THE ROCKAWAY REBEL OF THE EASTER RISING – JOHN ‘THE YANK’ KILGALLON

“Of all the Irish-American towns in America, it had to be a Rockaway guy that wound up in the middle of the bloody battle at the Post Office” 

Often on these pages we have spoken of the Easter Rising. A somewhat mythical event doomed to failure when heavily outnumbered Irishmen and women rose up against the full might of the most powerful empire in the world. Even now over 100 years later it remains an event unparalleled in Irish history. The rebellion began on Easter Monday and the spark would soon ignite a nation and it’s people.

Here our friend ‘cross the broad Atlantic’ Kevin Rooney writes of the involvement in the Easter Rising of one John Kilgannon, better known as ‘The Yank’.

JOHN ‘THE YANK’ KILGALLON

The Rebel Of The Rising From Rockaway

John Aloysius Kilgallon was born in Queens, New York on September 5, 1891. His father Luke came from Coogue, Co. Mayo. His mother Nora (née) Walsh came from Knock, Co. Mayo. The family lived in Far Rockaway. His father ran a blacksmith shop, which became a successful auto repair shop on Beach 19th Street. He also owned Real Estate. John was their only son.

On 20 August, 1912 John attended a Chauffeur’s Ball in the Imperial Hotel in Far Rockaway. He took a customer’s car from his father’s garage without permission to give his friends a ride home on a rainy night. Ten young people were piled in the car when it struck a farm wagon in the Springfield Gardens neighbourhood in Queens at 2am. Seventeen year old Cecelia Wellstead was crippled after being thrown from the car. She initiated a lawsuit against John for $50,000 amid much publicity. She was awarded $20,000 by Justice Scudder of the Queens County Supreme Court. In the meantime between the accident and the judgement, John had gone to Ireland.

Patrick Pearce

It is believed the family attended a speech given by Pádraig Pearse at the Brooklyn Academy of Music on March 2, 1914. It was attended by about 2,500 people despite being in the midst of a terrible snowstorm. Pearse was on a speaking tour to raise much needed funds for Scoil Éanna/St. Enda’s School in Rathfarnham, Dublin. It was a secondary school for boys emphasising Irish cultural identity; particularly history, mythology, poetry, and most especially the Irish language. Pearse believed passionately that the existing system of education sought to eradicate Irish identity in favour of obedience to Britain.

(‘Easter Mourn’ by In For A Penny. Beginning with the words of Patrick Pearce)

Pearse’s speech was for an annual commemoration of Robert Emmet marking his birth on 4 March, 1778. The young, courageous and eloquent Irish rebel martyr, who was hanged in 1803; holds a place in the hearts of all Irish patriots, but especially that of Pearse. In fact, St. Enda’s site in Rathfarnham, Dublin was much associated with Emmet. The school was relocated there in 1910 from Ranelagh; where it was founded in 1908. Emmet walked its grounds as he courted Sarah Curran, and sat in the same room and was inspired by the same scenery as Pearse a century later. Along with much needed funds to keep the school running, he returned to Dublin with a young Irish-American student from Brooklyn named Eugene Cronin. Pearse wrote to a friend in July, 1914:

“I have got another Irish-American for next term. His name is Kilgallon, his father owns real estate in Far Rockaway and he is quite a young man. He will rank as a university resident.”

Kilgallon is said to have been well-liked and to have thrived in this environment, which included honor and discipline of an increasingly military nature; as well as academics.

Photograph of John ‘The Yank’ Kilgallon in what looks like a Fianna Eireann uniform at St. Enda’s, Maundy Thursday, 1916.

Kilgallon appears to have belonged to Na Fianna Éireann youth organization, and the Irish Republican Brotherhood (IRB), an oath-bound organization dedicated to establishing an Irish Republic by force. He was closely associated with many fellow students who shared this joint membership and was photographed in a Fianna uniform. He became a member of E Company, 4th Battalion, Dublin Brigade of the Irish Volunteers. The company was called “Pearse’s Own” as it contained his former students. They made preparations for the Rising by making grenades, filling cartridges with shot, and making batons.

On Easter Monday, 24 April 1916, E Company arrived at the rebel headquarters at the General Post Office (GPO) on O’Connell Street. Kilgallon, who was nicknamed ‘The Yank’ was quoted by Desmond Ryan to have exclaimed in his American accent:

“Holy Gee! This ain’t no half-arsed revolution! This is the business. Thousands of troops and siege guns outside. The whole country is ablaze. Twenty transports are coming in when the submarines have sunk the rest of the warships. We have our own mint. Light your pipes with Treasury notes and fling all but the gold away. When we do things, we do things.”

After reading the Proclamation of the Irish Republic, Pearse ordered them to take up positions on the roof; where they fired and were fired upon by British troops, and took artillery fire from the British gunboat Helga, positioned in the Liffey. Among his comrades there was Éamonn Bulfin, who was born and raised in Argentina. It was Bulfin who raised the green “Irish Republic” flag on the roof of the GPO. Bulfin later remembered: “One of the pictures that stands out in my mind, is seeing Kilgallon running round on the roof trying to stop fires.” Kilgallon was also said to have saved Bulfin’s life by pulling him from a window in the GPO, which was under heavy fire.

(The most famous of all the many Easter Rising songs ‘The Foggy Dew’ played here by The Chieftains with Sinead O’Connor. It was written by Father (later Canon) Charles O’Neill from Portglenone, County Antrim)

Kilgallon is also remembered for a humorous event that occurred during the week. E Company members crossed Henry Street into Henry Place and Moore Lane and battered an evacuation and escape route through the houses, so that they could access all the houses while remaining sheltered indoors. Bulfin said:

“Myself, Desmond Ryan, Kilgallon, and all of the St Enda’s boys proceeded to break the divisions between the houses for about half the length of the street. The walls were quite thin, and there was no bother breaking them. We reached as far as Price’s or O’Hanlon’s which was a fish shop”.

This included the Henry St. Waxworks, where Kilgallon; who stood 6’2 returned wearing a costume looted from a wax figure of Queen Elizabeth I!

