Tag Archives: The Pogues

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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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

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: Всё_CRAZY- ‘Мокрые слухи’ (2017)

no nonsense no frills just straight up fantastic celtic-punk from Belarus.

We been big fans of Всё_CRAZY (in English- ‘All Crazy’) for a while and Мокрые слухи is their second album and comes only a year and a couple of months after the release of their debut album По Морям. That album was reviewed on these pages here and we had this to say back then

“They have taken celtic music and added their take on it and made something really interesting. We have waxed lyrically before about how wonderful we find it that celtic-punk has gone international over the last few years. Gone are the days when celtic-punk was solely played in the places where the Irish or other Celts settled and these days some of the best bands in the scene are not only from Canada or Australia or the USA but place like Belarus or Indonesia or Brazil. They deserve a fair hearing and we really hope you give them a try you won’t be disappointed.”

The album also landed in the London Celtic Punks Best Album Of 2015 and received favourable mentions across the worldwide celtic-punk media.

left to right: Aliaksandr Hliakau – bass/vocals; Nikalai Kavalikhin – drums; Liudmila Navakouskaya – mandolin; Aliaksandra Halkouskaya – vocals; Sergey Lesnevskiy – accordion; Eugene Rakhanski – guitars; Anton Sirotin – guitar/vocals; Alexey Voryvodsky – sound engineering

Всё Crazy hail from Belarus which up until 1991 was part of the Soviet Union and is bordered by Russia to the north east, Ukraine to the south, Poland to the west, and Lithuania and Latvia to the north west. They come from the capital city Minsk and has a tragic past. During WWII Belarus was devastated losing about a third of its population and more than half of its economic resources. Of course after the war came occupation by the Russians but the government and people remain on friendly terms with many speaking both Russian and Belarusian.

(Brand new concert video. Great quality and contains a good few songs from the album)

So why then have these band of merry souls decided to take up the music and culture of another country with a tragic past on the other side of the continent? Well Alex from the band told me

“We began celebrating St. Patrick’s day in our country about 10 years ago, it was a new experience for us. We found that Irish people have a lot in common with Belarusians, for instance, drinking a lot and eating potatoes! The same similarity we found between Celtic and Slavic folk tunes. Altogether, it resulted in the music we play today”

Belarus is a land locked country and again as on that debut album there is an inescapable longing both for the sea and alcohol as the two driving forces of the Belarusian people. No wonder they feel at home singing Irish tunes! The title of the album translates as Wet Rumors which is a local phrase for telling someone what they want to hear. Released just a couple of weeks ago it’s not been plain sailing for the band with the inevitable loss of band members as you get more popular and get offered more gigs and touring becomes a necessity. The mandolin player went on maternity leave but can still be heard on this album and two new instruments (violin and flute) appeared as one musician as Inna Perasetskaya-Malakovich joined the ship.

The album launches with ‘Liudmila’ which is a cover of a song by American folk-punk band Harley Poe. Never having heard of them I thought I would check them out and they were OK I suppose but not a fecking patch on Всё_CRAZY!! Hard as nails folk with the punk kept slightly in check and heavy on the accordion. A right knees up of a song with vocals, as on the entire album, sung in Russian but have a real nice sound to them. if you are the kind of person that is put off my celtic-punk not being sung in English then you in the wrong place. Next up is ‘The Factory’ and the first self-penned number. Have to say there is a nice balance of covers here among the bands own material and some interesting ventures within the song and all done with a great deal of style. One thing is for certain these are definitly not straight covers. ‘The Factory’ is about the limitations of man and his attempt to escape his problems through alcohol. A vicious circle. Most of the music here is joyful but there’s a slight menace here. ‘Wet Whores’ is really part one of a song where the second part follows later on in the album. The songs are getting faster and more and more punk is slipping in all time. ‘Mom’ follows and is a cover of a Black Rebel Motorcycle Club song but never having been a fan of them I can’t tell you much except I don’t think they were a folk-punk band and so it seems to me that Всё_CRAZY’s version walks all over there’s. The band have stamped their brand all over it as the song begins as a dirge, Slow and mournful before changing halfway into a upbeat tune with lovely male/female vocals and a gang chorus to die for. The familiar sound of ‘Ghost Riders in the Sky’ makes an appearance and takes us into the albums first traditional celtic-punk tune ‘Over the Mountains (Bugger Off!)’. They do a grand version of The Real McKenzies song and the trad elements are a mixture of Slav and Celt and sound brilliant. Another trad song next and ‘Tired Me Out, Bastards!’ originates from the bleak lives of prisoners in the harsh existence in Siberia. We first became of Всё_CRAZY on the release of the fantastic Tribute To The Pogues compilation that came out in 2015. with twenty-seven bands from over a dozen countries it was hard to spot the standout tracks but their cover of the Jem Finer and Andrew Ranken penned ‘My Baby’s Gone’ was easily among the best tracks on the album. Taken from the underwhelming post-Shane album Waiting for Herb it was a brave choice of Всё_CRAZY to go with one of The Pogues lesser known songs but it completely worked. (Follow the link here to get a free download of Tribute To The Pogues)

(Всё_CRAZY re-recorded the song for the album but here’s the sweary version!)

Unsurprisingly it’s my favourite song of the album. Great m/f vocals again and mandolin and guitars work perfectly together. The unsuccessful search for the road to the sea is next in ‘Road To The Sea’ and is a reference to the topic of death and frailty of all things. You can hear the bones of a sea shanty here in a song that lasts over five minutes. Rather surprisingly the band actually formed in 2002 playing all sorts, from reggae to blues rock. Multiple lineup changes saw the band not settle until the release of an album ‘Телипыч’ (‘Telipych’) which became a turning point for the band. The end of that chapter and they changed course, lucky for us, to celtic-punk. The next track ‘Motorped’ was written back in 2002 but unexpectedly suited the concept of the album, and therefore got a place here. Another corker and another knees up with a hint of bluegrass/country wrapped inside. Nearing the end of the album and ‘Babe On The Shore’ keeps the catchiness and gang vocals going with flute taking the lead here. The final song here is another cover but ‘Some Day (When the Saints…)’ is anything BUT a straight cover and I would bet my house on it being a fan’s live favourite. The song lasts over six minutes and takes in several genres in a kind of well played mayhem.

