and women far away from rhinestones and glamour. There follows a group of songs with much in common. ‘Downtrodden’, ‘Back In The Harbour’, ‘Walls Of Misery’ all tell of the various struggles of those at the bottom of the ladder. Sad to say not everyone is a “king in the US of A”.

It’s not all doom though as ‘Regrets Are A Waste Of Time’ tells of dusting yourself off when life drags you through the dirt. Great sentiments and not many know the truth of that as much as the Irish do. The music so far has been fast and flowing steady but what I have been waiting for has been a kick-arse ballad and finally I am rewarded with the wait with the penultimate song ‘Drink With You’. Every celtic-punk album needs one and as it the way they usually revolve around a drink or two and The Lucky Pistols don’t buck the trend. Mind you I wouldn’t say its completely a ballad but it still rolls along beautifully and you can class it as the album’s epic. Where The Orioles Fly ends with the classic Irish standard ‘God Save Ireland’ and a song that is very rarely covered which is a shame as both the words and the tune I’ve always thought would make it the perfect song to ‘punk’ right up. Written back in 1867 it was the unofficial Irish national anthem up to the 1920’s and tells the story of three Irishmen executed in Manchester, England for their part in the ambush of a Police transport. The ambush achieved it’s goal of the release of two of their comrades but a shot fired at the lock of the van inadvertently caused the death of the police guard. In the ensuing weeks many local Irish were rounded up and eventually three men were sentenced to death. Despite none of them having fired the fatal shot Michael Larkin, William Phillip Allen, and Michael O’Brien were put to death and became known as the Manchester Martyrs. The songs lyrics were released the day before their execution on 23rd November 1867.

“Climbed they up the rugged stair, rang their voices out in prayer,
Then with England’s fatal cord around them cast,
Close beside the gallows tree kissed like brothers lovingly,
True to home and faith and freedom to the last”

The Lucky Pistols turn in an utterly fantastic version what is without a doubt the highlight of the album. Fast and catchy and thigh slappingly brilliant. A song that is built to last and no better tribute to those people mentioned at the beginning of this article. Sean the vocalist and songwriter of the band takes his inspiration from his Irish nannie (like a true Irish grandson!) and Maryland has a rich Irish culture which is celebrated throughout the year. Throughout the USA Irish culture is holding firm against globalisation and ‘mono-culture’ and bands like The Lucky Pistols play more than their fair share in aiding that. That their music speaks to the grandchildren of those brave Irish souls who settled in Baltimore many years ago is undeniable but their feisty mix of acoustic folk-punk laded with plenty of Irish ‘oompf’ with gather many friends of the Irish around the hearth too.

(you can download for free this fantastic album but if you can spare a dime or enough for a Guinness even then follow the link but listen first here)

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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.

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ALBUM REVIEW: GHOSTTOWN COMPANY- ‘FolkRock’ (2017)

An original German band with their debut album a mix of modern day folk-rock but steered by traditional influences of Irish-Celtic music and American country music.

Not long ago in the summer of 2015, as tends to be the way with these things, two mates with an interest and a background in both folk and rock bands decided they wanted to combine the two and get a band together. With a handful of shows booked they set out on the search for fellow enthusiasts and having quickly agreed on the name Ghosttown Company they roped in a few acquaintances and the search was completed in October 2015. The band’s name describes the places left behind by the Irish during ‘The Great Hunger’ in the mid 19th century when millions were forced to leave Ireland in search of survival and a better life. Rehearsals soon followed culminating in a successful debut local gig in Saarbrücken. Not wasting any time at all the Bhoys took to the recording studio making their first Demo and after a further run of accomplished gigs the band signed a contract with Prosodia publishing company and so it has been a short journey to their debut album the rather aptly titled FolkRock, released in July this year.

Now celtic-punk and all things Irish are incredibly popular in Germany and we have gone over this several times including recently with reviews of albums by Restless Feet, Pitmen, Jamie Clarke’s Perfect The Distillery Rats and The Crooks And The Dylans. Here in England the celtic part of celtic-punk is often underplayed and many bands while actually playing celtic-punk and using Irish and Celtic tunes persist in calling their music folk-punk or attribute the said Irish tunes as English. This special affinity that German’s hold for the Irish means they don’t fall for such bullshit and hypocrisy and they completely go for the Irish/Celtic part and this makes the German scene one of the best in the world. Time and time again when I have met German folk I have been impressed by their knowledge of Irish culture, music and history. That Celtic are by far the most popular foreign team among German football supporters is testament to that affinity. There are several theories for this but my guess is that the Germans love a drink and a good party so it makes perfect sense for them to team up with the Irish. That and maybe perhaps a grudge against a certain nation as well has brought us together?

Ghosttown Company are not unusual among the German celtic-punk scene in that they play mostly acoustic folk music. Yes with the spirit of punk but this is celtic-punk played under the influence of Country, Americana and rock whilst butting shoulders with traditional Irish and Celtic songs. The album starts with ‘Shooting Star’ and they kick off with the album’s top song. Catchy is surely the most overused word when reviewing things so instead of repeating it throughout just assume every song is ‘catchy’ it will save us both time. The European celtic-punk bands love the flute and I am a late comer to the brilliance of this instrument (thank Firkin for my conversion) and it works wonders here. ‘Far Away’ is up next and is a more solid rock number with saxophone and chugging guitar driving it along. Now I’m not sure if the world needs another version of a famous folk trad classic and here it is ‘Whiskey In The Jar’ that gets the folkpunk treatment. Since the advent of recorded music the same songs have popped up for a reason and it’s a little rich to slate modern day celtic-punk bands for it when my Mammies record collection from the 50’s/60’s/70’s must have a thousand different versions of maybe 5 or 6 songs in it. More Dubliners than Thin Lizzy needless to say it’s a great cover and the Bhoys do it justice playing it with a hoe-down twist with added “Yee-Hars” and pub soundtrack. So far the band that is in the back of my head are The Men They Couldn’t Hang and on ‘Plastic World’, the LP’s longest song, you can hear it as well as feel it with the lyrics of the song. That ‘English’ influence continues with next track ‘Clowns In A Game’. One of the album highlights is the outstanding ‘Greenlands’ which takes us on a mesmerising journey through Ghosttown Company’s musical abilities. The music swirls and twines building up and up before relaxing again and repeating. The whole band plays their part and this must surely be a huge live favourite. While they can cut loose you also get the feeling that some songs like the following, ‘Going Down’, would benefit from the same and bit of ‘anarchy’. Another celtic-punk classic next with ‘Black Velvet Band’ and bands love this as it’s slow build up gives them a chance to go f**king mental when the chorus comes along. Not here though and the song is quite restrained with some excellent mournful saxophone and again the band take’s trad material and manages to do something a little different with it to give it their own stamp. The accordion and the mandolin lead us into ‘Hell You Know’ and another standout song that flows magnificently along. This is music that is perched halfway between folk and rock and the past and present and while it won’t scare your Grandparents it is still thoroughly thigh slappingly great. A visit to Ireland is recalled next in ‘Island Of The Green’ and the autobiographical story of how Ghosttown Company frontman and songwriter Chris fell in love with Ireland and all things Irish things on their first visit to Dublin. Music, alcohol and good times in the four corners of Ireland put to catchy (sorry!) country tinged Irish folk’n’roll. The last cover is ‘Spanish Lady’ and one of my favourite songs of all time. Now I can only remember this being covered in the celtic-punk world by Shane MacGowan And The Popes. It may be a tad restrained compared to that version but again they nail it and the thigh slapping continues unabashed!

The curtain comes down on FolkRock with ‘A Lost One’s Ballad’ and its a great way the close down. Slow and delicate and proof these guys can play a tune. Every celtic-punk album needs at least one of these songs and I have seldom heard better.

These Bhoys are brand new to the celtic-punk stage and are a more than welcome addition to it. As with many, many bands out there there is no stereotyping here (well maybe just a tiny little bit!) just a love of all the things that make us as humans great. These are things that the Irish are famous for but by no means solely confined to the Irish race. Generous, kind, faithful, hospitable, passionate and devoted while at the same time managing to be pretty well f**ked up as well and I get the sense that Ghosttown Company here are wise to that. The traditional songs here are solid renditions but gone are the days when celtic-punk bands were judged on their covers and with nine of the album’s twelve songs penned by the band themselves it bodes very well for them. Although here what I have done is actually pigeonhole them they were a band I found quite hard to do so. Now unique is not a word bandied around in celtic-punk circles very often, after all a lot in the scene does sound a bit ‘samey’ to put it mildly, Ghosttown Company have managed to come up with something different and show they are never just another Irish covers band and with this great debut behind them they are set for a great future.

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TEN YEARS WAITING FOR FLATFOOT 56 AND NEARLY OVER!

I can’t believe it but yes it’s been a decade since they first stepped foot on our shores and Chicago’s Flatfoot 56 are back! That gig inspired the setting up of the London Celtic Punks so we are as happy as Larry to be able to present their gigs in North and South London at the end of this month. This is a band with severe crossover appeal from the most hardcore of punk rockers to all lovers of fiddly-diddly and trad. With a support bill of the best in celtic and folk-punk that this island has to offer be sure not to miss them on their tour.

By Gerard Mellon

They say good things come to those who wait. Well this time that saying has proved true, because, after a 10 year wait, Flatfoot 56 are returning to these shores. Regarded by experts as being true heavyweights of the Celtic Punk scene, these gigs are not to be missed. They come, showcasing their ‘Album of the Year’ contender “Odd Boat”, along with a back catalogue of truly awesome proportions. These fellas are the real deal.

Formed in 2000 on the South Side of Chicago, FF56 was originally a three-piece family punk band featuring the Bawinkel brothers, Tobin (Vocals Guitar), Justin (Drums), and Kyle (Bass). A year later it was the addition of Josh Robieson (Pipes, Mandolin & Guitar), that gave the band it’s distinct Celtic flavour. The following year saw their first album released, “Rumble of 56”, a raw mix of punk and spirituality that displays some fantastic musicianship. It is clear to see that these guys were brought up in very musical surroundings! The pipes play an integral part in making the overall sound of the album quite unique. Their second release “Waves of War” followed in 2003. Very similar to “Rumble”, it still has that raw edge mixed with spiritual lyrics and dynamic rhythms. 2006 brought us “Knuckles Up”, with some rousing tracks that seem to make you want to join in. The dynamic rhythm of drums and bass is still there, joined by some wonderful mandolin and guitar playing and of course the pipes still sounding out a clarion call. It would be great if we got to hear some of these tracks while they’re here!

2007 saw the release of “Jungle of the Midwest Sea” and I don’t know if it was a change of record label or if their own personal circumstances changed, but this album, for me anyway, marked a change for the band. It is a subtle change, but noticeable all the same. The raw edge seems to be polished a bit, the song writing appeals to a broader audience. Maybe it was just a natural growth, but it took the guys up a notch or two. The classic “Warriors” is on this disc along with a dozen other gems! It wasn’t until 2010 that we got another album, but like I said at the beginning, good things are worth waiting for! “Blackthorn” is an absolute powerhouse of an album, there isn’t a duff track on it! From the anthemic ‘Born for This’ to the ballad ‘Shiny Eyes’, it is a masterpiece. If they just performed this album live at the end of the month, we would be the luckiest punters out there!! 2012’s “Toil” comes along and it is equally as good, more outstanding music from a band that has become a five-piece. Josh Robieson departing with Brandon Good (Mandolin, Harmonica, Guitar & Vocals) and Eric McMahon (Bagpipes, Guitar & Vocals) joining. Perhaps these additions improved upon an already outstanding formula. I am so looking forward to ‘Winter in Chicago’ being performed live.

And so, we come to 2017’s “Odd Boat”, and it is superb, sublime and sensational. In a year when Flogging Molly, Dropkick Murphys and The Tossers all brought out albums, this one stands head and shoulders above them all. If only to hear ‘Ty Cobb’ performed, you should go to see them. There was another personnel change for this album, with Justin departing and Conrad Allsworth (Drums) joining. Take a look at some of the FF56 You Tube vids from the Cornerstone festival in America if you want to see why everyone is so excited about this band arriving here. I, along with others, am travelling from the west coast of Ireland specifically to see them. Because not only are they one of the most original and exciting bands producing records at the moment, they are also one of the top live acts performing right now. Spurs are playing at Wembley and FF56 are playing in Tottenham, surely that should be the other way around!! We are so lucky to be able to see them perform live and hopefully, if everything goes well, it won’t be another 10 years before we see them again.

FLATFOOT 56

WebSite  Twitter  Facebook  YouTube  LastFM  Bandcamp

(you can have a listen to the new album Odd Boat in it’s entirety by pressing play on the Bandcamp player below you luck sods)

LONDON CELTIC PUNKS PRESENTS FLATFOOT 56 LIVE IN KINGSTON AND LONDON

Yes a decade after their only London show stars of the Celtic-Punk scene FLATFOOT 56 are back in London. All the way from South Chicago, Illinois they are comparable to the Dropkick Murphys or Flogging Molly in the same breadth! Will we see the awe-inspiring crowd participation “wall of death” mosh pit? Who knows but their grab bag of musical influences from Oi! and punk to folk and traditional Irish Celtic sounds is sure to stir the emotions and get your feet moving.
Support acts for the Kingston and London gigs are THE LAGAN and MATILDA’S SCOUNDRELS and two solo acts ANDREW PALEY from PAPER AND PLASTICK and WARSHY from CRAZY ARM with DJ GREENFORD BHOY taking us into the night playing all yer favourite Irish, rock, rebel and folk. For the running order for each night check the Facebook event page below.

Sunday 26th November 2017

Flatfoot 56 arrive in Heathrow from Chicago and hightail across to Kingston in sorta South London (but don’t say that to anyone in K-Town!) to grace the stage at one of our favourite venues The Cricketers in Kingston. Doors at 7pm sharp. The Cricketers, 20 Fairfield South, Kingston upon Thames KT1 2UL. Tel. 0208 549 4394. Venue web site here. Plenty of parking in front of the venue and it’s only a short walk from the rail station. The music venue is upstairs and the sound here is quite simply superb! It’s £6 in and it’s PAY ON THE DOOR so we recommend an early arrival. Join the Facebook event here.

Monday 27th November 2017

Yeah I know it’s a bloody school night but you gonna miss it so you don’t feel a bit knackered at work on the Tuesday? Don’t be mental! Live at TChances in North London, 399 Tottenham High Road, London, N17 6QN it’s just a short walk from Seven Sisters tube on the Victoria line or White Hart Lane/ Tottenham Hale rail stations. Buses galore. The venue is opposite Tottenham Police Station if you get lost and has ample free parking. Facebook event here. Tickets are £7 in advance more on the door and

LONDON TICKET’S AVAILABLE FROM HERE

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

Drinking Guinness from the Holy Grail!

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

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

Michael (Bass/Vocals ) Josie (Pipes)

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

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

Marty Shane (Mandolin)

Rory Quinn (Guitarist, Co-Lead Vocals)

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

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

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

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

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

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

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

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

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

“Raise a glass to Michael Collins ghost”

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

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

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

Buy Bring Me The Head Of John The Baptist

FromTheBand   CDbaby

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

Contact The Templars Of Doom

Facebook   Bandcamp  YouTube

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Buy (Justa Nother) Teenage Rebel

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

Contact Hooligan

Facebook  Soundcloud  MySpace

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

LONDON CELTIC PUNKS WANT YOU!

Another milestone falls as we reach our 400th post.

There’s a hell of a lot of very good media out there featuring celtic-punk. We are only a tiny part of that and we certainly know our limitations. We have always though tried to be more than just a reviews page and while there are much better places to keep up to date on news within the scene we’d like to offer up something a little different to all the others. So let’s give you a small insight first into why the 30492- London Celtic Punks blog began. Start by checking out our first post from way way back on 6th July 2013 and see how far we have come in both look and content!