When the order to surrender was given on Saturday 29 April, E Company was huddled together to the Rotunda Gardens. Sunday, they were marched to Richmond Barracks. Kilgallon was sent first to Stafford Jail in England, then to Frongoch internment Camp in Wales with many other rebel prisoners. He gave his address at Stafford as The Heritage, Rathfarnham, Dublin; St. Enda’s. He appears in a group photograph taken at Stafford with a young Michael Collins. He had written to his parents before the Rising that he saw that trouble was coming. When they heard no news from him for a while they feared he might have been killed in the fighting. Bulfin’s sister was able to smuggle out a letter from Frongoch for him which read:

“The authorities said they would release some of us if we would sign a form promising not to take arms against His Majesty’s forces and give bonds to that effect. You know there are none of us here who could do that without betraying the cause we fought for, so I suppose we will have to stay. But it is worth it after all for if we signed these forms they would say they were justified in shooting our leaders as we were only dupes who did not know what we were fighting for. But they will never get us to do that, if they keep us here until we rot.”

The US Consul in Dublin, Edward L. Adams inquired as to the treatment of American citizens Kilgallon, Diarmuid Lynch (who became a naturalised citizen) and Éamon de Valera, who was also born in New York City. How much influence this actually carried is still a matter of debate, particularly in the case of de Valera; who had actually been sentenced to be executed. He held a position of command at Boland’s Mill. Some believe his American birth did save him, on diplomatic grounds. Others believe by the time his turn had come, they had decided the executions had become counter-productive and finished with executing the last two signatories; Seán MacDiarmada and James Connolly. Tom Clarke was a naturalised US citizen, and no issue was raised on his behalf. He and Pearse were among the first to be executed.

Part of the legacy of John ‘The Yank’ Kilgallon’s participation in the Easter Rising was a series of photographs he took at St Enda’s of comrades the day before the Rising begun.

Kilgallon was released before Christmas of 1916 and returned back to the US as part of a general amnesty. The following poem was published in The Brooklyn Eagle newspaper 28 December 1916:

“Under a spreading chestnut tree

The village blacksmith stands

The Smith a mighty man is he

With strong and sinewy hands

Yet worried Luke Kilgallon felt

And mourned since Easter Day

His son, a fine uprising Celt

Was far from Rockaway

For John had been at school with Pearse

That Dublin patriot grim

And when Pearse led his outbreak fierce

The Lion seized on him

Since then poor John, locked up in Wales

And even wails suppressed

Had shared the fare of British jails

Not quite a merry jest

‘A Merry Christmas I am free’

Flashed ‘neath the ocean foam

The smith a jolly man is he

His John is coming home.”

On his return, Kilgallon joined the US Navy and served as a machinist during World War I; though he doesn’t appear to have served overseas. He lived a quiet, apparently uneventful life afterwards managing the family business on Beach 19th Street. He died on 30 January, 1972, coincidentally an important date in Irish history known as ‘Bloody Sunday’ in Derry. The Rockaway peninsula, with its long strip of beaches on the Atlantic Ocean has often been called ‘The Irish Riviera’ and maintains a strong Irish presence to this day.

John Kilgannon Commeration, St. Mary Star of the Sea Cemetery in Cedarhurst, New York.

Online Sources:

https://www.independent.ie/…/remembering-the-rising-of…

https://www.nytimes.com/…/student-of-irish-language…

https://www.rockawave.com/…/the-1916-easter-rising-and…/

https://fiannaeireannhistory.wordpress.com/…/john-the…/

https://www.rockawave.com/articles/kilgallon-commemoration/

(‘Who Fears To Speak Of Easter Week’ written and sung by famed Irish writer Brendan Behan – ‘Ireland’s laughing boy and resident working-class Dublin genius’)

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Our thanks go out to Kevin Rooney for this fascinating article. You can hear more from Kevin over at the Irish History 1916 through to 1923 and Everything Irish Facebook pages where he is an admin. Kevin also contributed to the Happy Birthday Mr Bob book, a celebration of Bob Dylan’s 80th Birthday, with submissions from Irish poets, writers, singers, songwriters, artists, photographers and an eclectic mix of admirers! Kevin is an excellent writer and earlier in the year we published Irish Born And Irish Americans : Separated By Common Heritage? about the sometimes troublesome relationship between the two.

ALBUM REVIEW: BATALLON DE SAN PATRICIO- ‘Hermanos De Guerra’ (2020)

Celtic-Punk again shows it’s international appeal as Mexican band Batallón de San Patricio celebrate the release of their debut album. Named in respect of the famed Irish battalion that fought in the America-Mexico War of 1846-1848 these Bhoys are more than just a pretty name.

Here’s a first for London Celtic Punks a review of a Celtic-Punk release from Mexico. The band in question are called Batallón de San Patricio and for those in the know that is Spanish for St. Patrick’s Battalion and something extremely significant in the relationship between Ireland and Mexico. The band chose their name with great care taking their inspiration from the St. Patrick’s Battalion (see our extensive article The Irish Soldiers Of Mexico In Film And Song from the other day). A group of immigrants, mainly of Irish descent, who deserted from the US Army because of anti-Catholic bigotry and went to fight for the Mexican Army during the Mexican-American War (1846-1848). It’s a tale of great adventure and heroic valour but ultimately it is another sad chapter in Ireland’s history. They are still commemorated today by the Mexican government and its people with a parade featuring a bagpipe troop. Musically the first links were forged by The Chieftains who collaborated with Ry Cooder on their 2010 San Patricio album which combined Irish and Mexican Folk music to great effect to tell the tale of the Saint Patrick’s Battalion. The album featured a long list of guests, including narration by Liam Neeson of a poem in tribute to the San Patricios. Still those of you who read our article earlier in the week The Irish Soldiers Of Mexico In Film And Song will already be well versed in the history of these giants of men.