So I can only give you my opinion on the music and what I have managed to piece together regarding the meaning of the songs. The upbeat sound here belies that many of the songs are permeated with a sorrow. Something else the Belarussians have in common with the Irish so. The violin, whistle/flute and accordion feature strongly here but is well balanced by the guitar. A very interesting album and the mix of folk styles from their home country and ours added to good ol’ fashioned punk rock makes for some absolutely great music.

( you can hear Мокрые слухи below by pressing play on the Bandcamp player before you buy. It’s only $3 so go on and splash the cash!)

Buy Мокрые слухи

Bandcamp  FromTheBand-FreeDownload  iTunes

Contact Всё_CRAZY

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ALBUM REVIEW: RESTLESS FEET- ‘Homeward Bound’ (2017)

German celtic-punk band Restless Feet’s second studio album playing fast Irish folk from Traditionals to more asskickin‘ stuff about sailing far away and returning home.

In a genre that most music fans would probably think of as being extremely small its heartening when you come across a band that you think is new only to find out they have been around a while and this is not their debut album as originally thought. That after all is a sign of a very healthy scene and long may it continue that I don’t know every band out there!

Restless Feet originate from the beautiful old town of Freiburg in the south-west of Germany and were in fact formed back in November, 2011. Their debut album Almost Irish contained seven tracks of which but two were covers but did contain the amazing track ‘Empire Of Gold’. If I had come across this song back then then I can tell you with all certainty that I would have been following them ever since.

The mini-album also contained a couple of Breton songs showing that Restless Feet know their onions and were not content to just rattle out the old favourites. That’s not to say they can’t play the old faves as it also contained a couple of Irish folk standards but it set the pace for their following album, which was about to hit the streets over three years later, just in time for St Patrick’s Day 2017.

I have mentioned on this site before the special affinity that German’s hold for the Irish. 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 has got to be between us and the Mexicans aint it? Here Restless Feet offer up six self penned tracks and seven carefully chosen covers that go to show that the German love for Erin still shines strong and shows no signs of abating either.

Homeward Bound begins with ‘I Hold Sway’ and gets proceedings off to a great start. All acoustic but with a real punk rock feel. The Irish/celtic sound is supplied by the energetic fiddling of Marcy and Kai on tin whistle and banjo while the rest of the lads, Maggu, Arthur and Alex, supply a steady and sturdy back drop.

(the first single and official video released from Homeward Bound)

Fast and over in a flash and leads into ‘The Cabin’ a very short accordion number used as the intro to the following song ‘Wake’s Souvenir’. Slowish but still tuneful and catchy that speeds up in the middle and its not often you will hear an acoustic guitar being thrashed so loudly! Many Euro celtic-punk bands include flute and I was a late convert to the idea but here, as it usually does, it sounds fantastic.The first cover is ‘The Shores Of Botany Bay. First time I ever heard this was by the legendary Irish folk band The Wolfe Tones and Restless Feet do it justice with a wee Irish trad tune slapped into the middle making it extra bit special. Restless Feet have two main vocalists and they slip from song to song so forgive me for not which is Kai and which is Maggu. They both sing in a distinct German style with the accent strong but at the same time absolutely clear as crystal and while the CD does come with the lyrics included you don’t need them at all. ‘Sailor’s Yarn’ is a great tune with superb fiddle and backing gang vocals. In the search for the song that represents celtic-punk the following, ‘Waste My Throat (On Irish Folk)’, song is a worthy contender. A real footstomper and one for the crowd to join in with cries of “yeah” peppered throughout. Would have maybe perhaps benefited from some driving electric guitar but still a album high point. Restless Feet next show us that their is more to their band than just punked up folk songs with ‘Tuneset’ which is in fact two and a half minutes of full on Irish trad folk with three superb reels- ‘Irish Washerwoman’, ‘Cooley’s Reel’ and ‘Maid behind the Bar’. Banjo, fiddle and flute giving the impression that what you got here is a trad band not an actual celtic-punk one. Next we have ‘Greenland Whale Fisheries’ which I am sure most of you will know as it has been covered by most bands between The Dubliners and The Pogues and has even been taken as a name for one of the celtic-punk scene’s most popular bands. Now I love this song but would have preferred something a little more off the map but we have to remember that to audiences not accustomed to Irish music this is a song that will get people off their bar stools and up jigging. On that first album Restless Feet showed they weren’t adverse to playing the odd rebel song and here they serve up the glorious ‘The Boys Of Wexford’. The song commemorates the Irish Rebellion of 1798 and, more specifically, the rebellion in Wexford.

“We are the Boys from Wexford
Who fought with heart and hand
To burst in twain the galling chain
and free our native land”

Made famous by The Clancy Brothers and The Wolfe Tones its a great version and sure to get the blood pumping of any freedom loving patriot. The last self penned number is ‘The Ballad Of Johnny Doran’ and bejaysus it’s an absolute corker. Loved it. Slowish and catchy with the backing minimal and the fecking brilliant chorus telling of a traveller’s life.

“I’m the Everywhere Man, slán and I’m gone”

The album standout and not just for me either (see the review on Celtic Folk punk here). We are back in Pogues/Dubliners territory again next with version of ‘The Irish Rover’ and not much to add but its as good as you will hear and the Bhoys stick fairly close to that most famous version. We are shipping up to shore and I feel I really must take off my hat and salute Restless Feet for including ‘By Memory Inspired’ here. Growing up with Irish music I thought I had heard just about every rebel song but this had passed me by. Again it’s a song commemorating the Irish Rebellion of 1798. Slow and quiet and beautifully played and sung from the heart.