The idea behind the London Celtic Punks came from a bunch of Celtic supporting punks who were starting to get or already interested in celtic-punk music. A bunch of us had been to two recent gigs where the bands were treated terribly and thought we could do a better job and if not maybe pay them as much we could certainly show them a much better time. The first was Flatfoot 56 who a decade ago this year came to London from Chicago to play at the Hope And Anchor in Islington only to have to play first at 7-45 pm to just ten people. The second was The Go Set a short while later who also played the Hope And Anchor but this time headlined to a massive crowd but the £40 they got wouldn’t have helped their transports cost from Australia much. Someone was coining it in here and it was not the bands. What was needed was a non-profit DIY outfit that had the interests of the bands and the scene at heart. That was where we came in. With a fifteen year history of putting on regular DIY cheap and cheerful punk gigs in London as the Making Punk A Treat Again team we knew the ins and outs of doing it so we started putting on a few gigs for mainly out of town bands. We have raised money for various causes that are dear to our hearts and at the moment are raising money for the Justice For The Craigavon 2 campaign follow the link to find out more about this awful miscarriage of justice. It wasn’t long before we began to receive the odd CD from people looking to play or just to network and make friends so it made sense at the time (!) to start something where we could review and promote them. This would lead to what you are reading now. It is mainly review based. On average we receive 2-3 records a week. Of these we review 1-2 of them and on average about 7-9 a month. Not everything we get fits what we review which is mainly celtic/folk-punk and diaspora music (artists who either come from or are descended from the celtic nations) and what falls through the gaps we either don’t like or just don’t get round to reviewing for different reasons, the main one being time. Over time we have covered Hip-Hop, Metal, Punk, Folk and everything in between so to say we have a strict guideline isn’t exactly true. We also prefer to review mainly DIY releases but again this isn’t a strict policy and we occasionally venture into the mainstream if it fits and if its good enough. The last albums from Dexys and The Proclaimers being good examples. So what is the point of this I hear you asking yourselves. Well the truth is we need more reviewers/contributors. There are only so many ways you can use the word catchy in a sentence and I think I have used them all!

The blog is done for nothing and as anyone who has ever put on a gig will know it’s certainly not done for any financial benefit. It’s done for free to kick start a debate, spark up a conversation, to make people laugh, smile, chat, to network, to bring people together, to give them comfort and support and promote the values that we hold dear. Which is why we are opening our arms out to you, dear reader. When this started the utterly brilliant Celtic Folk Punk And More blog was the main inspiration. Being based in Spain though Waldo was naturally concentrating on mainland Europe so was missing a lot over this side of the water so we spotted a gap in the market and we sailed right in. We have been going now long enough that no doubt some of our regular readers must think

“Good God how many times is he going to use the word catchy today?”

or

“I can do that, how hard can it be?”

if so then here is your invitation. Come and write for the 30492- London Celtic Punks site. There’s no money in it. For you or anyone. Think of it as a bit of fun, a stress release, because that’s what we do. We are not looking for anything too regular and we don’t, and never will, work to deadlines but if there’s a record, gig or festival you are passionate about then write down your thoughts and it will find a happy home here. It doesn’t stop there either. We regularly feature our Steppin’ Stones- Classic Album Reviews where we take old, sometimes forgotten (sometimes not) records and write about the history of the artists involved and their links through music up to the modern day. The history and future of celtic-punk and your favourite bands and figures and inspiration for the scene. Celtic-punk is now worldwide from Brazil to Indonesia to Russia to South Africa so how or why did you come to like this very particular music. There is no competition just co-operation. We have also featured football before but not as often as we like so just as long as it’s from the heart then there’s a multitude of ways to contribute.

I never in my wildest dreams thought we would reach 400 posts and seeing our audience rising every year has given us immense satisfaction that we are getting it right. Use the Contact me section and let me know what you want to write about and we will take it from there.

Let’s together make this site bigger and better.

Sláinte mhaith, The London Celtic Punks Crew- October, 2017

ALBUM REVIEW: CRAIC- ‘Sounds Of Vandemark’ (2017)

craic

noun also crack UK  /kræk/ US  /kræk/ irish english

enjoyable time spent with other people, especially when the conversation is entertaining and funny:

“The boys went driving round the town just for the craic”

CRAIC are your quintessential American-Irish band. Named after the Irish word for a good time that has invaded the English language in recent years and has become the word to describe a night out drinking. They hail from the city of Cleveland in the mid western state of Ohio in the Great Lakes region of the United States. A heavily industrial town that was built upon the bones of mainly immigrant labour in the 1800’s and needless to say a large proportion of those bones came from Ireland. Arriving in the 1820’s the first Irish settled in ghetto’s along the river where they they would build the Ohio and Erie Canal. Hard work that would see many of them perish. As numbers increased as the Great Hunger took hold in the old country the Irish in Cleveland grew too large for their ghettos and expanded into the factory districts of the city where many would eventually work. The Irish had a tough time of it living on Cleveland’s West Side.

“Shantytown was an open sewer of industrial and human waste.  The Flats area was home to cholera, diphtheria, and scarlet fever.  Because of the continuing Irish immigration, there were not enough homes to house everyone.  Therefore, many homes of Irish families housed many relatives from the old country.  The saloons became a place for the Irishman to go to get away from the house and to enjoy the company of his fellow Irishmen”

These Irish built the churches and schools for their descendants and even today many years after large scale Irish immigration to the States has finished the Irish still make up the second largest ethnic group in the city, with the largest being Germans. Irishness is still very much alive in the city with Irish traditions and customs still observed and sports clubs formed as is getting more common across the States Cleveland has an active and successful gaelic games club in the St.Patricks’s- St.Jarlath’s G.A.A. team (join them here if you’re in the area).

So it was in 2009 that this bunch of talented Cleveland Irish musicians got together and decided that the one thing missing from their local Irish scene was a fist pumping, ‘in your face’ good time band that takes traditional Irish music and mixes in folk, bluegrass and (you know what’s coming don’t you?) some quality high voltage punk rock.

CRAIC left to right: Timmy Causing – Acoustic Guitar * Brett M. Burlison – Lead Vocals * James R. McWilliam – Drums * Jennifer O’Neal – Fiddle * Theresa Kalka – Tin Whistle * Mitch Kozub – Banjo * Jason ‘Gojko’ Kollar – Bass * Aleks Patsenko – Electric Guitar

CRAIC’S first studio release was the 2011 EP It’s Still New Enough That It’s Forgivable which they followed up in March 2014 with their debut album Amongst The Mischief And Malarkey. The album received favourable reviews across the celtic-punk media and featured in many of 2014’s Best Of lists. That album was produced by ex-Dropkick Murphys star Ryan Foltz at Cleveland Audio studios and the band were so happy that they have welcomed him back to do a similar job on the follow up album Sounds Of Vandemark and again he has performed an exemplary job.

Sounds Of Vandemark is nine songs and seems to be over in a flash at just under a half an hour. I say seems as thats a perfectly reasonable length for an album but I enjoyed it so much I would have loved a bit more!!! There are five self-penned tracks and four covers and while that may seem a lot for a nine track album they have chosen well with a couple of standards and a couple of interesting non-Celtic songs that I had never heard before. The title of the album comes from the bands rehearsal space on Vandemark Rd, in a little suburb of Cleveland called Litchfield Township and the whole thing kicks off with ’20 Years Later’ and it don’t get better here than this. What a cracker to start with. Dropkick’s influences all over it from the crunchy guitar to the catchy chorus and vocals involving the whole band at times. Not to forget the subject matter which is of course having a beer or two with your friends and comrades. This is followed by a bit of an Irish/celtic-punk standard but what to say about ‘Drunken Sailor’ that hasn’t been said before I wonder?

Every few weeks it seems I have to come up with a new way to review this song so I won’t bother this time as it’s enough to say that CRAIC’s version with brilliant banjo, fiddle and tin-whistle is pretty damn good and is up there with any of the best. One of the ways that CRAIC have made their name has been their combination of bluegrass/ country and Irish music and while it hasn’t been particularly evident so far it sticks out a mile with ‘Gettin’ Up & Gettin’ Out’. Next up is another cover, this time ‘It’s Dangerous Out There’ written by American folk singer Bill Morrissey. Many of Morrissey’s songs reflected on working class life and he sadly passed away early at the age of 59 in July 2011. The song originally appeared on his album North in 1986 and his fabulous version can be heard here. Great lyrics and CRAIC do it justice keeping the folk heart of the original intact. We are back in Ireland again now with ‘Rocky Road To Dublin’ and again it’s one covered countless songs but very hard to master due to the speed you need to sing the words. Still it’s one of my personal favourites and I love the lines

” Hurrah me soul says I, me shillelagh I let fly
Some Galway boys were nigh and saw I was a hobble in
With a load “Hurray” joined in the affray
Quickly cleared the way for the rocky road to Dublin”

A cool version that leads us nicely into ‘Hal’ and another great example of CRAIC and their excellent county influenced celtic-punk. All that’s missing here is a ‘Yee-Har’ but takes an unexpected punky turn during the chorus before returning to the C’n’W. ‘Wool’ is more of a straight punk number and gives the band the chance to let fly and rock out. The album’s penultimate song is the final cover here and again it’s a cleverly chosen one. ‘Anything Anything’ was originally penned by New Jersey rockers Dramarama and featured on their debut album from 1985. You may not know them but possible you will have heard the song due to it being featured on the soundtrack of A Nightmare on Elm Street 4: The Dream Master. CRAIC turn an already great song (here) into even better one. The tune stays sort of the same but the addition of all those Irish folk instruments takes it to another level. The album ends with the band’s superb tribute to their home simply titled ‘Cleveland’

“It’s a town for shots and beers

Steel mills and refineries

Our fathers’ broken dreams

Promises and fears

I’ve been around the world

But Cleveland’s always home to me

And when I need a friend

I’ll always find them here”

Working class Irish-American life summed up in just a few lines in one hell of a song! With Chicago belonging to The Tossers, London to the Bible Code Sundays and Glasgow to The Wakes we can now add Cleveland to CRAIC. A great album and that rare thing in that it has more than enough folk to please the folkies and yet is punky enough as well to keep the punks pogoing away. This band will go from strength to strength I can see and with their name on the rise across the States judging by the number of festivals they get to play then there is no stopping them I fear. ‘Hooligans With Rhythm’ indeed!

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(excellent video showing Craic playing live at Peabody’s in Cleveland, Ohio)

ALBUM REVIEW: BLACK ANEMONE- ‘In It For Life’ (2017)

Irish folk punk band from Sweden bringing chaos and mischief to the world!

Black Anemone hail from very close to the river Lagan… no not that one but the one just by Jönköping in southern Sweden! Now the Swede’s have quite the liking for celtic-punk music and Sweden has supplied the scene with some fantastic bands like Sir Reg and Finnegan’s Hell for just two and one of the latest are this bunch of young, edgy, sharply dressed folk-punk folk with their excellent brand of straight up, in your face singalong mixture of Irish folk and rock’n’roll and punk attitude.

Black Anemone from right to left: Mattias Sandberg- lead vocals (and various instruments) * Axel Martinsson- fiddle * Andreas Svensson (sitting down)- acoustic guitar, electric guitar * Rickard Olsson- Bass * Tilda Spross- tin whistle, second lead vocals * Adam Bernström- drums * Nermin Festa (sitting down)- electric guitar * Martin Hjärtkvist- banjo, mandolin * Fredrik Nilsson- accordion

Black Anemone formed in 2010 when front man Mattias fell in love at school with old time Irish music and after recruiting his longtime friend Andy on guitar they began to lay the foundations for the band. As Mattias says

”I wanted to mix the sound traditional folk music, mostly Irish trad and fusion it with rock and punk. Having strong roots in the rock and punk genre”

Within a few months and with the addition of several more school friends Black Anemone was formed. Solid rehearsing and some low key gigs saw the release of their first Demo, Let The Freak Show Begin, in 2011. That Demo definitely takes the raucousness of Flogging Molly but takes it to another level with fast Irish folk and Scandinavian raspy but still tuneful vocals. Its been made available by the band as a free download if you like (here). They soon after began work writing songs for their debut album and with a growing reputation as a live act and bolstered by several local music awards this album would be eagerly anticipated not just by their fans at home but also throughout the celtic-punk worldTitled King Of Kings it hit the streets in early 2013 and was eleven tracks of mostly acoustic but upbeat fast played Irish folk that shifts and changes and along the way sounded like most of celtic-punk’s major league players, as well a few that would deserve to be, and added to all that further folk influences sneaking in from all across Europe.

Their new album In It For Life begins with an absolute stormer of a song, ‘Freedom And For All’ with Mattias vocals perched somewhere between Shane McGowan and Joe Strummer it’s a banjo led number that has the feel good factor turned up to eleven and four years on from King Of Kings they haven’t lost any of their bite whatsoever.

‘Amber’s Point’ follows and is more a trad Irish number with a very distinctive Irish intro. Very catchy with a country feel at times and great vocals and lyrics and a banjo/accordion combination to die for! We stay in trad territory next for ‘Every Dog Has It’s Day’ an original song (not a cover of you know who!) and its what passes for the album’s epic slow number except it’s not really that slow but is indeed very epic. It’s the album’s longest track and for me it doesn’t get any better here than this. The accordion drives it along while the band accompany Mattias with the odd yell of ‘Hey!’ and with mandolin giving it that incredible Irish celtic-punk sound we all love so much. The album is only eight tracks and fairly brief at twenty-six minutes long but the Bhoys and Ghirl (an incredible nine members- that’s nearly a football team!) certainly know they way round a tune and the first cover, of two, is up next and yeah, yeah, yeah I know everyone seems to have covered ‘Drunken Sailor’ but there’s an obvious reason to why it’s covered so much and that’s because when its done well it’s quite simply one of the best tunes ever written and here I can be happy to report that Black Anemone turn in as good a version as you will ever likely hear. They keep it short and fast and proper-celticpunk! We are at the halfway point through the LP and next up is the title tune ‘In It For Life’. Again Mattias explains

“In It For Life is our tribute to the love of playing music. The love of playing live, Writing music, traveling and the constant grinding that is the music business today! we are are and will forever be in it for life”

The prominent banjo and alternatively fast punk/ska’ish sound reminds me a lot of our very own English celt-rockers Mick O’Toole. Gang vocals and a brilliant tune that leads us into ‘It’s A Short Life (But A Merry One)’ and they may have turned the punk down a fraction and maybe it’s possibly the odd one out on the album but its still an absolute belter that shifts towards being accordion driven halfway through before joined by fiddle. ‘Hellhounds On My Back’ is next up and funny enough Hellhounds is what fans of English celtic-punk band Ferocious Dog call themselves and the fiddle here gives the song an air of them as well before we get to the last track, and the second of the album’s covers of traditional folk songs. ‘Banks Of The Roses’ was originally made famous by The Dubliners and has been recorded by many Irish and Scottish artists since. The song is given a pretty standard celtic-punk showing and by pretty standard I mean, of course, utterly brilliant!

“On the Banks of the Roses me love and I sat down
And I took out me fiddle for to play me love a tune”

Sounding quite like The Rumjacks when they get hold of an old trad song Black Anemone give it plenty of oomft and the album ends on very much a high note.


In It For Life came out last June and as you can imagine for a nine piece band the sound is incredible so hats off to Alexander Gabara for his amazing work in capturing the band so perfectly. The band have got it exactly spot-on here with both their sound and the combination of folk and punk and folkpunk all underpinned with the trad sounds of Ireland. A superb album and well deserving of your ear time so don’t delay and follow the links below to hear Black Anemone today! 