Batallón De San Patricio from left to right: Juan Alcalá ‘Peludito’ – 5 String Banjo/Backing Vocals * Ricardo Martínez ‘Ricky’ – Lead Vocals/Harp/Tin Whistle * Adrián Flores ‘Kazio’ – Drums * Elias Rubio ‘Ponko’ – Guitar/Backing Vocals * Emanel Muñoz ‘Alan’ – Bass/Backing Vocals * Ricardo Lupercio – Fiddle / Backing Vocals

So at last we move onto the review and I can hear the relief from here! Batallón de San Patricio were formed in July, 2017 in the city of Guadalajara and right from the start the idea was to pay tribute to their namesakes. In many ways the name was a obvious choice for a band whose chief aim was to play Celtic-Punk mixing Irish and Mexican culture. Their first few months were spent practicing and playing covers of you know who (!) and with a few line up changes they were ready to go and began to pay locally and eventually further afield. It’s been a steady procession for the Bhoys with a 6-track demo in 2018, a 2-track single last year and now finally the album has been completed.

The album is titled Hermanos de Guerra (in English Brothers Of War) and was released on May 30th. Recorded at the Bilbao studio  in Guadalajara Mexico by Alex León it’s twelve songs are all sung in Spanish and as I’ve said before I’m a product of the English education system at a time when languages were thought of in the same category as Cooking and Needlework. We had to do them but no care was put into how they were taught. So it is that whatever is being sung about here has, bar a couple of songs, completely passed me by. Not to worry though as the message they spread is a positive one of love, friendship and loyalty. What Celtic-Punk is all about if you ask me.

“We strongly believe in brotherhood, honesty, dignity and respect. Our slogan will always be ‘Family First’. Our music forms part of our life and people around us and to remember those who passed away. We will always step forward on this long hard way making it Green and not forgetting Mexico’s unity with the rest of the world.”

The album begins with the title song ‘Hermanos De Sangre’ and the sound of marching feet soon erupts into a fast and furious Celtic-PUNK number which unless my ears betray tells the story of the St. Patrick’s Battalion. ‘Familia’ featured on their single from last year and unsurprisingly is about the love of family. More folk than it’s predecessor and this will become a common thread throughout the album as they manage record twelve songs that cross all boundaries of Celtic-Folk-Punk and  make an album where each song stands on its own feet. Todo Sigue Igual (in English ‘Everything Remains The Same’) slows things down and the lonesome banjo combined with some beautiful Cowboy atmospheric fiddle and almost verging on Country it threatens to come bursting out the blocks but they quite rightly restrain it when it comes and the song is all the better for it.

It may not be as polished as some releases we review here but those slight rough and ready edges give it a live feel that really works for them. ‘Piratas’ introduces one of my favourite instruments, the harmonica, to the fray alongside banjo, violin, harmonica and Irish flute (which I have only recently realised is what some folk call the tin-whistle) and the usual Punk-Rock instruments of bass, guitar and drums.

Let’s face it it wouldn’t be a Celtic-Punk album without a alcohol song and Después Del Alcohol (- ‘After Alcohol’) begins in an usual way with just bass and banjo but Bhoy is it catchy. El Ultimo Partir (- The Last Leaving) takes the previous songs banjo and turns out a more country-fied song again with excellent fiddle work while ‘Fadir’ even has a bit of an English 80’s Punk vibe around it all be it with the fiddle still fiddling expertly away. As I said they skate round a lot of genres here and I have to admit I am drawn to the less Punky ones and songs like ‘Amigo’ really hit the spot. Catchy, well played and with a nice balance of Punk and Folk. For ‘Viciosa Lujuria’ (- ‘Vicious Lust’) though they return to a classic Celtic-Punk sound with tin-whistle to the fore. The video for ‘Leal’ (- ‘Loyal’) came out on St. Patrick’s Day just gone and is dedicated to all the people who have ever been stabbed in the back by someone they once held dear.

It’s the quickest song here at under two minutes and showcases the banjo admirably as they kick out a straight up Punk number though that doesn’t quite prepare for ‘Asesinos Por Naturaleza’ (- ‘Natural born Killer’) which turns the guitar up to 11 and a heavyness and energy we haven’t seen so far. A cracker of a song and one that will no doubt get the dance floor heaving once a few beers have been downed. The album ends with ‘Trotamundos’ (- ‘Globetrotter’) and a slow funereal end to proceedings.  The Bhoys harmonise together over a gentle tune with only occasional fiddle over the quiet banjo, bass and drums. A quality end indeed.

So there you go and it’s been an enjoyable forty minutes. To be honest this is the kind of album that I would normally buy regardless of what the music sounded like. The very idea of a Mexican Celtic-Punk band and one based inn such noble Irish history just ticks all my boxes. That the music is also pretty damn good is a bonus. Definitely one for our Spanish speaking readers but don’t be dismayed as this is a thoroughly pleasurable album for non speakers too. A great album for all! 

(you can stream or download Hermanos de Guerra on the Bandcamp player below)

Buy Hermanos de Guerra  TotemRecords

Contact Batallón De San Patricio  Facebook  Bandcamp  YouTube

Batallón De San Patricio played a Live Stream on Facebook last weekend and although tremendous good fun and a brilliant watch they suffered the same fate as we did recently when we featured Callum Houston doing his. That of the dodgy internet connection!!! Well worth persevering with so here’s Part One, Part Two and Part Three. I think I have them in the right order!

THE IRISH SOLDIERS OF MEXICO IN FILM AND IN SONG

The story of the legendary San Patricios battalion and their legacy as told in film, books and song from bands as diverse as The Chieftains, Black 47, David Rovics, Larkin, The Fenians, The Wakes and others. 

by Michael Hogan

Next week sees the release of the debut album from Mexican Celtic-Punk band Batallón de San Patricio. Now not only does this show the truly international appeal of the scene these days but it also gives us an opportunity to look into one of the least-known stories of the Irish who came to America in the 1840’s, that of the Irish battalion that fought on the Mexican side in the America-Mexico War of 1846-1848. They came to Mexico and died, some gloriously in combat, others ignominiously on the gallows. United under a green banner, they participated in all the major battles of the war and were cited for bravery by General López de Santa Anna, the Mexican commander-in-chief and president.