“By Memory inspired And love of country fired, The deeds of Men I love to dwell upon”

The tragic defeat of that rebellion is remembered and the brave men who gave their lives names are sung with a poignancy that many Irish bands could learn from. Daniel O’Connell, William Orr, John Mitchel, John McCann, John and Henry Sheares, Fr Thomas Maguire, Robert Emmet, and others are recalled. Homeward Bound comes to an end with ‘Rolling Down To Old Maui’ and I was actually dreading another acapello version of this but the Bhoys turn it into a great tune with brass instruments and superb fiddle turning it into one of the best versions I have heard straight up!

So forty minutes of class acoustic Irish folk punk from a bunch of Germans with a real feel for what they are playing. Whether it’s playing their own material, classic Irish standards or even lost and forgotten gems of Irish folk, Restless Legs are a great addition to the celtic-punk scene and to landlubbers everywhere. With recent gigs supporting some of the scene’s biggest bands, including our own Ferocious Dog, the future is looking very bright for them.

Buy Homeward Bound

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ALBUM REVIEW: BLACK IRISH TEXAS- ‘The Good, The Bad And The Indifferent’ (2017)

Black Irish Texas are not just another Irish punk band. They may be influenced by the giants of the scene but this seven piece brings plenty more to set them apart. With Guinness fueled lyricism Black Irish Texas navigate you between psychobilly and Texas two-step all in one show. With a new album to promote they are touring Europe later this year so I hope you’ll be lucky to catch them.

Now long, long ago before there was Facebook existed a thing called My Space. It was similar in many ways and took off in a way that nothing before it had ever done before. Music orientated it introduced us to bands across the globe who you would never knew even existed. Sadly it was bought by Rupert Murdoch and his massive media empire who from the go set about messing around with the format and ended up destroying it and so everyone left in dribs and drabs and migrated to Facebook which had stolen all the best bits of My Space and well the rest is history. I mention this because the first band I found on my first ever computer on my first visit onto My Space was Black Irish Texas. A bunch of songs that took in all my favourite genres of music and chewed them up and spat back out some of the best music I had ever heard. Psychobilly, punk, Irish, Americana, country all flow through their music and combined with the intelligent and thoughtful and often hilarious lyrics I knew this band was going to be a favourite of mine for a LONG time.

The band hail from the fastest growing city in the Unites States, Austin in Texas. It’s an area famed for it’s vibrant and exciting music scene that has spawned such luminaries as Buddy Holly and Roy Orbison in the 50’s and 60’s through to the hippie days and then punk bands like The Dicks and MDC in the 70’s. More recently it’s been mainly college rock and indie being churned out. In fact the official Austin slogan is ‘The Live Music Capital of the World’ and emerging out of that highly competitive music scene comes Black Irish Texas.

Formed in 2004 and with untold amount of line up changes and trials and tribulations. So many in fact that I have often thought the band were no more but again and again they kept cheering me up with their return. Their debut album To Hell With The King released in 2009 was just about the most perfect celtic-punk album I had heard at the time. Spaghetti western/Americana/punk infused Irish American music that still now feels completely fresh and original. A mixture of brilliant originals and some choice covers of The Pogues and a couple of trad songs, ‘Rocky Road To Dublin’ and an outstanding ‘Come Out Ye Black and Tans showed they were a force to be reckoned with. With a welcome (hic!) sponsorship from Jameson Irish whiskey and growing local support Black Irish Texas began to play further afield and within a few years they had covered most of America gaining devout followers everywhere they ventured.

To Hell With The King was followed by the six track EP An Ode To Saint Cecilia in 2013 and again was received with tremendous reviews. St Cecilia is of course the patron saint of musicians so who better to have on your side in the world’s most competitive music city. Another album followed with Lifetime Problems and Short Term Solutions but as i haven’t heard that one (hint hint) I cannot tell you anything about it!

(here’s the title track from An Ode To St. Cecilia)

Now with a settled line up of some of Austin’s best musicians and with a European tour on the horizon which will take them across Europe as well as back to their ancestral home in Ireland (but alas won’t see them coming to play here in the belly of the beast) things have never looked rosier.

So the new album hits the floor running and shows Black Irish Texas have lost none of their flair for interesting and original Irish music. After all it is Irish music that underpins everything they do. Whatever they throw in that mix at the base of it all is the music of Ireland but distilled through a bunch of Irish-Americans with a list of influences as long as your arm. The Good, The Bad And The Indifferent (great title by the way) begins with ‘G.B.U. Theme’ and is the Black Irish Texas take on the unofficial anthem of their home state. A spaghetti western tune played nice and slow but with tin whistle. They up the tempo next with ‘Ain’t Gonna Last’ and vocalist/guitarist James has a natural voice for celtic-punk and veers nicely between singing and shouting.

(the official video for ‘Ain’t Gonna Last’)

Over in a flash of just 102 seconds it’s fast and furious with the band going at full pelt. Black Irish Texas have never shied away from playing the odd rebel song and it’s no different here with one of the best appearing. ‘Join The British Army’ is a old trad Irish folk song dating right back to Victorian times and concerns a young Irishman who regrets his decision to volunteer for the British army.

“Too-ra loo-ra loo-ra loo,
Me curse upon the Labour blue,
That took me darlin’ boy from me,
To join the British army.

Corporal Sheen’s a turn o’ the ’bout,
Just give him a couple o’ jars o’ stout,
He’ll bate the enemy with his mouth,
And save the British army.