(listen free to In It For Life before you buy by pressing play on the Bandcamp player below)

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(full live concert recorded at Tre Trappor in Sweden last February)

ALBUM REVIEW: DRUNKEN DOLLY- ‘Alcoholic Rhapsody’ (2017)

Happy rocking celtic folk punk party music from Rotterdam!

Drunken Dolly LP

Coming from the Dutch port town of Rotterdam and formed way way back in 2004 Drunken Dolly are one of the best bands around but you can be forgiven for perhaps not knowing them as in all that time they have only got round to two releases! Inspired by Irish and celtic music and their love of punk rock they briefly split up back in the day but missed the drunkenness and debauchery involved in being in a celtic-punk band so got back together in 2014 and decided to take things a wee bit more seriously.

DD Band

Their debut release, the 4-track EP, ‘Drunken Dolly And The Drunken Man’s Curse’ came out in May, 2015. Now that was a full eleven years after they first got together so it had better have been good and we are glad to report it bloody was too. You can read our review of it here but rest assured it may not have been very long at only just over ten minutes long but was as good any EP released that year. Four songs of fantastic celtic-punk that we placed firmly within the Dropkicks camp but with equal appeal to fans of the Mollys too.

So a couple of years on and it’s time for their debut album to hit the streets. Alcoholic Rhapsody came out early last month and is 3/4’s of an hour of solid and superb catchy celtic-pop-punk which has elements of punk bands such as NOFX and Green Day and celtic bands like the the Dropkick’s and the Molly’s but also with harmonies straight off a Beach Boys greatest hits album! Kicking off with ‘Endless Party’ and while we are more use to the punkier elements of celtic-punk to be a bit more hard edged Drunken Dolly serve up something a bit more poppy. What pushed punk through to the mainstream a few years back was a new wave of bands who played their punk with a very distinct 60’s feel to it. Bands like Blink 182 and Rancid as well as the ones already mentioned were massive and opened the door to people wanting to check out the roots of punk. Its all very catchy and some would say somewhat throwaway but one thing is undeniable and that is that it is pure good time party music! The banjo is more prevalent in the next song, ‘No Regrets’ and is the albums first celtic-punk number and what a number. A real high octane celtic-rocker.

“The night at it’s end, as the sun hits the sky.
No money for the rent but no regrets for tonight”

The well worn tale of a night out and bugger the consequences! A great song and proof that they have only got stronger in the years since that EP’s release.

Relationship woes rear their heads in the mandolin and banjo driven ‘Time To Leave’ and the lengthy, over five minutes, ‘Whatsherface’ and while you may struggle to find any Gaelic tune up to now it is most definitely what we would refer to as modern day celtic-punk. ‘Dear Friend’ begins with a Tossers sort of intro before Gydo and his amazing banjo playing leads us in a spirited number about what we need the most in life.

“So if you have a friend like him
Raise your glass and we honour them together
It’s a fact that we all need
A dear friend, so lets honour them together”

By now we getting use to the Drunken Dolly way of doing things. Gang vocals with plenty of “Oh-Oh’s and some super catchy choruses to singalong with and ‘Hold On’ is a perfect example though not as fast as some of the fare here. For a sailor’s town it’s inevitable that we eventually must be due a sailor’s song and ‘Sailor’s Song’ is it. They ramp up the speed after a slowish celtic start and a nice catchy gang chorus ends it on a high before ‘Beware of the Fisherking’ and it instantly sounds more traditional celtic-punk fare with a nice Irish tune flowing through the more restrained punk sound but with plenty banjo and mandolin driving it along. ‘Drunken Man’s Curse’ is the first of the three songs from their previous EP that have been re-recorded for Alcoholic Rhapsody. Not a huge amount of difference I have to say except a crisper sound and much more rounder production. This is followed by the other two songs ‘Humongous Tattooed Arms’ and ‘That Kiss’ which was the first single released from Alcoholic Rhapsody and needless to say is one of the album’s highlights.

An absolute stormer of a classic rock number and with some real profound and meaningful lyrics. As someone whose Grandad was his hero they really struck a chord with me. The sound here reminded me of Mick O’Toole and their heavy banjo/mando sound.

“It’s your friends, your mates, your comrades
But mostly your wife you’ll miss
Now i sit here, thinking of them
How they all came to pass
It’s the nights we would drink,
The nights of fun
But mostly I miss that kiss
I miss that kiss”

We are steaming towards the end at breakneck speed and ‘Stop’ drops us by the beach in Southern California again and catchy is the word as we stroll into ‘Beat Up Good Johnny’. It’s another old song from an early Demo that has benefited from a re-fit and a better production. So we reach the end and it’s time for the album’s theme song ‘Alcoholic Rhapsody’ and for the Bhoys to go out on a high. It’s fast paced tale of alcoholic woes and tribulations is the main theme throughout the album and brings the curtain down on this fine album.

The celtic-punk scene in the Netherlands is both a lively and active one with several bands all working closely together rather than competing with each other. The great thing is that they all manage to come from different directions of the scene and none are more different than Drunken Dolly. Their pop-punk sound is pretty original and that fast and furious celtic-punk is super catchy and the perfect accompaniment for a beer or two. Or alcoholic rhapsody if you will!

(you can listen to ‘Alcoholic Rhapsody’ for *FREE* before you buy it by pressing play on the Bandcamp player below)

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The Drunken Dolly Team

Michael Stoel – Mandolin/Vocals
Kevin Snoey – Bass/Vocals
Gydo Stalenberg – Banjo/Vocals
Scott Merts – Drums/Vocals
Randy van Soest – Electric-Guitar/Vocals

EP REVIEW: THE McMINERS- ‘Tales of Betrayal and Deceit’ (2017)

Irish style celtic-punk from Brazilian band The McMiners.

Yet another example of the international status of celtic-punk for you now with a great band hailing from Belo Horizonte in Brazil. It’s the sixth largest city in the country and in a country the size of Brazil that means its bigger than most counties over here! With over 2,500,000 in the city and over 5,000,000 in the surrounding area it stands to reason that their must be a bunch of celtic-punk fans with the talents to start a band and so in early 2012 The McMiners were born.

The McMiners left to right: Luciano Alvim- tin Whistle, accordion, backing vocals * Nathan Augusto- electric and acoustic guitar, backing vocals * Nicolas Ramos- bagpipes * Gabriel Finnegan Leão- bass, bodhrán, mandolin, lead vocals * Marianna Gray- violin * Guilherme H. Silva- drums, percussion. Special Guests- (not pictured) special guests on the album: Karl Malachy Mooney and Rafael Salobreña.

My previous knowledge of celtic-punk in Brazil has been confined to the absolutely brilliant band Lugh, who are in fact one of my favourites in the entire scene. To check them out why not go here and treat yourself! Both the Dropkick Murphys and Flogging Molly take in Brazil whenever they set sail to south America so the interest is there and seems to be growing. Their is a large Celtic diaspora of mainly Welsh and Irish in neighbouring Argentina and Uruguay that is well documented and Irish soldiers like William Brown in Argentina, Bernado Higgins in Chile and the St Patrick’s Brigade in Mexico played major roles in freeing their respective adopted countries from colonialism and gaining independence. Che Guevara, whose grandmother’s surname was Lynch, was another famous member of this diaspora. Guevara’s father, Ernesto Guevara Lynch, said of him

“The first thing to note is that in my son’s veins flowed the blood of the Irish rebels”

Whether or not the interest in celtic-punk is linked to any of this is debatable and it’s more likely the love of a good auld time and a few beers plays its part as well. It is safe to say though the Irish in South America are very proud of their roots and their history is one that should be known by all.

The first McMiners release was the County Cross EP which came out in April last year.  It has passed me by completely until I came to write this review so I revisited it and have to say I expected it to be a bit on the rough and ready side but it was actually very good. It’s four tracks included a extremely well played instrumental, a celtic-punk version of ‘Johnny I Hardly Knew You’ and a couple of their own compositions, one slow and a fast sea shanty that would befit any ship!

So after having a couple of listens to that debut EP I sat down with a big mug of tea and a packet of biscuits to have a listen to their new release, Tales of Betrayal and Deceit. It’s taken a while to cross the oceans as it came out in April earlier this year but man am I glad that it did do! The EP kicks off with the instrumental ‘No Deal’ and if you were expecting something slow and traditional then you were as wrong as i was! It’s fast and manic and dominated by Nícolas great bagpipes. This is the kind of trad music to wake up the masses!

(here’s a acoustic version of ‘Left Behind’ rather than the one on the EP)

In ‘Left Behind’ McMiners bring out both accordion and fiddle and the pace is still right up there. The lyrics speak of the poverty in their country and the ones left behind while obscene wealth is being made by some.

“We are the ones
They don’t care
We are the ones
They forgot about
We are the ones
Hopeless and f’-d up
We are the ones
Left behind”

The first release from the EP was ‘Behead The Captain’ for which they put out a great video and the pipes and fiddle are out again in force for this really catchy number.

Great lyrics as they are throughout the EP with no sign whatsoever that English isn’t their first language. Like Lugh they sing in English and while this no doubt helps reviewers like me I really don’t think it matters. Ironically last week we reviewed the new album from London band The Babes where Mao the Singer/bagpiper sings several songs in Spanish! The next song ‘A Prologue / The Jack and the Black’ begins with the sound of the ocean and seagulls and Karl Mooney, accompanied only by a distant acoustic guitar, the Dublin born native and singer of fellow local celtic band The Celtas (here) reads a short piece about two brothers one of whom becomes a priest and the other a soldier before suddenly the band storm in kicking down the door and launch into a lovely big slice of celtic metal with chugging guitar and vocals that would put the fear of God into you. Again intelligent and interesting lyrics and an obvious step above the usual ones about drinking. The EP ends with another instrumental ‘The Clauss’ and while the opening instrumental was classic celtic-punk this is much more of a traditional Irish folk number. The song was originally an improvised session recorded on a phone with Luciano on tin Whistle and the band’s former piper Ernst on the accordion when Ernst left Brazil and moved to Ireland. Still close the band decided to record the song as a way to tell him they missed him. At the very end you can actually hear the original phone recording of the song! Two bodhráns are joined by accordion and tin whistle and shows the folk purist snobs that they can both play their instrument and write an exceptional traditional song too. Here is another band that Brazilians can be proud of and believe you and me a triumph of quality over quantity!

(you can have a listen to Tales of Betrayal and Deceit before you buy it for free below on the Bandcamp player)

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ALBUM REVIEW: THE BABES- ‘Greetings From London’ (2017)

The Babes are a trio of London celtic-punk misfits that play fast and punky Poguesy type music… and with just drums, bass and bagpipes!

In a small scene such as ours over here in Blighty it’s always brilliant news to hear of another celtic-punk band joining the fold and we were over the moon earlier this year to get The Babes on board the London Celtic Punk scene. Announcing their arrival with a series of gigs around London it took a while for us to catch them live but we did sit up and take notice of a bunch of well made and edited You Tube videos that impressed us straight away so we roped them into supporting Headsticks and Under A Banner at The Water Rats. There they blew the crowd away with what can only be described as celtic-crust music! Snotty, two fingers in the air, DIY punk rock with bagpipes and a massive stage presence. Having your guitarist leave just before a big gig the easiest decision would be to cancel but The Babes said hell no and instead went on to play half an hour of fast as hell with only drums, bass and pipes!

The Babes- Matt Ren Ex: Bass, Vocals * Mao Holiday: Bagpipes, Vocals * Marvin Pedro: Drums

The guys met at the IMW sound engineering school in East London and soon via a garage in Twickenham, South West London it wasn’t long before The Babes were delivered. Bringing together Colombian, American and English backgrounds and featuring ex-members of punk legends Total Chaos and Blitz they have already played more gigs than most band who have been together much longer and have embarked on two extensive tours of Europe as well. They are literally just back from their most recent Euro tour promoting this album which took them to Brittany, France, Switzerland, Holland and Belgium and with no let up they hit the boards again in London straight after and head off again next month to Catalonia and Spain for a few dates.

Greetings From London has been self produced and funded by the band and is a real achievement for them. The physical CD comes in a rather nifty jewel case with a beautiful huge full colour booklet with lyrics and photos and all sorts of stuff. Very nice it is too. But what about the music? Well the album kicks off with ‘The Awakening’ an instrumental that starts with very much a traditional Gaelic feel to it before the band slowly join in and take it up to the end and for once are a bit restrained and the album gets off to a fantastic start. The next track, ‘Gold Star’ again begins with the pipes loud and proud and Mao’s voice and strong accent driving it along but no sign so far as yet of what The Babes are best known for. I have to say at this point so that I don’t repeat myself throughout the review after each song that the bagpipes on this album by Mao are absolutely fantastic. A native of Colombia he has certainly learnt well and the pipes are a great addition to the solid punk rock fare. By the way the band have given up ‘Gold Star’ as a free download so simply click below to get the track for free.

FOR ‘GOLD STAR’ CLICK HERE

A couple of short ninety second songs follow in ‘Down Here’ and ‘Do Something’ and the band that springs to mind here are definitely the Bristol based drunken crusty punk band Disorder, who John Peel once famously described as “sounding like Triumph Bonneville motorbikes”. I came across Disorder as a ten year old Sham 69 fan who use to spend his weekly pocket money on punk singles but was so impressed one day by the sheer number of songs on one single in particular (and the cheap price!) that he bought it without listening took it home and got shouted at my his Mam and Dad when he put it on. To say it made Sham look like the Bay City Rollers would be an understatement! Best song so far is up next and ‘Lima Limon’ has plenty of energy and fire in the belly and even when you listen to it you completely forget that there’s no electric guitar here. For a three piece band they certainly fill out the space extremely well and are all great musicians in their own right. When I saw The Babes recently play Matt the bassist explained the significance of the song ‘Song of Finola’ and it was very interesting but beer has clouded my memory and all I can remember is that it was an Irish story. The pipes drive the tune along and Matts vocals seem distant while the song floats along. A superb track and here I find myself having to say that sure I don’t think that Greetings From London will appeal to everyone in the celtic-punk scene but then this is not yer typical celtic-punk album and The Babes are not yer typical celtic-punk band either. Next up is ‘Rampton Song’ originally written by and the lead song on that EP I bought thirty odd years ago by Disorder. Fast and over in a flash of ninety three seconds and The Babes have chopped and changed the song making it their own.

Thundering bass dominates here and live I can tell you it’s bloody crowd pleaser. ‘Kids’ doesn’t last much longer before ‘Dandelion’ and Mao and Matt share vocals and lyrics in Spanish and English. Next up it’s the album’s highlight which is without doubt ‘Tomorrow Seems So Far Away’. Released as the first single from Greetings From London and on hearing it I straight away knew they were onto a winner.

Promoting ‘Tomorrow Seems So Far Away’ took them on their first tour ‘The Babes Invade Mainland Europe’ where they had the opportunity to visit France, Germany, Belgium and Holland. Positive lyrics and a killer tune with stunning piping and that thundering bass thundering away it’s a complete tune and if you like this song then you are going to fecking love the rest of them.

“Tomorrow seems so far away,

why don’t we live for today?

When yesterday is all said and done,

why don’t we just have some fun?”

We nearing up to the end now with just two songs left and the short ‘The Choice Is Up To You’ takes us through to ‘Chia Sue’ and the album ends on a high with a punk rock masterpiece taking all the things that The Babes are good at and throwing them back to us.