At the penultimate battle of the war, these Irishmen fought until their ammunition was exhausted and even then tore down the white flag that was raised by their Mexican comrades in arms, preferring to struggle on with bayonets until finally being overwhelmed. Despite their brave resistance, however, 85 of the Irish battalion were captured and sentenced to bizarre tortures and deaths at the hands of the Americans, resulting in what is considered even today as the “largest hanging affair in North America.”

Hanging of the San Patricios as painted by Sam Chamberlain.

In the spring of 1846, the United States was poised to invade Mexico, its neighbour to the south. The ostensible reason was to collect on past-due loans and indemnities. The real reason was to provide the United States with control of the ports of San Francisco and San Diego, the trade route through the New Mexico Territory, and the rich mineral resources of the Nevada Territory – all of which at that time belonged to the Republic of Mexico. The United States had previously offered $5 million to purchase the New Mexico Territory and $25 million for California, but Mexico had refused.

Before the declaration of war by the United States, a group of Irish Catholics headed by a crack artilleryman named John Riley deserted from the American forces and joined the Mexicans. Born in Clifden, County Galway, Riley was an expert on artillery, and it was widely believed that he had served in the British army as an officer or a non-com in Canada before enlisting in the American army. Riley’s turned this new unit into a crack artillery arm of the Mexican defence. He is credited with changing the name of the group from the Legion of Foreigners and designing their distinctive flag. Within a year, the ranks of Riley’s men would be swelled by Catholic foreign residents in Mexico City, and Irish and German Catholics who deserted once the war broke out, into a battalion known as Los San Patricios, or ‘Those of Saint Patrick’.

The San Patricios fought under a green silk flag emblazoned with the Mexican coat of arms, an image of St. Patrick, and the words “Erin Go Bragh.” The battalion was made up of artillery and was observed in key positions during every major battle. Their aid was critical because the Mexicans had poor cannon with a range of 400 meters less than the Americans. In addition, Mexican cannoneers were inexperienced and poorly trained. The addition of veteran gunners to the Mexican side would result in at least two major battles being fought to a draw. Several Irishmen were awarded the Cross of Honor by the Mexican government for their bravery, and many received field promotions.

At the Battle of Churubusco, holed up in a Catholic monastery and surrounded by a superior force of American cavalry, artillery, and infantry, the San Patricios withstood three major assaults and inflicted heavy losses on the Yanks. Eventually, however, a shell struck their stored gunpowder, the ammunition park blew up, and the Irishmen, after a gallant counteroffensive with bayonets, were overwhelmed by sheer numbers. They were tried by a military court-martial and then scourged, branded, and hanged in a manner so brutal that it is still remembered in Mexico today.

(left: the Batallón de San Patricio Memorial plaque placed at the San Jacinto Plaza in the district of San Ángel, Mexico City in 1959: “In memory of the Irish soldiers of the heroic St. Patrick’s Battalion, martyrs who gave their lives to the Mexican cause in the United States’ unjust invasion of 1847”)

In September 1847, the Americans put the Irish soldiers captured at the Battle of Churubusco on trial. Forty-eight were sentenced to death by hanging. Those who had deserted before the declaration of war were sentenced to whipping at the stake, branding, and hard labour. Fuelled by Manifest Destiny, the American government dictated terms to the Mexicans in the Treaty of Guadalupe Hidalgo in 1848. More than two-thirds of the Mexican Territory was taken, and out of it the United States would carve California, Nevada, New Mexico, Arizona, Utah, Wyoming, and parts of Kansas and Colorado. Among all the major wars fought by the United States, the Mexican War is the least discussed in the classroom, the least written about, and the least known by the general public. Yet, it added more to the national treasury and to the land mass of the United States than all other wars combined.

After the conflict, so much new area was opened up, so many things had been accomplished, that a mood of self-congregation and enthusiasm took root in the United States. The deserters from the war were soon forgotten as they homesteaded and laboured in the gold fields of California or, as the 1860’s approached, put on the grey uniform of the Confederacy or the blue of the Union. Prejudice against the Irish waned, as the country was provided with a “pressure valve” to release many of its new immigrants westward. The story of the San Patricios disappeared from history.

For most Mexicans, solidarity with the Irish is part of a long tradition and they remembered the help they received from the Irish and their friendship. In the words of John Riley, written in 1847 but equally true today,

“A more hospitable and friendly people than the Mexican there exists not on the face of the earth… especially to an Irishman and a Catholic.”

Riley sums up what cannot be clearly documented in any history: the basic, gut-level affinity the Irishman had then, and still has today, for Mexico and its people. The decisions of the men who joined the San Patricios were probably not well-planned or thought out. They were impulsive and emotional, like many of Ireland’s own rebellions – including the Easter Uprising of 1916. Nevertheless, the courage of the San Patricios, their loyalty to their new cause, and their unquestioned bravery forged an indelible seal of honour on their sacrifice.

In 1997, on the 150^th anniversary of the executions, then Mexican president Ernesto Zedillo stated:

“Members of the St. Patrick’s Battalion were executed for following their consciences. They were martyred for adhering to the highest ideals…we honour their memory. In the name of the people of Mexico, I salute today the people of Ireland and express my eternal gratitude”.

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This article first featured on the Latino Rebels web-site here. Michael Hogan is the author of 20 books, including the Irish Soldiers of Mexico, one of the major historical works on the San Patricios Battalion which encompasses six years of research in the U.S., Mexico, and Ireland. As a permanent resident of Mexico, he was the first historian to be granted complete access to Mexican archives and military records. His home page is www.drmichaelhogan.com and the Facebook page for the book and related videos, photos, maps and stories about the San Patricios can be found at www.facebook.com/IrishMex.

The little-known 1999 feature film One Man’s Hero tells the (again!) little-known story of the San Patricios. The plot centres around the story of John Riley, as played by Tom Berenger, who  commands the battalion, as he bravely leads his men in battle, and struggles with authorities on both sides of the border.

Country: Spain / Mexico / USA  Language: English / Spanish  Release Date:  8 October 1999

Director: Lance Hool  Writer: Milton S. Gelman

Stars: Tom Berenger, Joaquim de Almeida, Daniela Romo

Despite being a decent film and an mostly enjoyable couple of hours parts of the film are pure blarney so for an accurate account of the San Patricios, read The Rogue’s March by Peter Stevens, and watch the San Patricios documentary starting here in several parts.