Too-ra loo-ra loo-ra loo,
I’ve made me mind up what to do,
Now I’ll work me ticket home to you,
And fuck the British army”

Now regular readers will know that as much as I love it speedy I’m now getting on a bit and slowing down. Those 8-hour gardening sessions are a thing of the past without a few days recovery so I loved ‘Richcreek’. A slow and ponderous celtic/country instrumental led by the banjo with very nice backing from the rest of the band until the fiddle comes in late on. I love this song, right up my street. The Bhoys turn it on its head next with ‘Yates’. Another top notch song, great guitar and thundering double bass and dynamite banjo and fiddle. One of only a few bands in celtic-punk who use a double bass and boy (or should that be Bhoy) does it work well. The sound is incredible and when played well as it is here by Shannon McMillan then it can make a mediocre song brilliant. Not that Black Irish Texas have to worry about that. James comes in at the end with some vocals but by then the Irish tune has got hold and it is flying. ‘No One’s Having Any Fun’ starts slow with that western feel to it again but soon speeds up and sets Trump in their sights. Most of the anti-Trump protest’s we see are usually of very rich people whining about white privilege (sorry idiots it doesn’t exist) but these guys are actually working class and their protest is sincere and real and not designed to upset their parents or assuage their guilt at being rich. They cover the famous anti-war track ‘And The Band Played Waltzing Matilda’ next and play it with a gusto that I haven’t heard with this song before. Eric Bogle’s legendary tune takes in folk and rockabilly and while it does seem strange to hear this song in a way you could mosh to it’s still very respectful and James reciting of the lyrics are very clear throughout. The album ends with the imaginatively titled ‘Don’t Too Ra Li To Me’ and they save the best for last with every influence they ever picked up layered on top of an Irish/country tune. The bands famous sense of humour has been missing up till now and they more than make up for it here. Imagine a Irish folk punk  hoe down with James spitting out line upon line that will make you smile and/or shout yourself hoarse!

(here’s a stripped down concert at The Hideaway, Johnson City, Tennessee Aug 2016 of the band playing some old faves and some new album tracks)

So there you are. Eight songs that come in just short of a half hour and every single one a bona fide winner! Black Irish Texas are dead right when they say we should NOT try and pigeonhole them as an Irish pub band. And while it may be (!) possible you will hear them singing ‘Danny Boy’ one day i can guarantee it will be the best fecking version you will ever hear of it. In these times of uncertainty the Irish-American community is safe with bands like this at it’s forefront. Some of the most original celtic-punk music I have heard this year and as 2017 is shaping up as the scene’s busiest ever year that is some compliment.

Buy The Good, The Bad And The Indifferent

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ALBUM REVIEW: JAMIE CLARKE’S PERFECT- ‘Hell Hath No Fury’ (2017)

New album from German based ex-member of The Pogues Jamie Clarke’s Perfect.

Pioneers and purveyors of Folkabilly Rock- rockabilly and punk mixed with a dash of Irish folk and a belly full of beer!

The name Jamie Clarke will be known to many of you due to his membership of a certain band in the 1990’s. Yes he was only a member of the bloody Pogues!!! Londoner Jamie grew up in London and happened to be in the right place at the right time being a teenager at the time of the original punk rock explosion in the capital sparking off a lifetime interest and involvement in music. Passing through many bands until he became Philip Chevron’s guitar technician while The Pogues were literally touring and conquering the world. In 1994 ill health forced Phil to leave the band and in the spirit of The Pogues they chose Jamie to replace him. Sadly this was also the time of Shane’s most wild excess and he soon left the band as well. Jamie played on the final Pogues album Pogue Mahone and wrote, what was always for me, the best song on the album ‘The Sun And The Moon’. On the break up of the band Jamie moved to Germany and formed Jamie Clarke’s Perfect, the band he’s been playing and recording with ever since.

Jamie Clarke’s Perfect left to right: Johnny Rebel- Bass * Pierre Lavendel- Banjo/ Mandolin * Jamie Clarke- Vocals/ Guitar * El Diablo- Drums. Accordion on the album- Andy Schnapps (not pictured)

With a slew of album releases behind them I have to make the confession that this is the first LP I have ever heard and I have been suitably impressed to want to check out the back catalogue as well. The last couple of years I have got bored with the seriousness of punk and started to listen to more and more rockabilly/psychobilly so I was more than pleasantly surprised to find Hell Hath No Fury laced with more than a little rockabilly alongside the folk, or as the band themselves call it- ‘folkabillie rock’.

The album begins with ‘Back From Hell’ and straight away one band popped into my head. With a very distinctive banjo and accordion sound it was early Blood Or Whiskey that leapt out the speakers at me. Even Jamie’s vocals reminded me of the original BOW vocalist Barney. Needless to say this ain’t a band that’s copying them as their sound is still incredibly original. Incredibly catchy opener and it don’t change throughout. This band got some real good tunes and considering how long they been going/how many releases they have that is some achievement. ‘Monster’ and the album’s first single ‘Change The World’ keep up the foot stamping and again excellent accordion/banjo stand out as well as Jamie himself.

The first sign of that Folkabilly Rock start to appear next in ‘On Your Feet’. I literally could not keep me feet still listening to this. Catchy (there’s that word again…) as hell with a great chorus and some great rock’n’roll banjo from ex-Frantic Flintstones guitarist Pierre. Several songs here also take in The Pogues and ‘Waking Down The Road’ is one of them while title track ‘Hell Hath No Fury’ nails their sound completely. One of the album highlights and a word here for Jamie and his vocals. As I already said he may sound like he has a sore throat and I do wonder how many fags a day he’s on! He sings with a real passion that while not overstating does in fact stand right out without you really noticing. In the old Irish traditional the voice as an instrument. His lyrics help of course as they tend to take up most of the length of the song. I Would have liked to have seen the lyrics as even though they are clear it is hard to keep up. ‘Eve Champagne’leads us up to the first cover and ‘La Bamba’ the old Mexican folk song made famous first by Ritchie Valens in 1958 and Los Lobos in the summer of 1987. Another solid number ‘Gun In My Hand’ leads us into a great Irish trad/rockabilly instrumental ‘Un Hoyo Es Un Hoyo’. We coming up to the end of the LP and the final three songs fly past in a flash of brilliance starting with the frantic ‘Rollercoaster’ while ‘Rockabilly’, not surprisingly, takes that rock’n’roll sound and plays it right up before Hell Hath No Fury ends with another album high point, ‘Protest Song’.