As you can imagine for a band that met at sound engineering school the sound here is immaculate with plenty of power and oomft without being over produced at all. A really good job by Mao who engineered, produced, mixed and mastered the whole thing ably assisted by Colin Smith, David Clark Allen and Sean Bartle. As said The Babes may not be everyone’s cup of tea as they are most firmly planted on the punk rock side of the celtic-punk scene and they aint a lot of folk music going on here after that first song! Though as an old and greying punk rock misfit myself I blooming loved it. The energy is boundless and infectious and if maybe The Babes are best experienced live they have done as good a job as could ever be done in transferring that live sound onto disc. Greetings From London is a refreshingly raw album that goes to show that their is still plenty of room in the celtic-punk scene and it’s not all played out. Just as you think the scene has got stale and there’s never going to be another band coming along that doesn’t instantly remind you of something else then one appears and this time it’s The Babes.  

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  • The Babes are constantly playing somewhere and have even begun to venture beyond London too so have a look on their web site or you can subscribe to their Facebook events (here) and be sent a invite every time they play near you.

ALBUM REVIEW: THE POURMEN- ‘Rise & Shine’ (2017)

A bunch of hedonistic, lapsed-Catholic, Dorchester-Irish cowboys and whalefisher men, pissed on cheap whiskey with a soundtrack of punk, Irish, sea-shanties, outlaw country and Americana.

The Pourmen formed in January 2013 and played their first gig not long after on St Patrick’s Day and have in a short time become one of the bands to watch out for in the celtic-punk world. They hail from the famous town of New Bedford in the state of Massachusetts. The town is nicknamed ‘The Whaling City’ due to it’s prominence in the 19th century as one of the most important, if not the most important, whaling ports in the world. Up until the time of the Great Hunger in Ireland the town of new Bedford, not unlike the rest of America, was largely a town of Protestant origin with communities of English, Scottish, Welsh, and Dutch origin. It was around this time that the first waves of Irish Catholic immigration began with the first of many Irish churches, St. Mary’s built in 1918 and the Irish Aid Society was formed to help those who were down on their luck. Later immigrants from Portugal began to arrive, attracted by jobs in the whaling industry. With the industries decline New Bedford continues to be the leading fishing port in the USA. The seminal event in Irish-American history was the Great Hunger. Now you may know that as the Irish Famine brought on by a disease causing blight to wipe out the potato crop that the poor Irish almost entirely existed on. Well over a million people died of hunger in the late 1840s, on the doorstep of the world’s richest nation. The truth though are ever is much darker and was more akin to genocide. Comparison with other modern and contemporary famines establishes beyond any doubt that the Great Hunger which killed nearly one-eighth of the entire population and sent two million into exile, was proportionally much more destructive of human life than any in modern times. An attempt to wipe out the troublesome Irish Catholic was the ideology that saw food exported from Ireland at gunpoint while the starving lay dying in the streets. The people of New Bedford rallied to the aid of the starving irish and in 1847 alone, 118 ships loaded with provisions sailed to Ireland, led by the USS Jamestown, which made it across the Atlantic in just 15 days. Those that fled a Ireland of poverty and death has resulted in 22% of the population of Massachusetts being of Irish ancestry.

The Pourmen come from that community that has strong firm against the years and still today revels in its culture and traditions and Irish flags still litter the rows of little old houses in the outskirts of the state. Today’s modern Irish-American community still harks back to the old ways but is in no way confined to them. The community has taken to ‘celtic-punk’ as an expression of it’s identity but the music has always blended in influences from country and Americana as well as punk to produce the perfect immigrant music. The band has played countless pubs, festivals and other venues across New England from Boston to Portland, Maine and Providence, Rhode Island, encouraging folks to sing along to their tall tales and have shared a stage with all the best bands in the scene.

The Pourmen’s debut release was the album Too Old To Die Young which came out in July 2014. Thirteen tracks of uptempo Irish folk-rock with a smattering of self penned numbers and folk covers. Elements of trad Irish and Celtic, country, bluegrass and even rockabilly, as on the album highlight ‘Irish Girl’, combine with the energy of punk and rock’n’roll to make for a heady mix. Their humour shines throughout the album and cemented their place as one of the most promising bands in the USA celtic-punk scene.

They followed this album up the following year with Pour Another and yes it pretty much follows the same alcohol soaked path as before with the music soaking up influences from everywhere but that Irish backbone a constant throughout. As on their debut album The Pourmen show they can compete with any trad band with a couple of instrumentals of absolute fantastic Irish folk as well as some well chosen and well played covers. The album made the Top Ten of Paddyrock’s Top 30 Celtic Punk Albums of 2015 and

And so we are now in 2017 and the release of their brand new album on St Patrick’s Day, when else!, Rise & Shine. Here we get only seven songs and with a running time of 22 minutes Rise & Shine it’s debateable whether what we have here is either a long EP or a short LP. Nevertheless it’s an outstanding release and has been coming out my speakers since I got it a fortnight ago. The album kicks off with ‘Day Drinking’ a short, less than two minutes, blast of fast and furious Irish folk-punk with electric guitar buzzsaw and brilliant piping and and mandolin. Over before you know it and we are into ‘I Got Nothing’ and Rick’s voice fits perfectly with the just about of punk rock sneer and ‘croon’! Catchy as hell (if anyone knows a better word for ‘catchy’ then please leave it in the comments!) and those elements of country at play here though the songs Irish roots are clear for all to hear. This time its the fiddle that stands out and The Pourmen certainly have a wealth of talent at their disposal. We are back soaked in alcohol again next with the country ‘Sober Heart’. A broken relationship and it’s perfect county material with a laid back tune with a cracking guitar solo towards the end, not often you hear an auld punk rocker saying that. ‘The Rising’ begins with Sluggo piping the chorus of ‘Rising of the Moon’ before the band jump in and turn the whole thing into a celtic-punk racket of Irish punk rock with updated lyrics and a tribute to their friends and their home of New Bedford. Now i may be an auld punk rocker’ but it’s no surprise to me that my favourite track is ‘Cultivator’. The longest song here at just over four minutes and by Christ it’s (sorry) catchy. The country and bluegrass here takes over and is simply brilliant. The song tells of the tale of poor Billy whose tongue gets him into trouble and makes him pay the ultimate price. The fiddle again is outstanding and a real story told in song in the old Irish way. Coming up to the end and finally we have a song about the local industry with ‘Ice On The River’. Again it’s country tinged and (groan!) catchy. Folky and acoustic, I think, and a superb foot tapper for those of us who are a bit shy without a few pint’s in us leading us into the final track ‘Prodigal Son’. Sluggo again gives us some great piping with the tune from ‘Kelly The Boy From Killane’ before the music takes a swerve and we are in classic celtic-punk territory with the band turning it on and leaving us with an absolutely brilliant story of setting out on your own two feet and it’s all over far too quickly and if this was a gig I’d be shouting myself hoarse yelling “MORE”.

Rise & Shine saw the light of day in March of this year and though it took a while to reach us we are certainly glad that it did. The album was produced and arranged by The Pourmen themselves and vocalist Rick was behind the music and lyrics with contributions from all the band members. This is a fantastic release with the only criticism that I can offer up that it wasn’t even longer so as you can see not really a criticism at all!! Seven songs that more than make up for its brevity with some absolute brilliant (last time i promise) catchy and extremely well played Irish folk-punk that would soften the heart of the greatest punk rocker in town. The crossover appeal of bands like The Pourmen explains celtic-punk’s success at capturing the heart of Irish-America. While the music appeals to all whether young or old, or punk or folk the values its extols are the values that made the Irish the Irish. Love, friendship, faith, loyalty and the love of a glass or two of something strong!

(listen to Rise & Shine for free before you purchase on the Bandcamp player below)

Buy Rise & Shine

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(The Pourmen getting in the mood for St. Patrick’s Day 2017 on their local TV station)

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

AND FREE DOWNLOAD

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

Dick 1

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

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

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

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

In Dick Gaughan’s own words on Handful Of Earth

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

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

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

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

Statement from Dick Gaughan’s management

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

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

FOR YOUR FREE DOWNLOAD PRESS

*HERE* or *HERE*

Password: folkyourself.blogspot.com

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

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

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

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

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

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

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

NEW SINGLE AND VIDEO FROM JOSHUA McCLURG FROM NAYMEDICI

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

“the bastard child of The Pogues and Gogol Bordello”

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

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

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

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

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

Contact Joshua McClurg

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EP REVIEW: ShamRocks- ‘ Ye Olde Chariot’ (2017)

Founding fathers of Ukraine’s celtic-punk movement and the originators of ‘Stout Rock’. A blend of Irish, Scottish, Breton and Finnish folk with a variety of rock and metal styles.

Born in the Ukrainian capital of Kiev only a few years back in 2009 Ye Olde Chariot is the second release from ShamRocks and combines all the parts that made their first release so enjoyable. We waxed lyrical at how much we loved Captain’s Log. A mutual love of traditional Irish and Scottish music, Finnish polkas, ancient sea shanties and good old fashioned punk rock and metal that has introduced the people of Ukraine to some out of the best modern adaptations of classic folk songs out there. Taking traditional melodies played on the violin, mandolin, flute and accordion and mixing them up with head-banging riffs that are both heavy and danceable at the same time. That debut album was a collection of the best of ShamRocks songs since they were formed from their first demo to their last studio sessions mastered brilliantly to give it that ‘crowded pub’ feel. It was voted into 4th place in our end of year London Celtic Punks Top Ten Folk/Trad releases but could just have easily made the celtic-punk Top Ten as well!

(listen to their first release Captain’s Log below)

What we had to say then stands the test of time

“There is plenty here to upset the folk purists (or snobs as I prefer to call them) but these people would like to keep the folk music of our people locked up in a box. Put away and kept out of the hands of people who (in their opinion) don’t respect or cherish them as much as they do. Their way is noble yes but is also a surefire way to kill off folk music. They attacked the Dubliners and then The Pogues in their time and now fawn longingly over the bands they once called sacrilegious. ShamRocks have taken a bunch of songs and added so much more to them than by simply folking it along. That they are Ukrainian adds another dimension to them. An absolutely stunning album with the only tiny criticism I may have is that their’s not enough ShamRocks own self-penned songs and to that end they have already began work on a EP that may or may not develop into a LP and I for one can’t wait to hear it!”

Well a full album is still in the works so in the meantime ShamRocks offer up this five track EP for us and again to say it is very good would be a massive understatement.

Ye Olde Chariot begins with the sound of an ocean before morphing into, appropriately, an olde sea-shanty, ‘Roll The Old Chariot’. Originated as an African-American spiritual it was used as a ‘stamp-and-go’ or ‘walk away’ meaning the sailors would hold on to the line and walk with it creating a steady pull. The song starts off in an acapella style before the mandolin is introduced and just as you are lulled into the gentleness of the song BANG ShamRocks launch into the celtic-punk version and the cobwebs are well and truly blown away!

Fast and carefree the song still maintains, as is ShamRocks style, very much the original folk song despite some great touches like a ska ‘ish’ beat at the beginning and the trumpet towards the end. Simply breath taking and easily the best version I have ever heard. Can’t tell you much about the next song titled ‘Пияка-Гультяй’ ‘cept it’s in Ukrainian and is fast and has a Eastern European sound. No matter how fast  they play or how much punk or metal they inject into it it’s amazing that so much of the original folk songs survives. We are only three songs in and ‘Der Stern Der Grafschaft Daun’ is yet again a real eye opener and when I say that I’m a little jaded after hearing yet another celtic-punk version of ‘The Girl From The County Down’ I mean it. But this is different and as the band say themselves it’s

” an all-time favorite folk song frankensteined into an industrial metal number”

Well that was until I heard ShamRocks version. I thought I’d heard it played every which way imaginable but I was wrong! Yeah a metal version but once again never straying too far from that original.

Next up we have a instrumental called ‘Topor Polka’ and it’s extremely well played with great fiddle work and accordion alongside the driving electric guitar, bass and drums. I daresay this is a real fans favourite live and it may steer more towards their own side of the world rather than Celtic but we don’t hold a monopoly on the best music and I love to see bands adding their own influences into the mix. Ye Olde Chariot comes to an end with ‘Kiltartan Cross’ and it’s a beautifully ballad based on the poem ‘An Irish Airman Foresees His Death’ by the famous Irish writer and nationalist W.B.Yeats. The words are worth repeating so here they are.

“I know that I shall meet my fate
Somewhere among the clouds above;
Those that I fight I do not hate,
Those that I guard I do not love;

My country is Kiltartan Cross,
My countrymen Kiltartan’s poor,
No likely end could bring them loss
Or leave them happier than before.

Nor law, nor duty bade me fight,
Nor public men, nor cheering crowds,
A lonely impulse of delight
Drove to this tumult in the clouds;

I balanced all, brought all to mind
The years to come seemed waste of breath,
A waste of breath the years behind
In balance with this life, this death”

Though he may be fighting for Britain the airman’s heart is at home in his Irish village of Kiltartan. Written not long after the end of the First World War where many Irishmen died fighting for the British Empire their lives would have been better served fighting at home. Serge’s vocals are mournful and timeless. They convey the emotion of the words perfectly and the band’s backing is perfection too with the flute taking the lead through most of the song and so the EP ends very much on a high note.

Now there are many bands out there who steer clear of the usual well worn covers and prefer to do some research or delve back into their childhoods for inspiration and we always love that but most of the time these bands hail from within the Irish/Celtic diaspora. The amazing thing about ShamRocks is that they don’t. They don’t and yet the respect and affinity they have for Irish music is clear to anyone. As mentioned no matter how hard they rock out there is still the unmistakable sound of traditional folk music behind them. They have produced here eighteen minutes of exactly what I think of when I think of celtic-punk. Modern music but with both feet firmly planted in the past and there are many many modern Irish bands who could do well to learn from ShamRocks example.

(have a free listen to Ye Olde Chariot on the Bandcamp player below before you purchase. It’s only $3 which is super good value believe me!)

Buy Ye Olde Chariot

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HEAR THE NEW MATILDA’S SCOUNDRELS ALBUM STREAMING EXCLUSIVELY HERE FOR ONE WEEK ONLY!

LONDON CELTIC PUNKS EXCLUSIVE!

You can listen for free to the fantastic new debut album from Matilda’s Scoundrels right here for one week only. Due for release on Friday 8th September 2017 on TNS Records so have a listen and then follow the links at the bottom to order the album.
(update- the pre-release is over so follow the links at the bottom to buy As The Tide Turns) 
One of the most noticeable things on As The Tide Turns is that while most celtic-punk bands find it easy to stick to making folk songs or punk songs Matilda’s Scoundrels play songs best described as the embodiment of folk-punk. Each self-penned song comes folk and celtic tunes wrapped round them and never once does it sound forced or out of place. It says a lot about this band that they spurned other much more better known web-sites to showcase their album on this small DIY one. Thanks Bhoys.

Bow to the Powers is the first single taken from ‘As The Tide Turns’

This fantastic album shows that Matilda’s Scoundrels are destined for great things, that much is beyond dispute, and its their ability of making everything they do totally recognisable as them yet without sounding repetitive that has helped them enormously. Their songs contain it all. Enough folk for the folkies and enough punk for the punkers and they’ve got this far on their own bat as well and now with the backing of the awesome DIY independent record label TNS things are only going to get better for these Hastings Bhoys.

Read our full review of As The Tide Turns here

Order As The Tide Turns

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(pre-order. official release date September 8th)

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TNS Records

A not-for-profit DIY punk and ska label based in Manchester. We also put on gig, release a fanzine, have a distro and put out a podcast as well.