As we said at the beginning Celtic-Punk is no longer just confined to the Irish and Celtic diaspora it has become truly international with bands represented on every continent of the globe. In the next few days though we will be reviewing our very first band from Mexico, Batallón de San Patricio. Their debut album takes influences from both Ireland and their home country to make something truly wonderful as well as unique. I hope you revisit these pages to check them and their album out. You can subscribe to the London Celtic Punks Blog by filling in the ‘Follow Blog’ box that will be either on the left or below depending on how you are viewing us. Cheers!

CLASSIC ALBUM REVIEW: THE CHIEFTAINS- ‘Celtic Harp’

COMES WITH A FREE DOWNLOAD

After 57 remarkable years as the world’s most influential and successful traditional Irish folk band, The Chieftains continue to explore new and unusual passageways for Irish music collaborating with some of modern music’s fastest rising artists, reinterpreting for old and new generations alike, what the music means today while hinting where it might lead tomorrow. Here on Celtic Harp they lead a tribute to the work of Edward Bunting with the Belfast Harp Orchestra.

The Chieftains are a traditional Irish band formed in Dublin in 1963, by Paddy Moloney, Sean Potts and Michael Tubridy. Their sound, which is almost entirely instrumental and largely built around uilleann pipes, has become synonymous with traditional Irish music and they are regarded as having helped popularise Irish music across the world. They have won six Grammys during their career and they were given a Lifetime Achievement Award at the prestigious BBC Radio 2 Folk Awards in 2002. Some music experts have credited The Chieftains with bringing traditional Irish music to a worldwide audience, so much so that the Irish government awarded them the honorary title of ‘Ireland’s Musical Ambassadors’ in 1989. The band’s name came from the book Death Of A Chieftain by Irish author John Montague. Assisted early on by Garech Browne, they signed with his company Claddagh Records. They needed financial success abroad, and succeeded in this, as within a few years their third album’s sleeve note section was printed in three languages.

Paddy Moloney came out of Ceoltóirí Chualann, a group of musicians who specialised in instrumentals, and sought to form a new band. They had their first rehearsals at Moloney’s house, with David Fallon and Martin Fay joining the original three. The group remained only semi-professional up until the 1970s and by then had achieved great success in Ireland and the United Kingdom. In 1973, their popularity began to spread to the United States when their previous albums were released there by Island Records. They received further acclaim when they worked on the Academy Award-winning soundtrack to Stanley Kubrick’s 1975 film Barry Lyndon, which triggered their transition to the mainstream in the US. The group continued to release successful records throughout the 1970s and 1980s, and their work with Van Morrison in 1988 resulted in the critically acclaimed album Irish Heartbeat. They went on to collaborate with many other well-known musicians and singers; among them Pavarotti, the Rolling Stones, Sinéad O’Connor and Roger Daltrey.

In 2012, they celebrated their 50th anniversary with an ambitious album and tour. The album, Voice Of Ages, was produced by T-Bone Burnett and featured the Chieftains collaborating with many musicians including Bon Iver, Paolo Nutini and The Decemberists. It also included a collaboration with NASA astronaut Catherine Coleman playing the flute aboard the International Space Station as it orbited the earth.

The Chieftains- Kevin Conneff- Bodhrán, Vocals * Paddy Moloney- Uilleann Pipes, Tin-Whistle, Button Accordion, Bodhrán * Matt Molloy- Flute, Tin-Whistle *

Paddy Moloney is the band’s leader, and composes or arranges most of the band’s music. While the band’s members changed numerous times in the band’s early history, the membership solidified in 1979 when Matt Molloy replaced Michael Tubridy. From then until 2002, members included the current band of Paddy Moloney, Matt Molloy and Kevin Conneff and also Seán Keane (fiddle, tin whistle), Martin Fay (fiddle, bones) and Derek Bell (Irish harp, keyboard instruments, oboe). In 2002, Fay retired from active membership. In the same year, Bell died due to complications following a minor operation. Fay died on 14 November 2012. The band continue to play regularly around the world and are one of the headline acts at this years Liverpool Feis alongside such great and diverse acts as Shane MacGowan, Flogging Molly and The Undertones.

The Celtic Harp was released in 1993 and produced by head Chieftain Paddy Maloney. The Celtic Harp is essentially a showcase for the very talented harpist Derek Bell who handled all of the arrangements, as well as contributed harpsichord and tiompan to the proceedings. Fine solos from flute God Matt Malloy (‘Parting of Friends/Kerry Fling’), vocalist Kevin Conneff (‘Green Fields of America’), and pipe player Maloney (‘T’Aimse ‘Im Chodladh’) give the album a definite Chieftain feel, but The Celtic Harp belongs to Bell, who infuses each note with the subtlety and grace of a true master. Five of the tracks on this album were recorded in Frank Zappa’s home studio before he died with Kevin Conneff’s ‘The Green Fields of America’ being a personal favourite of his. Two months later, the album was completed in Windmill Lane Studios with The Belfast Harp Orchestra with whom they had played and recorded a very successful show in London’s Barbican Centre a few months previously. ‘The Celtic Harp’ won a Grammy Award for ‘Best Traditional Folk Album’ in 1994.

EDWARD BUNTING

Edward Bunting was born in February 1773 at Armagh, the youngest of the three children of a mining engineer at Dungannon colliery in Coalisland. In 1782 he went to live with his organist brother Anthony in Drogheda, continuing his musical education. In 1784 he moved to Belfast as apprentice to William Ware, organist at St Anne’s. There he rapidly demonstrated his musical talent, becoming deputy organist, and, although still a boy, coached many of Ware’s adult pupils.