Thirteen great songs. Unlucky for some but not for us! The album clocks in at a very healthy forty minutes and shows enough individuality and originality to make sure it never drags or sounds jaded. Germany has a real love of alternative music and has produced many many great celtic-punk band psychobilly bands so it should come as no surprise that they have embraced a mixture of the two. After all it was only a few weeks ago we reviewed the new album from another German  band, Pitmen (here) who mix both genre’s to great acclaim. So with over twenty years behind them and thousand’s of gigs well done to them for putting out such a consistently great album that may veer off from celtic-punk in several directions but always keeps at it’s core the sound of celtic folk. Punk, rockabilly, psychobilly, celtic-punk and country all raise their heads here on an album I was completely taken aback from and I can’t understand why more isn’t known about this great band even within the celtic-punk scene.

Discography

Perfect Liar (1997) * Perfect Live (1998) * Sickly Men Of Thirty Or So (1999) * Live Too (2000) * Nobody’s Perfect (2002) * Live Free (20004) * Psychic TV- Single (2006) * You Drove Me To It (2007) * Fucking Folkabillie Rock (2010) * Beatboys (2011)

Buy 

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REVIEW: THE MOORINGS- ‘Unbowed’ (2017)

The Moorings. As recommended by The Dubliners!

An ultra-energetic French quintet delivering a fantastic mix somewhere in the middle between celtic folk and alternative rock.

So I was always told my auld fella that you should judge a man by the company he keeps. He used to say this to try and get me to stop hanging about with some rather unsavoury characters in my home town. If you can apply the same to bands then The Moorings are a band that any parent would be happy to see you associating with. They are basically the first port of call for any of the celtic-punk scenes major bands when they arrive in France and  are looking for supports. They have played with just about every decent sized band going and as says above recommended by The Dubliners. They have toured with just about all the greats of Irish punk from The Pogues to the Murphys to The Dubliners. Their last EP even had guest vocals from Frankie of The Rumjacks.

The Moorings (from left to right) : Anne Darrieumerlou- Violin/Vocal * Renaudet Matthieu- Bass/Vocal * D. Phil Jelly- Lead Vocal/Guitar * Didier Strub- (Ex-Drummer) * Nicky Sickboy- Banjo / Guitar / Vocal

Formed in 2011 in the small town of Sélestat in the north-west of France on the border with Germany The Moorings assent has been spectacularly quick and without even having released an album. Their debut EP ‘Pints And Pins’ from July 2011 introduced them to the wider celtic-punk world and received praise from all and sundry. Five mostly self penned tracks including the brilliant ‘Working Class’ which gave up plenty but promised so much more as well.

This was followed up with a live album La Cigale Unplugged. Again mainly self penned its eight tracks that show how good The Moorings are as both a band and as individual musicians as well. The superb production helps and on hearing the album it’s easy to see why they chose to release it. Their third and final release was another EP. This time ‘Nicky’s Detox’ EP from December 2014 really showed what they could do. Five tracks all written by the band that again received glowing tributes from all the regular celtic-punk press including ourselves here. The song that really raised interest in the band, ‘Shandon Bells’ features Frankie McLaughlin of The Rumjacks on guest vocals and made it onto just every celtic-punk podcast in existance.

So Unbowed is the band’s first proper studio album but will it live up to all the hype? The answer is of course most certainly. Twelve tracks that last over forty minutes and show The Moorings haven’t rested on their laurels and continue to make utterly brilliant music. The album kicks off with the hilarious ‘Another Drinking Wound’ and anyone whose ever had a, what we Irish call, a “very good night” can attest to waking up the next morning with unspecified bruising and a lack of memory of how you got them.

“Where does the pain in my butt come from?”

The song starts with some great rock’n’roll guitar and a brilliant catchy start. D.Phil.Jelly sounds just like our Shane even including his cockney sneer! It’s fast and not particularly folky but ‘Captain Watson’s Gang’ introduces the first of that quieter numbers. Be moaning the turn of the world to the worship of money. I say quiet but not really. Great drumming here that keeps the song flowing along. They enter a world unbeknown to me next with ‘Amsterdam’. Originally recorded by the Belgian singer, songwriter, actor and director Jacques Brel. The song is in French and has that ‘Parisian’ feel to it due to the style of accordion playing. A lovely song and picked wisely as it would please both their audience at home and abroad who are jaded at hearing the same old covers over and over again. Delivered with The Moorings stamp it’s a great song and builds to a crescendo before the banjo slows it all down and takes us into a instrumental, ‘The Dancy Cargo Hold’s Dance/ Mermaid’s Jig’. As was showed with that live album the y can certainly turn their hand to a traditional folk song and I’m sure live this is a guarantee to get the audience on their feet. Both part’s are fiddle led with subdued quiet backing except for military style drumming. Great stuff! The Moorings like the name suggests like a sea bound song and here’s the first one, The Mariner I Used To Be’ begins with tin whistle and it’s a slow’ish’ ballad telling of a sailor whose had enough of the hardships of the sea and decides to settle down with his new love. Another song in French follows with ‘Les Bras Piqués’. Can’t tell you what it’s about but it’s a fair corker of a song moving at a fair old pace once it gets going. ‘Drink Up Fast’ was the first release from Unbowed and came accompanied by the brilliant video below.

It’s no wonder that celtic-punk gigs are so beloved and greedily anticipated by landlords with this amount of drinking going on! Shouty vocals and fiddle led folk-punk that’s a real thigh slapper.

“The road to destiny is just as empty
As the days passing by sloggin’ in a fact’ry
Turning around mostly going nowhere
Leaving the dreams for someone else to have
So as boredom sets in and wears me out
I cannot help but stand my ground
By filling up my glass to the very top
And drawn the little bastard in one single shot”
Most of the words here are written by banjo/guitarist Nicky Sickboy and they are clever, thoughtful and often hilarious and often within the same song so it’s good that the CD comes with lyrics included though the singing is very clear and easy to understand. ‘Brandy Bell’ is the highlight of the album for me. Not quite sure what the song is about. Honest. Sung half in English , half in French it’s a real catchy banjo number with the fiddle in the background exactly right. We are slowed right down again for ‘Posy Of Lily’ which is basically just D.Phil and acoustic guitar with fiddle. A lovely interlude between the punkier stuff and the words of a man desperate to make things right with his true love only add to the beauty of the song. Luca from the ever amazing Italian celtic-punk band Uncle Bard And The Dirty Bastards takes up whistle duties next in ‘Mutins’ and it’s another French song and I have to say it never bothers me that bands play in their native language I think more should do it. What an amazing musician this man is and even greater to see two band helping each out this way. The chugging guitar is back and accompanied by lovely fiddle too and of course Luca’s top whistling! The pace is back up for ‘Ice Cold Jar Of Whiskey’
“Some people need to fight to let their anger out
Some might need to bribe to find an easy way out
Some people might get thrilled with anything crazy
When all it really takes is a ice cold jar of whiskey”