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HOW THE IRISH BECAME THE POGUES

by Jack Hamilton

The Pogues

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

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

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

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

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

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

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

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

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

‘A Wee Biography Of Shane MacGowan’  here 

‘The Pogues And Irish Cultural Continuity’  here

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

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

‘Red Roses For Me And Me’  here

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

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

‘The Pogues On Mastermind- The Questions’  here

The Best Pogues Related Sites

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

AUSSIE CELT’S FOX n FIRKIN NEW SINGLE AND VIDEO

Fox n Firkin are a celtic punk rock band from Brisbane which formed in early 2012. Here is their brand new video for their single ‘Bastard Brigade’The single is taken from Fox n Firkin’s last album, No Vacancy which is out on Folk Til Ya Punk Records.

“fusing traditional Irish instrumentation and melodies into blistering catchy punk rock”

is how they describe themselves and you know what? I couldn’t put it better myself! The video was shot in Tasmania on a recent tour, while waiting to soundcheck and features their Folk Til Ya Punk record label mates, The Dead Maggies, who they were playing a show with that night.

Please feel free to share it around. We hope you like it!
Formed in early 2012 in the Australian capital city of Brisbane Fox n Firkin have taken the harder edged route into celtic-punk and though they would probably be nearer to the Dropkick Murphys than Flogging Molly but they don’t sound much like the Murphys either. One of the things about the Aussie celtic-punk scene is how they manage to find new approaches in what you would think is quite a narrow genre and make it really original. Fox n Firkin are no different to their peers and have a fresh original sound that fuses those celtic and folk instruments like mandolin and banjo to quality punk rock melodies. Fiercely independent they released a couple of DIY EP’s but have recently joined up, and have found the perfect label to support them in, Folk Till Ya Punk Records. They produced their first independently released EP To Hell And Back in May, 2013 and was produced By Fox n Firkin and Greg Arnott and is available as a ‘name your price’ download on Bandcamp below.
They followed this up with another brilliant 4-track EP ‘Roppongi’ release on December 1st, 2013 which if you buy the CD contains the best version of ‘Waltzing Matilda’ you will ever hear I fecking promise you.
Released on April Fools Day last year their debut album No Vacancy is ten quality punky celtic-punk tracks with that unmistakeable Aussie sound that we go absolute ape shit for here at London Celtic Punks. Ten songs that clock in at just over half an hour and includes nine original F n F compositions and only one cover. So after their first two EP’s I have got to say that Fox’n’Firkin have really hit the jackpot here with No Vacancy. A quality debut album that from beginning to end is just catchy as hell celtic-punk rock with great vocals and lyrics. On the punkier side of things but refreshing to these ears that they are doing their own thing and not aping any band I have heard recently. from the first few bars of mandolin you know you are in for a treat. Catchy and tuneful punk rock with a load of folk influences chucked in as well.

Contact The Band

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FOLK-PUNK BAND CASCABEL FROM SLOVAKIA TOUR OF IRELAND AND ENGLAND 2017

Cascabel’s European tour sees them heading to London, Liverpool and Ireland (as well as Germany and Belguim) in just a few days so be sure not to miss this fantastic celtic influenced folk-punk band playing live in or near your town!

Anyone out there remember seeing the great Mickey Rickshaw play on their European tour in January earlier this year? Well I only mention it as the stripped down band that made it over this side of the Atlantic from their home in Boston, Mass sound remarkably similar to this bunch of Slovaks on their second EP Blood, Wood & Rats. Five songs of beautifully played acoustic punk rock with some of the most amazing fiddle you will ever hear on a band featured within these pages. Released just last month Blood, Wood & Tears is Cascabel’s second release after their debut Coffee Tellers and on listening you can hear they have got better and better as a band every step of a road that has taken from their home in Banská Bystrica in Slovakia in the heart of Europe.

This entertaing five piece band already have a extensive tour history under their belt, including almost every European country, and now they are ready to wash up here with their quality upbeat folk punk music. Their mix of fast chords and catchy melodies is all performed solely on acoustic instruments with folk melodies and plenty of punk rock attitude.
Though they are far removed from any of the Celtic nations their music has an indefinable celtic air to it. As I said it reminds me a lot of the stripped down Mickey Rickshaw that played a short European tour earlier this year and not just that but singer Lukas doesn’t half remind me of Mikee from Mickey Rickshaw as well. Extremely catchy and real foot tapping country-Irish-folk from a band we must support while they are over this side of Europe. Their tour takes them to Ireland, England, Germany and Belgium and with gigs in Liverpool and London I’m sure the London (and Mersey) Celtic Punks will rally round. Their full tour dates are above but they come to us in the capital at The Bird’s Nest in Deptford, South London on Monday 4th September and the good news is that it’s free admission and Cascabel will take the stage about 9pm but check on the Birds Nest FB page (here) nearer the time or the FB event (here).

I’m sure I don’t have to tell London Celtic Punks how hard and expensive it is for a band to tour round Europe so take a good look at the tour dates and get onto your friends and share it with them or even get them to share it.
We are not a massive scene but we are certainly a good one with good people. We are a small family but we support each other like the best families do.
Contact Cascabel

ALBUM REVIEW: SONS OF O’FLAHERTY- ‘The Road Not Taken’ (2017)

Who are Sons Of O’Flaherty? Six good friends who grew up in the Celtic nation of Brittany in love with punk rock, folk and traditional Celtic music.

Yec’hed Mad and see you soon !

Now the history of the celtic nations and their people and culture and their languages has never been a particularly happy one with each nation experiencing waves of repression ever since they were taken over and with none of them free this repression continues but out of adversity springs hope and what I love above all else is to hear a band out of the Celtic nations embrace celtic-punk as a way to promote their identity and culture. The Sons Of O’Flaherty hail from Vannes in the north-western tip of Brittany, an area where almost 10% of children are brought up in Breton speaking schooling so were definitely talking about that rare thing here. A Celtic celtic-punk band!!
Now the Celtic League, the main body incorporating all the Celtic nations, identifies only Brittany, Scotland, Ireland, Isle of Man, Cornwall and Wales as being Celtic nations. What is left of the once mighty Celtic peoples who stretched from Ireland to Turkey and tied by language and culture and traditions. There are of large Celtic connections to all of Britain and present day France and parts of Belgium (the Gaulic tribes) and Spain (Galicia) but these are not considered to be “Celtic” by some. The Celtic League classifies only the 6 nations as countries where their native Celtic language is spoken into modern times. I’m not alone in thinking this a rather closed mind classification and anyone visiting Galicia for example is struck by how similar it is to the Celtic nations rather than Spain. Every Celtic nation has suffered war and plunder as well as suffering attempts to destroy their culture and languages. The British governments crimes in this regard are well documented but the French have also long tried to suppress any cultural and lingual distinctions of the Celtic Bretons. Like the other five nations this has led to massive emigration and Celtic Breton communities all over the world especially in Canada and America.
Now, like me, you may remember Asterix the Gaul and his band of merry men and their exploits fighting against the Roman invader. Originally as a comic and then a cartoon that featured on the TV all through my childhood and it was it is in the northwest tip of France, in Brittany, that the famous stories were set. Asterix and his tribe were Gauls taking on the ‘Latin’ invaders who had spread across a large part of western Europe, establishing their towns and villas and changing for ever the history of Europe. Pushed westward it was only in the furthest northwestern extremity of France that the ancient Gauls, with their Celtic language and culture, managed to survive; and they have done so to this day, leaving Brittany – the land of the Bretons – as the largest outstanding stronghold of Celtic heritage on the continent of Europe. The Breton people are proud of their identity, and many think of themselves as Bretons not French. Throughout Brittany, small festivals and other events strongly stress the region’s distinct Celtic heritage and cultural identity. The most important event in the annual calendar is however the massive annual InterCeltique festival. Taking place every year in early August, in the port of Lorient. Founded in 1971 it has now become one of the biggest festivals in Brittany and France with well over 600,000 visitors attending each year.
The flag of the Bretons may be a modern design but is now recognized and accepted as a representation of the Breton folk. The nine horizontal stripes represent the traditional dioceses of Brittany. The five black stripes indicate the French speaking areas, while the four white stripes represent the Breton speaking regions. The flag has a canton in the upper left corner, indicating an ancient Breton coat of arms. Speaking and teaching Breton was prohibited til 1951 but ever since the French government have tried to chip away at the Celtic speaking inhabitants. 
Successive French governments, left and right, have consistently refused to sign the European Charter of Minority Languages and to recognize the linguistic rights of the Bretons. Despite the large amount of speakers and the interest in learning the language there are little to none radio and television broadcasts. The use of the Breton language in legal and commercial documents, as well as in publicity, is against French law and are therefore illegal. It remarkable then that the language has survived to the extant that it has and has been expanding for over a decade with more and more young people taking it up and Breton nurseries and children’s schools opening up across the region.

Alan Stivell

In the world of celtic-rock Breton music has played a major role with the Breton cultural revival of the 1960’s exemplified by Alan Stivell who became the leading proponent of the Breton harp and other instruments from about 1960, he also adopted elements of Irish, Welsh and Scottish traditional music in an attempt to create pan-Celtic folk music. This 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 Celts, who managed to achieve mainstream success in France in the 1990s. 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. As is often the case the Breton’s have embraced the celtic-punk revolution with open arms and bands like Les Ramoneurs De Menhirs, The Maggie Whackers and Sons Of O’Flaherty use their Celtic heritage to push for more civil rights and recognition for their language. The Breton’s have often looked to the Irish for influence when organising resistance to this oppression with several armed groups going back to the 1930’s with Gwenn Ha Du (Breton for “white and black”) to the Breton Liberation Front (Talbenn Dieubiñ Breizh) which was active in the 1960’s up to the 1990’s which in turn led to the militant Breton Revolutionary Army (Armée Révolutionnaire Bretonne, ARBwhich is still active to this day. The ARB, unlike its counterparts in Corsica with the (FLNC) and the Basque country (ETA) does not seek to hurt any individuals but instead to cause economic damage. Support for the ARB may be smaller than at it’s hayday in the 70’s when it attracted thousands to its demonstrations but its non-lethal attacks and policies still attract widespread tolerance and a certain level of support.
Sons Of O’Flaherty debut record was a self-titled five track EP released back in 2010. Clearly influenced by trad Irish ballad groups like The Wolfe Tones and that is reflected in the choice of songs with two Irish folk covers and a song titled ‘Bobby’ about legendary Irish hero and rebel Bobby Sands. It has since been made available as a Free/Name Your Price download so follow the link below.

Though not a ‘proper’ release they also gathered a few random tracks and released them as a 3 track EP titled Misc Songs last year and have also made them free to download.

The Road Not Taken was released at the end of last month and from the first couple of bars you know you are in for a good time here! I don’t know how much content their is of Breton music here as the Bhoys sound soooo fecking Irish they could be from Ballylooby! From the first song onwards I am simply astounded (and extremely, extremely jealous) at the quality of the lyrics here. ‘Dead And Gone’ opens the album and is a fast and furious pipes’n’punk tune about the day we die and then party/wake we want in our honour that name checks “the sweet hoarse voice of” Mike Ness, the Dropkicks and Sick Of It All.
“Have one last drink, one last laugh and maybe one last song
The last one for the road, the funeral’s upbeat
We’ll see you soon, we’ll miss you and please keep us a warm seat”
What a start. Ticking all the required boxes to get a great review after just one song the Sons Of O’Flaherty confirm it next with the Dubliners favoured ‘Sam Hall’. An old English folk song about a bitterly unrepentant criminal condemned to death. The song was known originally as ‘Jack Hall’ an infamous thief who was hanged in 1707 at Tyburn. Jack Hall’s parents sold him as a climbing boy for one guinea, which is why he is identified as a chimney sweep. The celtic-punk is flowing out and ‘The Lucky Ones’ tells about how lucky the Bhoys feel to be in a band and their determination to keep going.
“I don’t care how hard it will be, my songs I’ll always stammer out”
The harmonica is out for this and I always love hearing it. It may finally be finding its rightful place in the celtic-punk world judging by recent album’s I have heard.

We hit our first drinking song next with ‘Once Upon A Binge’, a straight forward punk rock tune garnished with mandolin and tin whistle while ‘Saint or Sinner’ tells of a bartender’s guilty conscience while the punk is turned up even louder with mandolin standing out proudest above the thrashing guitar.
“I don’t care what they think or say it’s death I’m selling”
The wonderful of pipes take the song out into ‘Red Wine Teeth’ and it’s more of the same. The Sons Of O’Flaherty could stand on their own feet as a punk band but the Celtic instruments add so much more. They are not just played over the top of the rock music but you the impression if anything it’s the other way round. 

Now any band who records ‘Fields Of Athenry’ in this day and age better be prepared to have it savaged unless they have managed to find a way to record it that takes it out of Irish ‘showband’ territory. They play a solid punk rock version with gang vocals and I always love to hear the “Let the free bird fly” add on. Gang chorus and the whole band having a go on vocals give the song a nice touch even though its pretty much influenced by the Dropkicks version.

The DKM’s influence pops up again on next song ‘The Better Claim’ with male/female vocals about the break up of a love affair that was never meant to be with some wickedly hilarious lines
“I met you, I loved you, you were all I hoped for
I gave you all I had, everything I had in store
I met you, I loved you, and your loss I’ll deplore
But things changed, now this can’t go on anymore”
that of course has the fella as the villain and rightly so in my experience! Rolling towards the end and ‘Glory Days’ starts off with a country vibe before the band rock out. A class song with the band playing magnificently here. Slow and epic sounding with a great chorus and clever and meaningful lyrics about a old mans life and what he has left to show for them. 
“I am now facing an old wrinkled man, his life has come and passed and his skin’s there to show
That even though his glory days might be far behind, there’s no regrets to have and no will to let go”

This is the album standout for me and though English may not be their first language, or even their second, by Christ you wouldn’t know that reading through their lyrics. Luckily for you they are included on the Bandcamp page so follow the link below and have a good read of them. ‘Love Me’ returns us to fast paced punk and then ‘The Townspeople’ brings the curtain down on an album with a gentle country folk number that is the perfect ending.

Those expecting a band from a Celtic nation to provide a purely folk album will be sorely disappointed here as Sons Of O’Flaherty are as equally influenced by Social Distortion as they are by Soldat Louis! Here is eleven songs with two covers lasting near forty minutes that keeps your interest up right until the very end. If we ever needed evidence that celtic-punk has begun to make inroads into celtic music we need look no further than Brittany and Sons Of O’Flaherty.

(have a listen to The Road Not Taken before you buy at the Bandcamp link below)

Buy The Road Not Taken

FromTheBand  iTunes

Contact The Sons Of O’Flaherty

WebSite  Facebook  Bandcamp  YouTube

You should also check out THE FOLK’N’PUNK BRIGADE which is a local celtic-punk collective similar to London Celtic Punks. A group of friends and musicians from French bands The Moorings and Saints and Sinners and Breton bands The Maggie Whackers and Sons Of O’Flaherty- Facebook

The Celtic League is an inter-Celtic political organisation, which campaigns for the political, language, cultural and social rights, affecting one or more of the Celtic nations- Facebook  WebSite

ALBUM REVIEW: THE DISTILLERY RATS- ‘Tales From County Whiskey’ (2017)

You can hear drunks in the streets singing Irish folk songs? The peaty scent of whiskey is crawling up your nose? The maidens wear their best clothes? Be sure, the County Whiskey Folk Punk Crew is near.

Lock up your liquor and hold back your daughters the Distillery Rats are back in town

Formed in the German wine making area of Heilbronn the Distillery Rats have been celebrating their own successful brand of Irish folk punk since 2005. We have mentioned before our theories of why in Germany celtic-punk and Irish music are so widely celebrated but they love all things Irish over there and the Rats are another in a long line of bands who have managed to take punk rock and Irish folk and unify them together into what we all know to be the ultimate good time music.