Bunting lodged for the next thirty-five years in Donegall Street with the McCracken family. In 1792 a festival of the last of the great Irish harpers was held in Belfast in the Assembly Rooms (later Northern Bank), and Bunting was given the task of copying their music which he eventually published in three volumes. In the early years of the nineteenth century Bunting promoted several successful series of concerts in the town. St Anne’s was the only church in Belfast at that time with an organ, but in 1806 a second Presbyterian Church was built (demolished 1964) and, contrary to the usual practice in Presbyterian churches, an organ was installed. Bunting was appointed as the church’s organist. It was here that in 1813 he organised a great music festival at which a large portion of Messiah was performed for the first time in Belfast. In 1819 he married and moved with his wife to Dublin. He was organist at St Stephen’s, and later also a partner in a music warehouse. In 1827 he secured a well-paid position as organist at St George’s.

Although he was an intimate of the major figures in the Society of United Irishmen of the period, Henry Joy McCracken, Thomas Russell and Wolff Tone, Bunting avoided political entanglements. Without Bunting’s work our knowledge of tunes and techniques would be immeasurably poorer. Bunting’s own musical abilities were considerable. In 1795, on Wolfe Tone’s last night in Ireland, his rendition of ‘The parting of friends’ reduced Mrs Tone to tears. On 21 December 1843, mounting the stairs at home, he suffered a heart attack and died within an hour. He is buried at Mount Jerome cemetery in Dublin.

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THE HARP – NATIONAL EMBLEM OF IRELAND

The harp is one of the oldest musical instruments in the world and also the national emblem of Ireland.

It is believed the harp was introduced to pre-Christian Europe by the Phoenicians who brought it over from Egypt as one of their international trading goods. The oldest surviving Celtic harps date back to the 15th century but the music of the harp has been an important emblem to Ireland since the 10th century.

In the days of the old chieftains harpists were held in high regard. Stories were often told to the music of the harp and it encompassed the spirit of the country. Harpists used to travel the country of Ireland performing their folk songs and stories for the public.

The most famous of these was the blind harpist, Turlough O’Carolan. His compositions are still popular today through the work of groups like The Chieftains and Planxty.

In the 16th century the music of the harp was seen as such a threat that The British Crown attempted to crush the Irish Spirit by ordering all harps to be burnt and all harpists executed. It was almost 200 years before the music of the harp was freely enjoyed in Ireland once again.

In 1792, a festival was set up in an attempt to bring back the almost extinct tradition of the harp. Only 10 harpists attended. A young organist named Edward Bunting was hired to notate the harp music at the festival.

Bunting’s transcripts are the oldest records of traditional Celtic harp music in existence as it was the tradition to hand down the music orally through the generations. Sadly, with the harp being banned for so long, most of the music was lost.

Today the image of the harp as a national symbol of Ireland is almost as well recognised as the shamrock. It appears on the Irish Euro coins and is the logo for Guinness, considered by many to be Ireland’s national drink.

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CLASSIC ALBUM REVIEW: THE DUBLINERS- ‘A Best Of The Dubliners’

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The Dubliners are without doubt the best known band in the Celtic music world. Formed in 1962 their first hit single ‘Seven Drunken Nights’ launched them into international stardom. Non stop touring and a stint with The Pogues ensured that the popularity of their music never ebbed. Without them it is highly debatable whether or not celtic-punk would have ever come about as Shane McGowan himself has said.  The Dubliners- The first and original celtic-punk band.

The Dubliners, now one of the most legendary bands in the world, started off in O’Donoghue’s pub in Dublin in 1962 under the name of The Ronnie Drew Folk Group. Then they were four, Ronnie Drew (vocals and guitar), Luke Kelly (vocals and 5-string banjo), Barney McKenna (tenor banjo, mandolin, melodeon and vocals) and Ciaran Bourke (vocals, guitar, tin whistle and harmonica). In 1963, they played a gig in Edinburgh where they met the head of Transatlantic Records, Nathan Joseph, for whom they started recording. In 1964, Luke Kelly left, and Bobby Lynch (vocals and guitar) and John Sheahan (fiddle, tin whistle, mandolin, concertina, guitar and vocals) were added. When Luke Kelly returned and Bobby Lynch left in 1965, we have what is considered as the original Dubliners, five individualists, five men whose talents were mixed together in a superb blend and just wanted to play and have a good craic. If they only knew what was awaiting them!

Ronnie

Barney

John

Luke

Ciaran

In 1967 their major breakthrough came as a result of a coincidence. Their song, ‘Seven Drunken Nights’ which was recorded in one take, was snapped up by a pirate radio station which started playing it along with the Beatles, the Mamas and the Papas, the Who, Kinks and Jimi Hendrix. Suddenly, The Dubliners were a major band, playing all over the world, getting into the charts, and receiving gold discs. Not what you expected from a bunch of hairy people who as Colin Irwin in the reissue of Live at the Albert Hall says

“looked like they’d just been dragged out of a seedy bar via a hedge (backwards) and dropped on London from a very great height”

The seventies started like the sixties ended – wilder touring, drinking and playing. They started doing regular tours, and they were still recording, of course. Then, in 1974, Ciaran Bourke collapsed on stage with a brain hemorrhage, which eventually led to his death. He first, though, recovered remarkably and was back on stage with The Dubliners, but collapsed again. At the same time, Ronnie decided to take a break, and Jim McCann took his and Ciaran’s place in the group.

In 1979, Ronnie decided to make a comeback as a member of the group, although he probably never really left it. In the five years, he had recorded two solo albums, and The Dubliners three albums. With Ronnie returning, Jim left, and The Dubs were almost back where they started. Then Luke Kelly became ill, he collapsed on stage with a brain tumor, for which he received surgery several times. He too, made remarkable recoveries, and went on touring with the Dubliners, at the same time continuing his wild and unhealthy lifestyle. Sean Cannon, a long time friend, stepped in for Luke, when he couldn’t be on stage. Sean’s appearance wasn’t that well received by the audiences at the beginning, but he has later turned out to be an important addition to The Dubliners, and their repertoire. In 1984, Luke Kelly died, but The Dubliners, now with Sean Cannon as a member, decided to keep on.

1987 turned out to be one of the best – and busiest – years for the Dubliners. Their long time friend, and guest musician, Eamonn Campbell, brought the group together with the Pogues on the hit single ‘The Irish Rover’. This single took the Dubliners back to the charts, and also gave them a completely new audience; people who weren’t even born when The Dubliners started off. And with Dublin celebrating its millennium in 1988, The Dubliners also received more attention than for years. Eamonn Campbell joined them on regular basis, a move that has turned out to be one of the most important in their history. In 1988 Ciaran Bourke died, after years of pain and difficulties. He always was, and still is very much remembered by The Dubliners, just like Luke Kelly is.