and then we are finally at the end and Unbowed comes to end with the album’s longest track ‘Invictus’, starring Marikala on guest vocals. A great song with positive life affirming lyrics that begins with tin whistle this time supplied by Lolc from fellow French celtic-punkers Celkilt. Mainly accordion led but as has been the way throughout D.Phil’s voice stands out in particular. Another album highlight here and a simply fantastic way to bring down the curtain on Unbowed. If this album has one lighter/ pint in the air moment then this it is.

Singer/guitarist D.Phil Jelly has done a great job on this album overseeing just about everything here and the sound is crisp and never once over produced. The biggest danger in celtic-punk is that the folk instruments are completely submerged or else turned up so high to compensate that all you can hear is the tin whistle. No danger of that here as the balance is perfect between the punk and the folk. the songs are never straight forward celtic-punk and there is plenty influence of their home countries indigenous music also. The Moorings have always been one of the more interesting bands in celtic-punk with their appeal overlapping several genre’s I am sure. This is a great album and one that will further cement there place as one of the best, and more innovative, bands in the scene.

(you can have a free listen to Unbowed by pressing play on the Bandcamp player below. Before you buy it of course!)

Buy The EP

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ALBUM REVIEW: O’HAMSTERS- ‘Где бы мы ни бывали’ (2017)

More masterful celtic-punk from Eastern Europe with O’Hamsters from Kyiv Ukraine showing us all how its done”

ohamsters

Now we love celtic-punk music that much must be obvious as the nose on my face. The people who write for the London Celtic Punks are lucky (or unlucky considering all our ‘issues’ ahem) to be Irish but when it comes to our music we never discriminate and it’s a good job too as we would miss out on some great music if we ever bought into such ridiculous notions as ‘cultural appropriation’ or that folk/trad snobbiness that saw legendary bands like The Dubliners and The Pogues castigated as ‘un-Irish’ in their time.

This brings us nicely onto today’s band O’Hamsters (their is no ‘The’ just O’Hamsters) who have featured on these pages several times in the past including reviews of their last two EP’s (here) and (here). O’Hamsters hail from the capital city of Ukraine, Kiev, and have been playing together in a band since 2009 and Где бы мы ни бывали/ Gde By My Ni Byvali is their third album release. Now we are in a music scene that is truly worldwide but does tends to sing in English. Even bands from the celtic nations tend to sing in English, with the odd notable exception of bands like Les Ramoneurs De Menhirs from Brittany, and even bands from further afield and well away from the Celtic diaspora nations tend to sing in English. Now this makes it easier for my job as a reviewer but I do worry about the effect this has on the music scene of the country the band comes from. Therefore I do find it refreshing when bands sing in their native language but it does mean I miss out on what the band are singing about. Going on what I know of O’Hamsters it will be the things we love here at London Celtic Punks. Folk, punk, football, Ireland and drinking and some other things we couldn’t print on a family blog!

Где бы мы ни бывали kicks off with ‘Истинный Ирландец’ and all I really want to say here is that the album is fourteen f**king brilliant songs that clock in just over forty minutes so just get to that download button below and get downloading. The opening song gives you the perfect taste of what is to come. Slow and soft accordion gives way to thrashing guitars, rapid punky drumming, quality mandolin and raspy vocals. As is the way with a lot of celtic-punk bands at the moment there’s a brief foray into celtic-ska before we are back again. Great country style intro for ‘Winter Hill’ before its celtic-punk all the way. I hear the word Massachusetts so can only guess that the song is about the home of famous ex-on the run Irish-American gangster Whitey Bulger and his notorious Winter Hill Gang. It’s pretty much the same story right through to the end. This is fast and furious celtic-punk of the hardcore kind. Much like their neighbours from Russia, Middle Class Bastards, its’s unmistakable celtic-punk but with a much harder edge to it than we are use to in the soft west. They keep up the pace, and the quality, and it’s not until ‘Где бы мы ни бывали’ that we are treated to a cover version and its the brilliant sound of ‘Come To The Bower’. Having opened the album with their own compositions we are treated to a wonderful set of Irish songs that you never thought you hear in Ukrainian! Gang vocals kick it off and them thrashing guitars and furious accordion give it a sound that would shake the cobwebs from yer average Dubliners fan. This is also the name of the album and suits it perfectly as the song is written to reach out to Irish people exiled to escape political persecution or for financial reasons. A bower is a leafy seated area found in country gardens and often used by lovers but in the song, however, the bower refers to Ireland itself. We back in Irish history again next with ‘Храни, Боже, остров Эрин’ which goes to the tune of ‘God Save Ireland’ though not sure if it’s the same lyrics or not. Vera Brenner guests on Bagpipes and she is simply amazing and her playing adds so much. guys you need to persuade her to join the band full time I’m telling you! ‘Батальон Святого Патрика/ Batal’on Svyatogo Patrikais’ a cover of the David Rovics penned classic ‘Saint Patrick’s Battalion’  which was a Mexican army unit comprised of Irish Catholics who defected from the US army during the Mexican-American War. The St. Patrick’s Battalion was an elite artillery unit which inflicted great damage on the Americans during the battles of Buena Vista and Churubusco. After the battle most members were killed or captured and most taken prisoner were hanged. They are still celebrated widely in Mexico. The boys borrow the tune next from ‘The Wearing Of The Green’ for ‘Странный союз/ Strannyy soyuzand its classic celtic withthe tin whistle moving it along at a swift pace. ‘Cath Sulchuait’ is my album standout track. All the elements combine to make a song that at times could spill into the Dropkick Murphys but each time O’Hamsters steer it back into their own world. A great chorus and the band are never better here though it is close several times. We steering near the end and ‘Рыжий Айриш Бой/ Ryzhiy Ayrish Boy’ or in English ‘Auburn Irish’ takes us back firmly into the celtic ska-punk of earlier and is another standout. ‘Я из Коннахта/ I’m From Connaught)’ is officially the end of the album and ends with the ballad I have been waiting for. Joined by Anna Vasil’chenko from fellow Ukrainian band Kings & Beggars it brings the curtain down momentarily on a great album. I say momentarily as O’Hamsters have added two bonus tracks for you lucky people