(compilation of snippets from each song on the album)

Since forming as 4-piece originally called Commerzpank in  2005, The Distillery Rats have played all over Germany in pubs,clubs and festivals large and small. From that original 4 piece the band has grown to include two vocalists, guitars, drums and bass and the folk side of the band banjos, mandolin, accordion, piano, bouzouki, whistles and uilleann pipes. Before this release their only release has been a now sold out five-track EP Back On The Road in 2010. So a full lengther has been a long time coming and widely anticipated within the scene.

The Distillery Rats left to right: left to right: Marcy Mahoney- Vocals, Acoustic Guitar * Mr. Firebeard- Accordion, Drums * Matt O’Killian- Banjo, Mandolin, Whistles, Pipes * Phil McMorning- Vocals, Bass, Accordion, Banjo, Guitars * Josey DiCilento- Accordion, Piano * Toby McWire- Electric Guitar * Mike McMorning- Drums, Percussion * George McGorgeous- Guitars, Backing Vocals

While here in England the celtic part of celtic-punk is often underplayed in countries like Germany and Hungary they completely go for the Irish/Celtic part and here on their debut album The Distillery Rats are no different. This is full on Irish folk played with pace when needed but not afraid to slow it down too either. Fifty minutes, fourteen songs, eleven of which are originals with a range of songs about whiskey, beer, porter and even cider. They also play some drinking songs as well! The whole thing kicks off, appropriately,  with ‘County Whiskey’ and as catchy a tune as you’ll find on here with a more rock’n’roll thing going on led by accordion before the pipes kick in. The first thing you notice here though is the sheer amount of instruments playing. With eight band members and pretty much all of them playing at least two instruments the whole thing is crystal clear and you can hear everything going on, even in the punkier numbers.As second song ‘Poor Old Paddy O’ kicks in you can’t help but notice that they seem to be inhabiting the middle ground between the DKM’s and Flogging Molly. The accordion lends more to FM but the punky guitar is dead on DKM. A song that bridges the gap between celtic-punk’s two biggest bands. Quite an achievement but can they keep it up? The album’s first traditional cover is a brilliant song in its own right, ‘Johnny Jump Up’. An Irish drinking song written by Tadhg Jordan and first popularized by Jimmy Crowley, before being brought to a wider audience by Christy Moore. Johnny Jump Up was a strong cider, apparently made stronger by being stored in old whiskey barrels brewed in county Cork. The bhoys play it with typical gusto and keep the pace up nicely. A cool mostly acoustic punk number that is still as loud as hell! Country’n’folk combine with Phil’s great and deep vocals for ‘The Angel’s Share’ a lovely dark ballad with just acoustic guitar and faint mandolin in the background that builds up without speeding up. Next is the lead single for the album, ‘Shannon River Lady. They released a class video and the song itself also borrows a little from rock’n’roll, in both sound and for the video, without abandoning The Distillery Rats formula too much.

Follows is another cover and again it’s one that has been regularly done over the years but if that is true then their is always a reason. ‘Come Out Ye Black And Tans’ is one of the best Irish folk songs ever written and ripe for speeding up and playing celtic-punk stylee. Fast and punky but with the guitar giving it a bit of a ska beat at times. An Irish rebel song written by Dominic Behan, brother of famed Irish writer Brendan Behan that will get your Irish blood pumping! The song tells the story of Irish resistance and ties Irish nationalism to the struggles of other peoples against the British Empire across the world. As much as I love this kind of ‘fire in the belly’ rabble rousing I also love the slower stuff, especially when it’s done well and ‘Anchor, Harbour, Home’ hits the spot nicely. Slow and if they were aiming for the classic sea shanty sound then well done to them. Nothing too serious lyric wise on Tales From County Whiskey and I can tell you after watching the news of the last few days then that’s a massive relief. I’m a bit bored of punk bands radical sound bites and have long come to the conclusion we’d be better off singing a song like ‘Singin 1, 2, 3’ then about nuclear war!

Fast and upbeat and more about real life than any punk song I have heard recently.

“1, 2, 3 pretty girl come dance with me”

I wasn’t expecting ‘Chicks For The Rooster’ next and have to say it blew me away. Totally accordion led and could easily pass for a Pogues instrumental or even a Brendan Shine show band tune. A real Irish knees up song and proving, if you needed it, that these bhoys know how to play Irish music… and play it well. When I saw ‘The Foggy Jew’ on the track listing I had a little nod to myself and thought oh no spelling mistake but instead it’s possibly my favourite song here. Slipping into klezmer slightly with great accordion and subdued backing from the rest of the band with a fancy pants brilliant celtic-punk chorus and even time for a banjo led ska/reggae section leading us out. We back in the pub again for ‘Henry Won’t Be Sober’ about going to see The Distillery Rats play and ending up somewhat on the merry side. We’re speeding to the end and ‘How To Spend It’ keeps up both the pace and the humour about a man with the awful problem of having too much money! The addition of uileann pipes here is always a great thing and any band who uses them is always guaranteed a great welcome by the London Celtic Punks. ‘Nothing Else Matters’ reiterates the Distillery Rats philosophy and, increasingly mine too, with talk of all the world’s problems and the only solution!

“I’m drunk, I’m drunk, I’m drunk but what should I rather be?

A bottle of whiskey and some pints of beer and nothing matters to me”

Tales From County Whiskey comes to an end with one of the most popular (and it has to be said overdone) songs in celtic-punk with ‘Drunken Sailor’. Now if you gonna record this song you need to make it every bit special as while it may be a great song to play live and a real crowd favourite it has been recorded by pretty much everyone and not too many version’s of it stand out. Luckily for this reviewer The Distillery Rats manage it. The longest song on the album they open it as part ballad before punking it up before then drifting into ska and back into celtic-punk again. Again it’s the amount of instruments an that lifts it out of the ordinary and makes it that bit special and with the chugging guitar and clear and crisp it’s a solid end to a grand album.

Sometimes its fast and sometimes its slow, sometimes its sentimental and sometimes its  in-yer-face. The Distillery Rats don’t let the ‘issues’ of the world get in the way of what they do, fantastically well, which is to play a great set of songs that would have even the grumpiest of folk music traditionalists (better known as snobs) on their sandalled feet and bouncing around the dance floor spilling their real ale. As we mentioned before they somehow manage to sound like both Flogging Molly and the Dropkick’s at the same time while never aping either. This is pure unadulterated good time excellently played Irish music with both a nod to the present and a loving referential tip of the hat to to the past. 

Buy Tales From County Whiskey

FromTheBand

Contact The Distillery Rats

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ALBUM REVIEW: KILMAINE SAINTS- ‘Whiskey Blues & Faded Tattoos’ (2017)

High-energy celtic-punk from a bunch of Irish-Americans that will lift your hearts and your spirit…
as well your pint when you’re not looking!
Several hundred gigs in The Kilmaine Saints have made perhaps their breakthrough album with Whiskey Blues & Faded Tattoos. Plenty bands have seen critical success that perhaps don’t merit it but I’ve been delighted over the last few years to see that the Saints have also achieved that success around the celtic-punk media and what must surely follow now is to get more noticed among those DKM/FM fans who think the scene only revolves around them. The Saints come from a place that has an actual living Irish community. They may not be living ten to a room or ghettoised like their ancestors were but they are a community nevertheless. Beyond the leprachaun hats, shamrocks and green Guinness and other symbols of that hated phrase, ‘Plastic Paddy’, the Irish community is still very much alive. Brendan Behan couldn’t have put it better when he said

“Most people have a nationality, but the Irish and the Jews have a psychosis”

The Kilmaine Saints are a part of that community. A community that shares a deep love between people who share the same values of family, heritage, music and Ireland. They share that vision with an ever-expanding and loyal fan base singing, stomping and lifting their pints and shouting for more.

The Kilmaine Saints formed in 2009 when a couple of members of the Harrisburg Pipe And Drum Band (Pennsylvania) saw a gap in the market for a local celtic-punk band. With a large local Irish population shows were guaranteed and they thought it would be a good way to get free beer! Recruiting a couple of friends and a couple more Pipe band members The Kilmaine Saints began their journey on a road that would lead to hundreds of gigs and pile of recordings and would see them become one of the most popular celtic-punk bands in America. Whiskey Blues & Faded Tattoos is the bands fourth album after the critically acclaimed The Good, The Plaid And The Ugly in 2010, Drunken Redemption in 2012 and a live album Live At The Abbey in 2015 (which we reviewed here) as well as a mini-album unTraditonal from 2014. Each release has trod the well worn, and successful, path of solid, turned up to eleven celtic and Irish traditional ballads and rebel songs and some extremely good compositions of their own. Being a good covers band will only get you so far and the Kilmaine Saints haven’t got where they are from purely getting by on banging out ‘The Fields Of Athenry’ in Irish bars.

I could end this review right here by simply saying that Whiskey Blues & Faded Tattoos is fecking fantastic and is a must have for anyone who likes celtic-punk. It’s an extraordinary seventeen songs and over an hour of music that simply soars out the speaker from the first sound of bagpipes in ‘Idiom’. The pipes soon develop into Oi!-ish tune with plenty of gang vocals and shouty bits. A great chorus and fast and furious but still folky as f*ck and we are only on track one! This is followed by the title track ‘Whiskey Blues And Faded Tattoos’ and is without a doubt one of the best celtic-punk tracks of the year. Chugging guitar and a real catchy tune with the Mayo born Brendan showing that theirs a lot more to his vocals than just shouting!

There’s fiddle and pipes and the rest of the band do their bit with what originally I thought could be a saxophone in there as well. ‘Pennsylvania’s Finest’ is a fast Irish banjo led tune about the War Of Independence while the slow ‘Tiocfaidh Ar La’ leaves you with no confusion where the Saints stand. A real stormer of a song and nice that it’s not played in an angry way. The upbeat-ness of the song may belie what they are singing about but I bloody love it. The next few songs show the bands range with ‘Long Shot Nag’,a mental fast punked up Irish reel while ‘Memories Fade Away’ is a song for those Irish ancestors with a superb tune and accessible for all from seven to seventy.

“You’re going to Americay, your memories start to fade away
Wayo, Heyo, Your memories start to fade away, Wayo, Heyo
Row, ya bastards row you got more than one line to tow
Your roots you
ll plant in our soil the whips will keep you loyal
Seven years in servitude will earn your place in our new
world but don’t think that you’re not a slave, you’re Irish, poor and quite depraved
You’ll learn right quick that freedom comes when we’ve shred
your body to the bone
Welcome to Americay, your memories start to fade away”

They follow this up a selection of Irish and Scottish covers beginning with ‘The Foggy Dew’ about the 1916 Easter Rising. Recorded by far too many to mention it has become popular in the celtic-punk scene of late due to its celtic-punk friendly air. Good then that The Kilmaine Saints take a far more traditional route. Slow yes but with crashing guitar and Brendan’s crystal clear voice reciting the amazing lyrics of this song, originally written by Canon Charles O’Neill (1887–1963), a parish priest of Kilcoo, Ulster sometime after 1919. This is followed by another cover song, the Scots trad folk ‘Mingulay Boat Song’ and here they don’t follow the more traditional route and the song, written by Sir Hugh S. Roberton (1874–1952) in the 1930s. The song is again fast and with fantastic piping while punk rock guitar keeps up with it. The covers section ends with ‘No Awa Tae Bide Awa’, originally a drinking song, the archetypal ‘farewell’ song, played by pipers on the quayside as ships leave port.

“So whenever friendly friens may meet,
Wherever Scots foregather,
We’ll raise our gless, we’ll shout
Hurroo,
It’s Carnwath Mill for ever”

Played as a completely traditional folk track with minimal backing on the mandolin. Again a superb and reverential song that shows the respect The Kilmaine Saints have for their music. I say their music as it is in their blood. The second half of the album is dedicated to self penned tracks and songs like ‘2nd And Locust’ show a more mature side to the band and again i reach for that word accessible.

“The pipes on the street belted an old rebel tune
That familiar sound of the rising of the moon
Many years later as the city constrained
Despite the struggle one pub still remained
And one day every March the streets pack with green
To create one hell of an Irish love scene”

‘Long Walk To Sonnagh’ and ‘Innocent Hand’ showcase some wonderful Irish folk wrapped around a punk rock tune while ‘Wild Kolleen’ is bagpipe heaven for me. Brilliantly played pipes by both Jon and Billy certainly give them an edge on many other bands. We rolling into the last few songs of the album and it has become the custom these days to include a acapello song and ‘Golden Pen’ is beyond beautiful. The shortest song on the album but up there with the best. Stunning. This is followed by a return to raucous
Irish folk-punk with ‘Raise My Glass’ and ‘Ride Like Hell’ before ‘Last Call’ brings down the curtain on this brilliant album.

“This is the last call
don’t forget to tip before you go
We’re almost done now, time to call a cab
This is the last call one more shot before you’re out in the cold
Please buy some merch so we can pay our tab”
The fiddle rules on the last couple of songs and the fiddling from Liz is absolutely exemplary throughout the album. The Kilmaine Saints are equal parts Irish swagger, Scottish pride and a whole lot of whiskey and have risen to being one of the most popular and certainly one of the best American bands in the scene and with music the quality of this that rise is set to continue.

(listen to Whiskey Blues & Faded Tattoos for *free* before you buy it by pressing play on the Bandcamp player below)

Get Whiskey Blues & Faded Tattoos
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ALBUM REVIEW: THE CROOK AND THE DYLAN’S- ‘Before The Devil Knows You’re Dead’ (2017)

The Crook and The Dylan’s draw their roots from the land of St. Patrick while mixing influences from rock and country with all the energy of an evening in an Irish pub.

Before I start to wax lyrical about this great album I have to explain something first about celtic-punk. Like all music genre’s its boundaries are vast and along the edges extremely blurred. For instance the two major bands in the scene Flogging Molly and the Dropkick Murphys are clearly miles apart yet inhabit the same space and share the same fans. Also with a scene that encompasses so much traditional folk music some of the most popular bands in celtic-punk aren’t even punk at all with the best examples being the trad folk/ballad bands The Dubliners and The Clancy Brothers. Even The Pogues couldn’t be really called a punk band but the punk ethos and ‘spirit’ they had in spades. I only mention this as not every band we feature here are strictly celtic-punk and we are, and have been, happy to feature bands from the Celtic diaspora who play hip-hop or metal as well as bands who not have Celtic roots but love the music and traditions. The Crook And The Dylan’s then are a perfect example of what I mean. Formed in 2010 in the French region of Cergy-Pontoise, northwest of Paris they have taken Irish music and fused it with French folk music to make something that is both very interesting and extremely good!

from left to right : Benjamin (guitars), Lulho (bass), Jude (drums), Patrick (lead voice), Djé (electric guitar, harmonica), Cédric (violin, mandolin, guitar)

French celtic-punk bands have never been shy about introducing their own sounds into the mix and influences from bands like the aforementioned Irish ones as well as better known French bands like Mano Negra or Les Négresses Vertes combine to give The Crook & The Dylan’s quite the unique sound. Their first release, a self-titled four track EP, came out in early 2011 and shows a band in its early development. A stripped back folky feel good record that includes the brilliant track ‘Ireland’.

Not much sign of their later celtic-ness but worthy of at least a listen. They followed this up with another EP the following year. Not For Me is five songs that show them following the same route of polished folk. Much in the vein of the folk music popular at that time of Mumford’s and Noah And his Whale. Nothing wrong with that at all but the expansion of the band gives it a much more fuller sound. The songs are catchy and forays into Americana and country sound brilliant while ‘Premier Rendez-Vous’ goes full country’n’western.

These two EP’s were recorded with four musicians and this grew to six in April, 2014 saw the release of their debut album Home At Last and they continued their trajectory incorporating fiddle, bass and mandolin into the band and a much more upbeat sound. The same feel good folkyness is there but with the fiddle giving it much more focus and steering the music away from the county folk of previous releases though sometimes teetering on bluegrass. Fifteen tracks all composed by the band members themselves including an update of ‘Ireland’ from that debut EP that kicks real celtic-punk arse!