The eighties finished off with rumours that The Dubliners were to retire, probably something that’s always been following the group. However, they didn’t, and celebrated their 30th anniversary in 1992, with a double CD and extensive tour. The nineties brought a tour video from the German tour 1995, and the “shock” news that Ronnie Drew was leaving. He left in December 1995, after releasing a superb album, Dirty Rotten Shame a few months earlier.

Now, even the most optimistic Dubliners fans thought it was the end, but the lads decided to convince Paddy Reilly to join them, and they continued their busy touring and recording schedule. This move has also turned out to be excellent. Paddy, not very well known in Europe, had never been touring there, so he too enjoyed the experience, as well as being part of a band. He still, though, does tours in the USA in the winter and summer months. In 2002, they temporarily reunited with Ronnie Drew and Jim McCann, for their 40th anniversary tour but sadly after the tour, Jim McCann was diagnosed with throat cancer and, though he fully recovered, his voice was severely damaged, and has not been able to peform since his illness. Despite this, he regularly acts as MC at folk gigs, notably at The Dubliners reunion shows, and at the 2006 ‘Legends of Irish Folk’ shows (where he also played guitar in the finale).

Leader and legend Ronnie Drew passed away in 2008 meaning the end of the original Dubliners. Before he passed though he recorded with The Dropkick Murphys in a memorable version of ‘Flannigan’s Ball’ therefore passing on the baton to the only group comparable to them in what they mean to the Irish diaspora.

It was The Dubliners (and The Clancy Brothers And Tommy Makem who will be next in our series) pioneered the way for untold number of bands from Ireland and for Celtic music, like the Chieftains, the Pogues, U2, the Fureys and so on. The artists that list The Dubliners as one of their major influences and idols is endless. They brought folk music to millions of people all over the world, people who never otherwise have been interested at all. That isn’t only because of the music, it’s because of The Dubliners, their astonishing voices, their indescribable instrumentals, the wild life style and drinking, late sessions, their enormous beards, their extensive touring, their charisma and their characters. It was, and still is to a certain extent, a blend the world will never see again. The Dubliners brought Ireland to the world in a way that emigration hadn’t, they have brought the world to Ireland, and they have brought people all over the world closer together. When it ended, the world was never going to be the same again.

The Dubliners 1962-2012
Over the 50 years there were 12 people in The Dubliners.  Ronnie Drew (’62-2008), Luke Kelly (’62-84) , Barney McKenna (’62-2012), Ciaran Bourke (’62-74), John Sheahan (’64-2012), Bobby Lynch (’62-65), Jim McCann (’74-79), Sean Cannon (’82-2012), Eamonn Campbell (’88-2012), Paddy Reilly (’96-2005), Patsy Watchorn (2005-12) and Gerry O’Connor (2012).

The surviving members of the group – Sean Cannon, Eamonn Campbell, Patsy Watchorn and Gerry O’Connor, except John Sheahan, are still touring in 2014 under the name The Dublin Legends.

The Dublin Legends 2012-

After the departure of John Sheahan and the official retirement of the name The Dubliners in late 2012, the remaining members of the group – Seán Cannon, Eamonn Campbell, Patsy Watchorn and guest musician Gerry O’Connor – formed a folk band called The Dublin Legends to keep The Dubliners’ legacy alive. The band released their first live album entitled An Evening With The Dublin Legends: Live In Vienna in January 2014. They continue to perform extensively and you can find their web site here.

Tracklist:

1. The Wild Rover (2:50)
2. Medley: Doherty’s Reel / Down The Broom / The Honeymoon Reel (3:36)
3. The Holy Ground (2:26)
4. A Parcel Of Rogues (4:21)
5. God Save Ireland (1:57)
6. A Nation Once Again (1:31)
7. Spancil Hill (4:03)
8. Molly McGuires (2:01)
9. The Old Triangle (2:55)
10. And The Band Played Waltzing Matilda (6:16)
11. Johnston’s Motorcar (1:50)
12. Seven Drunken Nights (3:23)
13. Black Velvet Band (3:18)
14. Free The People (3:08)
15. Van Diemen’s Land (2:15)
16. Dirty Old Town (2:59)
17. Medley: The Maid Behind The Bar / Toss The Feathers (2:18)
18. Lord Of The Dance (2:27)
19. All For Me Grog (2:24)
20. Whiskey In The Jar (2:47)

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The Dubliners On The Internet

OfficialDublinersSite  TheDubliners  It’sTheDubliners

“They brought folk music to millions of people all over the world, people who were converted to their charm. That isn’t only because of the music, the instrumentals or the stories, it’s because of The Dubliners, their astonishing voices, their indescribable instrumentals, the wild life style, the drinking, late sessions, their enormous beards (I even tried to copy them in the 70’s), their extensive touring, their charisma and the enigmatic characters. It was a blend the world will never see again.  It was an entire package that invented the word unique. How do you top that?Every artist in the world is trying to achieve success by getting their ‘sound’ and being unique.  The Dubliners did it”  –Robert Tallent

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 and hidden and sometimes forgotten gems from the legends that have inspired and provoked folk music and musicians right up to modern celtic-punk music. Usually out of print so we can provide a free download link for you.