(Lyrics in English!! Directed by Andrey Ganzevich and Artem Brin)

‘Стакан/ Glass’ came out in 2015 and is a frantic fast as hell celtic-punk classic that is all over and done within just eighty seconds. The final song here is ‘Ліжко Кухуліна/ The Sickbed of Cuchulainn’ abelter of a song which was one of the absolute highlights of the fantastic mainly Eastern European compilation album from last year The Tribute To The Pogues which is still available for free from here.

so in this year of our Lord two thousand and seventeen that has already gone down in history as the best year of celtic-punk album releases we have another to add to our growing list. A superb album from a superb band and you can listen to this and most of O’Hamsters back catalogue through their Bandcamp page below but it’s bands like this that make it celtic-punk a worldwide scene and if any band deserves a few pounds/ dollars/euro’s chucked their way then its them.
(you can have a listen to the whole of Где бы мы ни бывали before you download it)
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For another review from our comrades over at Celtic Folk Punk And More read here.

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

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

orthodox-celts-lp

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

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

orthodox-celts

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

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

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

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

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

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

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

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

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

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

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

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

“Goodnight and joy with you all”

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

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

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

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

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

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

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

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

the-lougues-2016

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

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

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


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


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


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

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


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

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

the-logues-band

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

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Band Interview here

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

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

steeleye span LP

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

steeleyespan-band

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

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

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

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

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

steeleye-span-band-2

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

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

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

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

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

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

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

(great half hour sampler of the album below)

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

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TheOfficialSteeleyeSpanSite  UnofficialSteeleyeSpanHomePage  Facebook  Twitter

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Band Members Sites

Peter Knight  Maddy Prior  Gay Woods  Troy Donockley

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

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

blackwater-banshee

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

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

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

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

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

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

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

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

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

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

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

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ALBUM REVIEW: FIDDLER’S GREEN- ‘Devil’s Dozen’ (2016)

Fiddlers Green. The band that invented their own genre- ‘Irish Speed Folk’ !!

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Fiddler’s Green celebrated their 25th anniversary last year with the release of the fantastic compilation album 25 Blarney Roses and was as about as good as anything released in 2015. They hail from the small Bavarian town of Erlangen, that is twinned with our very own Stoke. Famed for their live shows and the ability to transfer that live sound to disc their popularity has grown and grown to see them hailed as one of the major bands in the European celtic-punk scene. It’s always hard to capture the passion and excitement of a celtic-punk gig onto a studio album but when a band achieves it then that album surely becomes a must have and Fiddler’s Green have been doing exactly that for 25 years now. Beloved by their loyal following it was only the other day when talking about fellow German band The O’Reillys And The Paddyhats new album, that we remarked on how Germany has has always had a big love affair with Ireland. Despite competition from such great bands as the aforementioned Paddyhats as well as  Mr. Irish Bastard, The Porters, In Search of A Rose and The Ceili Family it has been Fiddlers Green’s consistency that has seen them become arguably Germany’s most popular celtic-punk band.

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‘Devil’s Dozen’, also known as a Bakers Dozen, is a term often used in them olden days to mean 13, one more than a standard dozen. The practice of baking 13 items for an intended dozen was insurance against the items being lower than the statutory weight, or of lower than usual quality, which could cause the baker to be fined. And so on ‘Devils Dozen’ we find thirteen songs of, as it says on the cover, “Finest Irish Speed Folk”. The album begins with the title song and its accordion led classic Irish themed folk-punk from the very off. This is pure good time party music and there’s no one better at supplying that then Fiddlers Green. You won’t find much social commentary here and so what if you don’t!

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Fiddlers Green (left to right): Tobi Heindl- violin, vocals * Steve Klug- accordion, bodhran * Ralf ‘Albi’ Albers- vocals, guitar, bouzouki, mandolin, banjo * Pat Prziwara- vocals, electric and acoustic guitars, bouzouki, mandolin, banjo * Rainer Schulz- bass * Frank Jooss- drums, percussion *

Music has the ability to unite us and celtic-punk should not just unite but have us all linking arms throwing our beers in the air and professing our love for each other at the top of our lungs. There’s plenty of time to worry about the result of the American Presidential election another day. A great song that is followed by ‘Bottoms Up’ and you guessed it. It’s an ale themed song but the most interesting thing is they have sound rather like The Kaiser Chiefs here. That is if The Kaiser Chiefs had a fiddle payer and a accordionist! Very catchy and pure folk-punk though not of the celtic-variety in fact it has a more Eastern European feel to it.

Nevertheless a class song and just shows that Fiddlers Green refuse to rest on their laurels and churn out what is expected of them. One of the album standouts for me.

“Loose girls standing by the backdoor
Hot legs stepping on the dance floor
Join in, get the mojo working
Movin’, groovin, you know what it’s good for…”

Couldn’t get this bloody song out of my head for days after listening to this album so I was glad when we moved on to ‘Down’. The first minute is a ramped up celtic -punk version of the Simon and Garfunkel hit ‘El Condor Pasa’ and just as your settling down to a rather nice cover version the Fiddlers turn it round and add their own song about going down to you know where…

“We’ll pay the ferryman a dime
So come along, you’ re dead and gone
The demon tied up to the ground
He gives the world its saddest sound
Its saddest sound…”

One of the most interesting things about Fiddlers Green is their outstanding videos so you would be well advised that after you finish this review to go make yourself a cup of tea (or something stronger) and hightail over to their You Tube channel (link below) for a hour or two. and enjoy your viewing!