So we now come to Before The Devil Knows You’re Dead and the transformation to celtic-punk is complete. The music is a mash-up of Franco-Irish styles with heaps of country influences seeping in. Patrick, the vocalist is half-Irish and his voice is similar to a lot of (maybe stereotyped?) French singers I have heard in that he sounds like he smokes sixty Gauloises a day! Gruff and growling and deep in both emotion and sound. His voice is perfect for what comes next with the band giving him the accompanying him with guitars, violin, mandolin, drums, percussion and bass.

(interview with the band in French but with loads of very good live clips of them performing songs from the album)

The album starts with ‘Morning Miss’ beginning with acoustic guitar and Patrick’s voice it soon envelopes the whole band and if one artist has been missing from this review so far then it’s time to bring out Tom Waits. Pat’s voice conveys much the same feeling. Slow and ponderous this is the sort of song I’m use to hearing at the end of album’s rather than kicking them off. The mandolin leads ‘Evening Prayer’ until the band kick life into the song with a real celtic-punk sound. As much as I liked them already The Crook & The Dylan’s evolution has seriously impressed me. They turn it on their head next with ‘Tales of Little Brat’ a real catchy country number with a great southern-rock guitar sound and Pat’s voice never better than on this track. We are back in celtic territory next with ‘Dance Johnny Dance’ a real infectious song that flits from acoustic folk to full on folk with ease. They slow it down with ‘A Pick of the Other Side’ and an image of a smoke filled bar fills my mind while again Patrick shows his range just isn’t restricted to more rocky numbers. All the songs here are very clearly sung in English making them very easy to understand. The bhoys really celt it up for ‘A Drink with the Devil’ and unsurprisingly the first single from the album is also the standout song on Before The Devil Knows You’re Dead.

The band sound great and the perfect production sees all the various instruments sitting nicely side by side. ‘Among The Waves’ and ‘Dear Mary’ see a return to the country-folk of old while the former speed through the latter is slow but loud and brilliant! ‘Sometimes In The Afternoon’ is the longest track here at just over five minutes and is slow and beautifully written again with Patrick’s voice soaring at the sam time as showing a delicate side. This is celtic-punk in a nutshell that your favourite songs on an album can be both the fastest and the slowest songs on it (and sometimes even in the same song!). After that epic it’s time to get busy and ‘How’s Your Mind?’ does just that slow before it explodes into some real catchy celtic-punk with a guitar solo that slots in nicely. The catchy as feck county tinged ‘Sick Of the Cold’ leads us into the fast and punk as feck ‘Finish Him’ about the weekend alcoholocaust that goes on around us. The Crook & The Dylan’s rock out, with my beloved harmonica too, before the album comes to an exhaustive end with the slow and exquisite ‘Black Torn Ballad’.

An album that flits from fast to slow from song to song but still manages to have that perfect pace is a real achievement. The songs flow into each other in a way that I don’t often hear and really made me sit up and listen. Before The Devil Knows You’re Dead is full of stories of lost love with emotion flowing all the way through it. On listening to this you get the feel that The Crook & The Dylan’s would be better experienced in the small intimate setting of a pub and I am sure they would agree but this album captures them perfectly and their Irish-French country/Americana sound is pretty unique and I must say is a breath of fresh air and after playing a good mood is guaranteed and what more could you ever ask from music?

Buy Before the Devil Knows You’re Dead

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REMEMBERING WILLIAM WALLACE RALLY IN LONDON AUGUST 20th 2017

“I have brought you to the ring, now dance the best you can!”
Words shouted by William Wallace to the Scottish army at the Battle of Falkirk on the 22nd of July 1298 as the English cavalry began to charge.

REMEMBER THE SCOTTISH PATRIOT AND MARTYR WILLIAM WALLACE EXECUTED AT SMITHFIELD IN LONDON AUGUST 1305

SUNDAY 20th AUGUST 2017

ASSEMBLE 2pm BY THE WILLIAM WALLACE PLAQUE ON THE NORTH OUTSIDE WALL OF ST BARTHOLOMEW’S HOSPITAL, WEST SMITHFIELD, LONDON EC1A 7BE.

(TUBE: ST PAULS/ BARBICAN/ FARRINGDON/ BLACKFRIARS ALL BETWEEN 5 AND 10 MINUTES WALK. RAIL: BLACKFRIARS/ CANNON STREET/ CITY THAMESLINK/ FARRINGDON. BUS: 4/ 8/ 25/ 56/ 172/ 242)

To the immortal memory of Sir William Wallace, Scottish patriot, born at Elderslie Renfrewshire circa 1270 AD, who from the year 1296 fought dauntlessly in defence of his country’s liberty and independence in the face of fearful odds and great hardship, being eventually betrayed and captured. Brought to London and put to death near this spot on the 23rd August 1305.

His example heroism and devotion inspired those who came after him to win victory from defeat and his memory remains for all time a source of pride, honour and inspiration to his countrymen.

Dico tibi verum libertas optima rerum nunqual servili sub nexu vivito fili.
{Latin: I tell you the truth. Freedom is what is best. Sons, never live life like slaves.}

Bas Agus Buaidh
{An old Scottish battle-cry in Gaelic: Death and Victory}

SIR WILLIAM WALLACE – A BIOGRAPHY

Blind Harry. Blind Harry was a wandering minstrel in Scotland in the 1400’s, and he told tales of William Wallace on his journeying round Scotland. This book is the second biggest selling book ever in Scotland, outsold only by the Bible. This work gives us much detail of Wallace’s early life, but as there is no other source to back any of the tales up, it must be looked at critically from an academic viewpoint.

It was Blind Harry’s work that was used as the basis for the motion picture ‘Braveheart’ -it is still in print, but it is in the form of an epic poem and may seem dated to modern sensibilities.
William Wallace jumps onto the pages of our history books in 1297, when he stabs the English governor of Lanark to death. It is said this was in retaliation for the slaying of his sweetheart. We do not know the exact year of William’s birth, but educated guesses put it between 1270 and 1275, so he was still a young man.

Little known plaque to William Wallace in the Mitchell Arcade in Rutherglen. It was in Rutherglen that Menteith agreed to betray wallace to the English.

From this point on, young men in Scotland, dismayed at the English occupation of their native soil, flock to join Wallace’s banner.

By mid 1297, Wallace has a rag tag army. He joins forces with Andrew Murray, (sometimes spelt Moray, but the pronunciation is Murray) a young man who has started a similar rising in the north of Scotland.

While these two are besieging the castle of Dundee, word comes that the English have sent a great army against them. The two armies come to battle at the bridge over the River Forth at Stirling on September 11, 1297. Wallace’s base at this battle was a huge rocky outcrop named the Abbey Craig, so called because of its proximity to Cambuskenneth Abbey, and today this rock is crowned by The National Wallace Monument, a 220ft tower celebrating the life of Wallace, and containing as its prime exhibit, what is believed to be the sword of our hero.

The Scots routed the English with much slaughter, but unfortunately Murray received wounds, which were to prove fatal, and he was taken north to Fortrose Cathedral to be buried.The Scots went on to invade northern England to bring back much needed supplies, and on return from this invasion Wallace was made “Guardian of Scotland” at the Kirk of the Forest, the remains of which stand in the town of Selkirk. He was also knighted, as from this time on he is referred to as “Sir” William Wallace.

Looking toward the great window of Westminster Hall, the oldest part of England’s Houses of Parliament. It was in this hall that Wallace’s sham trial took place.

The English king, Edward I, commonly known as “Longshanks” returned from his continental wars, and gathered another great army and marched north to deal with Wallace. These two armies came face to face at Falkirk in July 1298, and this time the English longbow was to prove the undoing of the Scots spearmen.

The Scots fled, and Wallace resigned the guardianship, preferring to fight the overwhelming might of England with guerrilla tactics.

In late 1299, Wallace decided to travel abroad and try and enlist foreign help. He travelled to France, and to Rome, hoping that the Pope would exert influence to try and curtail English deprivations in Scotland.

He returned to Scotland in 1303, only to find that the English had tightened their grip and that he must start from scratch to try and regain his countries liberty. The fight back began, but the odds were very much stacked against him. Wallace was eventually betrayed and captured at Robroyston near Glasgow, on 3rd August 1305. He was taken first to Dumbarton Castle, where his sword was left behind, and then he was taken south to London. He arrived in London on the 22nd August. The crowds were so great, so eager to see this Scottish “murderer” that he had to be kept the night in a house in Fenchurch Street. The next morning he was taken to Westminster Hall, the oldest part of the Houses of Parliament, where his sham trial took place. He was allowed no defence, but he managed to shout above his accusers that he was “ A Scot, born in Scotland, and did not recognise England as his sovereign nation”.

He was tied to the tails of horses, and dragged through the streets of London for 6 miles, eventually arriving at Smithfield Elms. Here he was hung, then cut down while still alive. His stomach was opened and his entrails were pulled out and burnt before him. His heart was then ripped out, ending his life. His body was cut to pieces, his head stuck on a spike on old London Bridge. The parts of his body were sent north to dishonour the Scots. Longshanks thought by giving him such an ignoble death that the Scots would forget Wallace, and there were religious connotations too. Wallace would have no body to rise on Judgement Day, and so be damned forever.

But Sir William Wallace needs no tomb. His memory lives on in the heart and souls of Scots, every generation recognising his devotion to his native soil, and he will be remembered by Scots men and women till the end of time.

ALBUM REVIEW: MATILDA’S SCOUNDRELS- ‘As The Tide Turns’ (2017)

The debut album from celtic-punks ‘great white hope’ Matilda’s Scoundrels!

“It’s an album we feel is about the times we live in right now and about the opportunity to change the direction that all this crazy stuff is going into a positive future which is what inspired the album name which itself we felt was the feel of the album from the songs we have written for it over the last 2 years. We hope you all enjoy it as much as we did writing it all and we can’t wait for you all to hear it!”

Not long after this web-zine was started we came across a fantastic new band from the south of England who were literally just starting out as well. I can’t now remember what it was that brought Matilda’s Scoundrels to our attention but I’ll be eternally grateful that something did. Since then they have featured often on these pages due to their more than regular gigs and releases. With a bunch of EP’s behind them, including a live one and a compilation of their first 2 now out of print EP’s, they have kept our reviewers both busy and happy, with a stream of extremely well received releases. From that very first review we wrote that we were looking forward to the inevitable album release and low and behold that day has arrived and to say we are happy is a massive understatement.

For a band that only formed in 2014 Matilda’s have crammed an awful lot in to a relatively short time. Gigs around Britain have been followed with appearances at many of the best music festivals around as well as a successful European tour earning them a growing legion of fans. They come from the famed old smugglers town of Hastings on the south coast of England and this connection can be felt in their music.

“No business carried on in Hastings was more popular and extensive as that of smuggling. Defrauding the revenue, so far from being considered a crime, was looked upon as a laudable pursuit, and the most successful ‘runners’ were heroes. Nearly the whole of the inhabitants, old and young and of every station in life, were, to some extent, engaged in it”

Though they are not strictly speaking really a celtic-punk band they have embraced the scene and are big fans of the bands within it, supporting many of the best groups that pass through England or London. Their sound has embraced elements of celtic-punk and this was certainly not harmed when Jason learnt to play the banjo! One of the things about Matilda’s Scoundrels is that within a few seconds of each song you will recognise who it is. It is quite the achievement to have so distinctive a sound and to be quite so unlike anyone else. You need good songs though and despite their regular recording they have managed to produce ten songs specifically for As The Tide Turns and each one would stand alone as a Matilda’s classic.

Matilda’s Scoundrels (from top left to right) James- Bass * John- Drums * Quinn- Mandolin/ Vocals * Dan- Guitar * Jens- Accordion/ Vocals * Jason- Acoustic Guitar/ Tin Whistle/ Banjo/ Vocals.

So enough about then what about today’s release. Well for a start you get ten self penned tracks that clock in at a pretty decent forty-six minutes which is plenty of value for any fellow Yorkshiremen out there! The album begins softly with ‘Burn It Down’ and Quinn’s mandolin before the music takes an upturn with Dan’s thrashy guitar and Jens accordion. Quinn shares vocals with Jason throughout the album and they accompany each other perfectly well. Quinns ‘raspyness’ and Jason’s loud shouty vox fit their sound and the music is in turns both folky and punky with moments of absolute calm as well as absolute uproar!! ‘Take It To The Streets’ begins with accordion and Jason takes the lead on vocals and the album is really flowing now. Catchy is oft used, especially by me, in the celtic-punk world and there is no better word but by Christ they have nailed it here.This is music to nod your head frantically to, to tap your leg to and at the same time, if you are young enough, stage-dive!

Quinn takes over for ‘Shackles & Bones’ and its accordion here that stands out. Sometimes live the accordion is not always ‘loud and proud’ but the production here is spot-on and so the folky instruments are all clear as anything. ‘Bow To The Powers’ seems to have been in their set for ages but this is their first proper recording of it and once again its fast and catchy and infectious. All the songs on As The Tide Turns would be ‘ear-worm’ material but ‘Mr.Martyn’ was a real pleasant surprise for me. The most celtic-punk song of the album so far it lasts well over five minutes and the real trad folk beginning fades into some trademark Dan Flanagan thrashy guitar before the song leads into some amazing folky punk with Quinn’s voice shining through. As usual the lyrics are well thought out and positive in a way that not too many bands are. This is kind of a serious album though and that is the only thing missing so far. Matilda’s have a great sense of humour and they are not adverse to singing a song about getting pissed so ‘Bottle Of Rum’ comes along at just about the right time.

(‘Take It To The Streets’ recorded for Sham City Roasters Acoustic Session)

One of the albums best tracks is up next and on ‘Friends Of Mine’ they knock out a song that is destined to be stuck in your head for the few days. Jason’s tin-whistle giving it that certain Irish/Celtic feel while they put the punk to one side and concentrate on producing a classic modern day sea-shanty. We are nearing the end and on this record they have been given a great chance to write songs they want to. This album shows they don’t have to cram too much in and with the longer running time and a average length of (gulp!) four minutes they can elaborate on their songs and they manage it without them feeling too long or too fancy. ‘War On Drugs’ is the album’s punk song but even then it still has a certain folkiness stamped all over it by a Doc Martin boot. We are back on the ocean again next with the penultimate song ‘Godforsaken Sea’ before finally the album’s closing track and also it’s best one. Lasting over six minutes ‘Into The Fire’ really, really shows the Scoundrels at their best. Tin-whistle and mandolin leads us into a proper Scoundrels epic. Mostly played at breakneck speed and with a catchiness that even outdoes the previous nine songs. The foot is tapping and the head is nodding and if I had a pint in my hand it would be raised above my head to the heavens. A great gang chorus and a tune to die for it’s as good a song as they have ever put to Bandcamp. One of the most noticeable things on As The Tide Turns is that while most celtic-punk bands find it easy to stick to making folk songs or punk songs Matilda’s Scoundrels play songs I would best describe as the embodiment of folk-punk. Each song is so much more than just that though with self-penned folk and celtic tunes wrapped round everything and never once sounding forced or out of place.

This fantastic album shows that Matilda’s Scoundrels are destined for great things, that much is beyond dispute, and its their ability of making everything they do totally recognisable yet without sounding repetitive that has helped them enormously. Their songs contain it all. Enough folk for the folkies and enough punk for the punkers and they’ve got this far on their own bat as well and now with the backing of the awesome DIY independent record label TNS things are only going to get better for these Hastings Bhoys.