VARIOUS ARTISTS- ‘People Take Warning! Murder Ballads And Disaster Songs 1913-1938’ (2007)  here

EWAN MacCOLL -‘Bad Lads And Hard Cases: British Ballads Of Crime And Criminals’ (1959) here

EWAN MacCOLL AND PEGGY SEEGER – ‘The Jacobite Rebellions’ (1962)  here

VARIOUS ARTISTS- ‘Don’t Mourn. Organize!- Songs Of Labor Songwriter Joe Hill’ (1990)  here

LEADBELLY- ‘Easy Rider’ (1999)  here

VARIOUS ARTISTS- ‘The Little Red Box Of Protest Songs’ (2000)  here

GIL SCOTT-HERON- ‘The Revolution Will Not Be Televised’ (1974)  here

EWAN MacCOLL- ‘Scots Drinking Songs’ (1956)  here

VARIOUS ARTISTS- ‘Protest! American Protest Songs 1928-1953’  here

VARIOUS ARTISTS- ‘Women Folk- Iconic Women Of American Folk’  here

VARIOUS ARTISTS- ‘The Greatest Songs Of Woody Guthrie’ (1972)  here

ALBUM REVIEW: UNCLE BARD AND THE DIRTY BASTARDS- ‘Get The Folk Out’ (2014)

Italian celtic folk n’ roll from Büsti Grandi (Craggy Island)

Long, long, long before hordes of Polish workers settled in Ireland it was the turn of the Italians who flocked to the dear auld sod. High wages, plenty of regular masses and the, now long deceased, ‘celtic tiger’ promised good opportunities for all that came. Among those Italians were members and friends of the band Uncle Bard And The Dirty Bastards. With good mates in Ireland they saved the money and began to visit them regularly. Here’s how they put it

“Anyway, during those years we started collecting money and traveling once a month to Ireland, to meet old friends living there and spending the weekends rambling around and enjoying Irish music, culture and people. 

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

So in 2007 the boys got together and with just a handful of songs set out on the path that would lead them all over Europe playing with not just the celtic-punk scene’s best bands but also some of the traditional scene’s as well. From dingy wee pub backrooms to rock festivals to mountain huts the bands brand of Italian celtic-punk has gone down an absolute storm everywhere they have set foot.

Back in 2012 after the release of their first album ‘Drinking Not Thinking’ they set out on a busking tour of Ireland, Wales and England  joining local musicians singing old-time stories on street corners. Returning home they were joined by world renowned Irish folk musician Luca Crespi who added uilleann pipes, tin whistle and the Irish flute to the bands repertoire. ‘Up The Bastards’ EP followed last year which brings us nicely up to date with the recently released album ‘Get The Folk Out!’.

The band members are Guido Domingo- vocals, acoustic guitar, bodhrán Lorenzo Testa- tenor banjo, mandolin, vocals, spoons Luca Crespi- tin whistle, uilleann pipes, Irish flute Silvano Ancellotti- electric and acoustic guitar, coarse vocals Uncle Bard- bass guitar, lamenting vocals and Francesco Fabris on drums. Lorenzo is the band’s main songwriter but most of the group have also written a song or two and all contributed to the songwriting process.

(from left to right): LUCA, LORENZO, FRANCESCO, GUIDO, SILVANO, ROB ‘Uncle Bard’.

The album is in fact a masterpiece. It straddles nicely both Irish trad and celtic-punk and easily fits into both genre’s. The addition of uilleann pipes moves the bands sound into something quite incredible. From the very start of the album as soon as ‘The Road’ kicks in with tin whistle and vocals soon joined by a whole host of Irish instruments showing that Uncle Bard And The Dirty Bastards surely know their onions. The following ‘Black Sheep’ is a bit more celtic-punk and more reminiscent of the Molly’s or The Tossers.

Normally we would try to give you a real feel for the album by going through all the tracks and giving you a wee description of each one but there’s not much point with this as it would just say “absolutely fecking brilliant” after each track title. As hard as it is to pick a few standout tracks on this amazing album ‘Green Shamrock Shore’, is one of them, about the death of the celtic tiger and the beginning of the end of Ireland’s boom years and sadly the end of Rob’s time in Ireland. A track laced with sadness but sung in that pint in the air way that fills both yer heart and yer ears. Even more incredible than the high standard of the music is that its mostly their own work too. Only two tracks are covers ‘The Raggle Taggle Gypsy’ and the Man In Black’s ‘Ring Of Fire’, both of which are suitably twisted and turned by the band into something new and fresh and as far away from bog standard covers as could be possible without changing both the words AND the tune! Influences abound from Planxty to The Chieftains to the aforementioned Tossers and Flogging Molly but Uncle Bard And The Dirty Bastards are pretty well unique in the Euro celtic-punk scene and deserve to be fecking huge worldwide. Hopefully this album will achieve that. ‘Blue Velvet Glove’ showcases Luca and his haunting expertly played pipes. The songs last only two or three minutes each but there’s so much going on its hard for this reviewer to keep up. ‘The Rambling Bhoys’ is typical of the album with a lovely tune, clear and well sung vocals with lyrics you can easily understand.

‘Skedaddle’ is another great example, fast- slow- fast- slow the perfect song for having a breather and catching your breathe on the dance floor in between going nuts, spilling yer pint and bashing into people. ‘I Only Got One Pint’ is another Uncle Bards classic as is the following ‘Off In The Jacks’. The album ends with ‘Be’ the longest track on the album and begins with just vocals and mandolin before the band kick in and fill the air with the swirling sound of brilliantly played slow tempo Irish folk.

With fifteen songs that come in at just under a hour, the CD also comes in a very nice digipak with a whopping 16 page booklet including the song lyrics, pictures of every band member and some excellent liner notes containing introductions to all the songs. Do yourself a favour and fork out the bit extra hard earned for the CD copy of the album, you’ll not be disappointed.

Been playing this on repeat and from that very first moment it stills sounds as fresh as it did on that very first play. From the first few bars I realised I had come across something special. This is already my celtic-punk album of the year and I doubt they’ll be one better along anytime soon. The boys have an extraordinary feel for playing Irish music and I can honestly say I have never heard a non-Irish band sound so authentically Irish. I will be playing this for a long time yet and i simply cannot recommend enough that you get yer mitts on this album. If you don’t think it is “absolutely fecking brilliant” as well then you really have no place coming here!

So there they are, seven years and counting… still roving, still playing. And surely we can be grateful… too old to stop now!

Discography

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

Contact The Band 

Facebook  WebSite  Twitter  ReverbNation they have some pretty amazing videos too over at YouTube

Buy The Album

Compact Disc- From The Band  Download- Amazon  iTunes  

the ever always excellent Spanish blog ‘Celtic Folk Punk And More’ also wrote a review of the album here.