  • North and South Londoners who are new to the Matilda’s Scoundrels sound are lucky to have two flippin’ fantastic gigs just around the corner. They are supporting The Dead Maggies on tour from Tasmania, Australia. The Dead Maggies are story tellers and music makers weaving Van Diemen’s Land’s dark and turbulent folk history with fast, powerful, toe-tapping, foot-stomping, wild folk music that makes you dance, shout and folk till you punk. This raucous combination of folk and cow-punk, with double bass, fiddle, banjo, guitar, clarinet, heavy drums and gang vocals rolls into Kingston (here) on Thursday 10th August and Hackney (here), north London on Friday 11th August. Entry is £5 on the door and music starts at 8pm both nights. Check our What’s On page for more details.

Order As The Tide Turns

(pre-order. official release date September 8th) FromTheBand  TNSrecords

Contact Matilda’s Scoundrels

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TNS Records

A not-for-profit DIY punk and ska label based in Manchester. We also put on gig, release a fanzine, have a distro and put out a podcast.

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(Matilda’s Scoundrels set from Zoo at Manchester Punk Festival 2017)

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

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

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

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

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

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

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

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

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

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Contact Danny Diatribe

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

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

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Contact D’lfa Reilly  

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

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

ALBUM REVIEW: THE SILK ROAD’ ‘S/T’ (2017)

Infectious and catchy throughout the debut album from northern English celtic-folk-punkers The Silk Road has more than enough punk to keep the punks happy and plenty of folk to keep the oldies like me happy!

Here’s an album we have been waiting for here at London Celtic Punks with baited breath! Those with a good memory will remember way back last October we reviewed the four track pre-album sampler from The Silk Road and back then we were very impressed

“This kind of music lends itself more to the live experience so if they are able to capture that in the studio then by St George they will have cracked it”

and I am pleased to say they haven’t let us down either!

The Silk Road hail from Chesterfield in the north of England an area famed for it’s industry and for the militant trade unionism that goes with it. Their music reflects this. Their is no pretense or ‘virtue signalling’ here. Their beliefs were learnt at the knee of older generations who lived through times they did not want to see repeated. Formed in 2015 all the band have played music locally going back some twenty years ranging from folk to punk to ska so plenty of experience involved here. Taking some old demos that singer/songwriter Tich had recorded in his studio as a base The Silk Road began to take shape and after adding some new material The Silk Road’s debut album began it’s story.

Musically The Silk Road are cut from the same cloth as three bands who are still regularly packing them in at gigs across the country all year round. The Levellers, New Model Army and Ferocious Dog are the main bands that represent a broad mixture of scenes from folk-punk to celtic-punk to English-folk. The music while it may sound like celtic-punk to some is actually the music of the north of England. Their has always been a strong tradition of folk music among the working class and just as with celtic music it was in the early 80’s that young bands began to change, add and adapt it with hard rock and punk music. For me there is no better example of this than the first two album’s from Billy Bragg. He may be a bit of a wanker now on his farm in Devon lecturing us on how to vote and still pretending he lives in Barking but those albums are an incredible mix of politics and passion that captivated us and I still regularly play them. Armed only with a cheap electric guitar Bragg stormed the Singles charts of the day with his rough but passionate voice and a way of writing straight from the heart. His best songs were always about the mysterious interactions between men and women rather than his left-wing polemics but this was urban folk at it’s finest. Now some 20+ years later The Silk Road take their place on the same path and I’m sure they won’t be moving to Devon the first chance they get!

This self-titled album is thirteen original compositions by the band and though it’s very much a team effort it’s in no small part down to the vision and drive of lead vocalist Tich. A tattooist by trade it was his idea to use the symbol of the silk road as the bands logo. Yes it may look Celtic/Irish but the three hares with interlocking ears is actually from the far east where the silk road was the ancient trade route linking Asia to the West. The album cover itself was designed by no other than celtic-punk’s leading lady Katie ‘Kaboom’ McConnell of The Mahones.

The album begins with ‘No Revolution’ and it’s a loud start. I was expecting something a bit quieter so was pleasantly surprised. Quite a basic 80’s punk sound here which I absolutely love. The fiddle may have been worth turning up a bit but its got harmonica so that’s me happy for the next forty-eight minutes! Tich’s vocals are clear as crystal and so easy to understand, and get, that there is literally no point in putting them in the CD booklet. ‘Find A Cure’ follows the same road except with a short reggae interlude before a great punk rock Irish jig takes over. Great chorus here that will have you singing it in your head long after you’ve heard it. One of the highlights is ‘I Don’t Care’ with it’s snotty punk rock base but with the fiddle in charge and Tich’s great vocals laden over the top. It’s all been very punk rock orientated so far and just as i was settling in ‘Elizabeth Rose’ comes on and by Christ I’m in celtic-punk heaven with this Irish trad punk jig. The fiddle leads the way with the rest of the band pushed to the background and a real foot tapper that I’m sure is a live favourite and gives Tich a chance to rest his lungs. They slow it down next with ‘Scars’, the first song here that featured on that Pre-Album Sampler, and sounds to me not too far from The Levellers. Not a much of a fan of them myself but this is excellent stuff with slow acoustic guitar and fiddle and nice vocals. The welcome sound of the banjo kicks off ‘Master Race’ with what sounds like spoons! Harmonica is top dog here and I love it. A instrument I always feel suits celtic-punk but is criminally underused. ‘Still Breathing’ seems to me a bit out of place here. Hard to say why exactly but its upbeat and jaunty sound perhaps. Not to say it’s not a great song as its class fiddle led punk rock. ‘Breaking Down The Laws’ keeps the music flowing with Brian’s solid drumming. ‘Ancient Road’ leads directly into ‘Montagu’s Harrier’ and while the first three minutes are reminiscent of 80’s anarcho-punk bands like The Mob or Zounds the second half is an absolutely stunningly traditional Irish folk piece/reel dedicated to an endangered bird of prey.

The bodhran is out and it’s not long before the whole band have gate crashed the song and take it another level. These two songs are a perfect introduction to The Silk Road and showcase brilliantly whet they are capable of. We are coming towards the end of the album and it’s clear by now that the band wear their politics on their sleeves and no better than in ‘City Under Siege’. Back in October I wrote

“this kind of music is very much in vogue at the moment. Not played or favoured by fashionista’s or middle class hipsters it comes very much from that sort of old Labour background of trade unionism and old fashioned values like solidarity, compassion and the wish for a better world for all. Things sadly out of fashion at this moment in time”

and while ‘Corbyn’ and the Labour Party’s revival hasn’t completely convinced me I do see hope for my class where once I saw none. Another album high point up next with ‘Boats Come In At Midnight about modern day smuggling. Very catchy indeed and half way through the fiddle comes in giving it a real nice ending. The album ends with ‘On Ya Way’ and maybe it’s a sign of mellowing with age but I really love this song. My favourite track. Tich belts it out from his heart and harmonica and acoustic guitar steer it in a direction that reminds me of Ferocious Dog a little when they slow it down.

Overall this is a great debut from The Silk Road and will win them legions of fans from the trinity of bands I mentioned above. Infectious and catchy throughout with more than enough punk to keep the punks happy and folk to keep the oldies like me happy. Its always brilliant to welcome another celtic-punk band into the scene and even better when they have trodden their own path. Haven’t seen them yet but will be making it my mission to catch them over the summer and I really hope they play ‘On Ya Way’ when I do.

Buy The EP
Contact The Band
(full concert from last year)

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.

NEW SINGLE FROM FINLAND FOLK-PUNKERS LORETTA PROBLEM

 Finnish celtic-punks Loretta Problem have been together for over twenty years and are happy to offer up London Celtic Punks readers a free download of their fabulous new single ‘Welcome To The Circus’.

Not one of the most prolific bands in the celtic-punk scene but certainly one of the more interesting. Loretta Problem hail from the death-metal loving fjord’s of Finland and are the sole representative’s of celtic-punk in their country. Like the other Nordic countries there are well established and popular punk and metal scene’s so should come as no surprise that celtic-punk would make an appearance. Loretta Problem have released one album and two singles in their time together which admittedly is not a lot to show for over twenty years together but for over a decade Loretta Problem took a back seat while the various band members were working on other projects like families or in other bands. They still got together to play at a select handful of gigs and festivals every year but regrouped about 2-3 years ago, and have reached the point now where they are ready to fully relaunch the band.

Their new single ‘Welcome To The Circus’ was released a few weeks back but we were waiting on the accompanying video to give it a well deserved plug so here it it. Sounding better than ever the single moves away slightly from their earlier stuff which had a certain metal influence toward a more folky sound akin to what I use to call festival folk. These days that sound is represented by the likes of The Levellers, New Model Army and Ferocious Dog. Well played anthemic punk rock with great fiddle from Tarja throughout. Clear vocals sung in English that completely suit the music but don’t waste time listening to me just have a listen I’m sure you won’t be disappointed! The celtic tone still remains, as well as big hearted punk attitude with fistful of middle fingers!

Loretta Problem have been together now since 1994 and have never stood still but instead have had constant development as a band. You won’t hear the Fields Of Athenry here but instead you will get some great folk’n’punk which takes Celtic music and even celtic-punk and puts a different spin on it. A fantastic single catchy and full of energy and life that leaves us only wanting more. You can hear their back catalogue over at their Spotify account here but follow the link below to get a free download of Welcome To The Circus.

Download The Single

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Contact The Band

WebSite  Facebook  Spotify  ReverbNation  YouTube

  • We reviewed an earlier single from Loretta Problem back in 2015 which you can find here.

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: CHEERS!- ‘Daily Bread’ (2017)

Snarling, swirling, raging, roaring Celtic folk-punk brewed in Pilsen and tempered by accordion, whistles and flutes!
Cheers! are a band I have heard about for a few years now but bar a couple of tracks on compilations and the odd video here and there I hadn’t yet got round to properly listening to them till Daily Bread popped through my letter box the other day. They released their first single back in 2011 and their debut album Wrong and Right in 2013 and since then have toured extensively across their home country and throughout mainland Europe. They hail from the city of Pilsen in western Bohemia in the Czech Republic which is about 50 miles from the capital city of Prague. Of course the city is most known worldwide for Pilsner beer created in the city in 1842.  The combination of Pilsen’s famously soft water, Saaz noble hops from nearby Žatec and Bavarian-style brewing produced a clear, golden (and delicious!) beer which was regarded as a sensation and is still a big hit today among aficionados of the odd drink or two.
(have a listen to the debut Cheers! album Wrong And Right below)
There have been a handful of Czech celtic-punk bands kicking up a storm with the most famous being the excellent bagpipe punk band Pipes And Pints, celtic rockers Benjaming’s Clan and the relatively new Pirates Of The Pub. The scene over there may not be massive but is in a very healthy state with many touring bands choosing to stopover and play, especially in Prague. That all these bands have proved popular outside their home country proves they all are doing something right and on listening to Daily Bread I can see why.

Cheers! left to right. Top: Pisek- Electric guitar * Mates- Accordion. Middle: Kata- Tin Whistle Maty- Drums * Fifa- Fiddle. Bottom: Laska- Bass * Pafka- Acoustic Guitar/ Vocals

I’ve noticed a trend recently of bands releasing videos for the opening song on their album’s. Maybe they always have and it just hadn’t clicked before but it does makes sense to kick your album off with one of your strongest songs and here Cheers! are no different opening with the great track ‘Chances’.

Fiddle and tin whistle provide the celtic side of foot-tapping and melodic punk rock. Celtic-punk is best suited to a pub environment and make a perfect place to film your videos and ‘Chances’ is no exception. The punk takes a back seat to some exceptional Irish folk music next in ‘London Days’. The story is of the many who come to London and fall through the gaps. The ones who don’t become rich and live their lives solely surviving. In my day it was the Irish, the Scots and the northern English and these days they come from across the world. A catchy, gang chorus and strong fiddle keep the song ticking over till the heartfelt ending.

“For life is quite short you know and to fall is not wrong at all”

This leads into ‘Misery’ and the accordion stands out here in an angry song about the faceless workers everywhere toiling away. The chugging guitar keeps it tuneful and ‘Dagger’ takes us down a different path with its upbeat Flogging Molly-esque Irish folk. Pafka’s vocals are strong and clearly sung in English. The CD has the lyrics but they are clear enough just from listening. ‘Here We Are’ is kind of Bad Religion meets Irish folk. Fast rapid drumming and accordion keep it going before next song, ‘Standard’, returns us to Molly’s territory and a song that starts acapello before familiar sounding fiddle takes over. Brilliant lyrics next in ‘Pie Of Shame’. Not about pie as you may think but the wish for a better and more peaceful world. It could be a bit cloying but isn’t at all especially as it lasts just a few seconds short of five minutes. I’m well jealous of songwriters with the ability to write like this. We haven’t had a slow one yet and ‘Saint Of The Scene’ comes at the perfect time. Poguesy accordion and a swirling sound surrounded by gang vocals and tin whistle and fiddle give it a perfect pint in the air feel. ‘Mr. Batter’ is a fast and furious tune with great funny story about a copper stealing bum who ends up on the wrong side of the law. Again Cheers! turn it on its head as just as your settling in they pull out something different to rouse you. ‘Hey Devil’ is next and the band this is most reminiscent of would be The Dreadnoughts fast as hell and completely led by Filip’s glorious fiddle playing.

They slow it down again next with ‘Land Where Nobody Lives’ which suddenly erupts into life and the tale of the prodigal son returning home ends with a Flogging Molly burst of life. We are rolling up to the end of Daily Bread and ‘Once We Reach The Ireland’s Bay’ takes the album to premier league status. The wonderful sound of uileann pipes from album guest Zdeněk Bugoš blaze a trail through this fantastic ballad. The sort of song I would love to push down the throats of the folk purists (snobs!) who say celtic-punk bands have no folk tradition or feeling. Cheers! nail it here with this song. Daily Bread comes to an end with the short and sweet and punky ‘Only Thing’. Seventy seconds of Dubliners style punk rock wraps things up nicely.

Thirteen songs clocking it at an impressive near fifty minutes! The music is of a solid punk rock backdrop with fantastic celtic musicians driving it along and Pafka’s great vocals atop. Very hard to pigeonhole Cheers! as they change tempo and their sound quite regularly on this album but despite that they have still managed to make a album that flows along very nicely. On this showing it’s easy to see why they have become so popular already and with only one album behind them that is is even more of an achievement.

Buy Daily Bread

FromTheBand  Amazon

Contact Cheers!

WebSite  Facebook  Twitter  Soundcloud  YouTube  Instagram  Bandcamp

  • A very nice review of the album and an interesting interview with singer/guitarist Pavel here on the Celtic Music Fan site.

EP REVIEW: BLACK RAWK DOG- ‘Suburban’s Folk Stories’ (2017)

Another top quality Indonesian celtic-punk band belt it out of the ball park with their new EP! Black Rawk Dog continue the Indonesia love in…

Just a couple of days ago we reviewed a great EP from an Indonesian celtic-punk band (here) and low and behold just like buses up rolls another one five minutes behind! As with Rain In Summer we first came across Black Rawk Dog on the absolutely superb Indonesian celtic-punk compilation ‘Wind From The Foreign Land’ from 2014. Fourteen tracks from fourteen different celtic-punk bands from across Indonesia and from right across the whole celtic-punk spectrum from folky traditional folk to celtic-Oi! and hardcore it’s all there and is definitely one of the best album’s I have ever heard. We described Black Rawk Dog then as

“fast paced fiddle and mando punk played at breakneck speed with gang vocals”

and on the basis of Surburban’s Folk Stories I can see no reason to change that!

(The EP teaser a collection of videos by friends of the bands showing them hanging)

The Black Rawk Dog story begins at the end of