They can’t keep the energy going for ever so they slow it down a little for next song, ‘Boat On The River’. Now this is a cover I have never heard before and surprisingly its not an auld Irish song its a metal ballad from old and nearly forgotten 70’s rockers Styx. I actually really like the original too which you can find here but its a great and highly unusual cover that pays tribute to Styx while taking it into celtic-punk territory. They add in a bucket full of country to ‘Perfect Gang’ with absolutely superb fiddle here and a real crowd pleaser I’m sure with the great chorus. The only traditional Irish folk cover here is up next with the famous ‘Leaving Of Liverpool’.

“I have sailed with Burgess once before, I think I know him well
If a man’s a sailor he will get along, if not then he’s sure in hell
So fare thee well my own true love
When I return united we will be
It’s not the leaving of Liverpool that grieves me
But my darling when I think of thee”

A brilliant rousing version of this great tune. Liverpool was once one of the world’s major sea ports and this song was collected from Richard Maitland, a resident of Sailor’s Snug Harbor a home for retired seamen on Staten Island. He told that he learned it while on board the sailing ship General Knox around 1885 and The Davy Crockett mentioned in the song was launched in 1853. Previously recorded by The Dubliners, The Clancy Brothers and The Pogues its one of the standard Irish folk songs that pop up from time to time but great to hear a version that can stand alongside them here. ‘Johnny’ sees us back in ‘celtic-indie’ territory while ‘Bad Boys’ is there punkiest song here all the while the fiddle is still fiddling and the accordion pumping meaning we never stray too far from the Fiddlers Green sound. They slow it down again for ‘Blame It On Me’ and Ralf’s vocals are never better than here. A tale of bad luck and bad choices his voice fills with emotion while the band sweep and swirl around him and the gang chorus work brilliantly well. ‘All The Way’ switches it up again and we get a lovely slice of celtic-ska with the fiddle leading the track and pushing it along till the song speeds up into a great punk song before slipping back easily into ska. We are nearing the end so time for a silly one with ‘Mr. Tickle’ about everyone’s favourite Mr Men character (apart from Mr Messy that is). ‘Here We Go Again’ and ‘We Won’t Die Tonight’ bring the curtain down on this great album that proves Fiddlers Green are truly one of the best bands in celtic-punk. Solid reliable and innovative and always moving.

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Devils Dozen is thirteen songs of mostly self penned numbers with a smattering of unusual and well picked covers that comes in at just over 13 45 minutes long. The album is available on CD, with vinyl due in December, but also comes as various deluxe versions including things such as DVD’s and t-shirts. Fiddlers Green are a lot different from the band that released that debut album way back in 1992 but the core of the band has remained the same and they have as a unit never lost sight of the groups main principal that their fans are everything. They would never have become so popular if they had stood still and it is their ability to try new things and styles, but always in keeping with the Fiddlers Green ethos and sound, that has helped them achieve that popularity.

Discography

Fiddler’s Green (1992), Black Sheep (1993), Kings Shepherd (1995), Make Up Your Mind (EP 1996), On And On (1997), Spin Around (1998), Stage Box (Live 1999), Another Sky (2000), Folk Raider (2002), Nu Folk (2003), Celebrate (Live 2005), Drive Me Mad! (2007), Sports Day At Killaloe (2009), Folk’s Not Dead (Live 2009), Wall of Folk (2011), Acoustic Pub Crawl (2013), Winners and Boozers (2013), 25 Blarney Roses (Compilation 2015), 25 Blarney Roses Live In Cologne (Live 2016), Devil’s Dozen (2016).

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ALBUM REVIEW: SMZB- ‘The Chinese are Coming’ (2016)

The new album celebrating the twentieth anniversary of SMZB.

One of the scene’s best bands and the only celtic-punk band in China!

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yes.. look again!

Celtic-punk in 2016 is truly a global music genre. Gone are the days when it was the preserve of spotty second, third or fourth generation Irish kids and welcome now to the World Of Celtic-Punk! SMZB hail from Wuhan in mainland China and were one of the first original Chinese punk bands forming in 1996. The name SMZB means Sheng Ming Zhi Bing and in English is literally, ‘Bread of Life’. Unsurprisingly when you hear their music the Chinese authorities have never taken kindly to them and so three of their albums have been banned at home. Sometime around the mid-noughties they made the decision to move away from their original raw sound of early British punk, ska and ’80s hardcore and add bagpipes, flutes and fiddles to their sound. Sounding like a combination of The Pogues, the Murphy’s and Rancid they have deservedly become absolutely huge in their native country and their fame is growing outside China too. They have toured Europe a few times, including earlier this year though sadly never visiting these shores, as well as recording several acclaimed albums including a split with Norwegian celtic-punk legends Greenland Whalefishers.

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The Chinese Are Coming was released on Maybe Mars Records on September 30 this year and begins with the drone of bagpipes through the ‘Intro’ with pounding drums joining in and soon enough the album explodes in your earholes with some quality celtic-punk. SMZB may have been the first and still are arguably the best Chinese punk band but the video to the album’s real opener ‘Ten Thousand Ways To Rebel’ shows they are not alone and features several other local punk bands and is a tribute to Lei Jun China’s first skinhead and Beijing’s punk godfather, who passed away a year previous to this video being premiered this year on the 6th of May.

Reading through the lyrics and knowing the conditions they live in you can only marvel at how brave the band are for singing what they do. It certainly shows up some of the ‘revolutionary’ bands in the west who seem more concerned with getting on the bill at Rebellion festival and getting a huge payday.

“You cannot change anyone in the world,
The only one you can change is yourself.
When you find out the truth and their lies,
That’s when you should do something”

The band to be referenced most here is of course The Dropkick Murphys and SMZB have nailed their sound perfectly. It is all bagpipes and catchy as hell punk rock. Up next is ‘The Chinese Are Coming’ which was the first single off the album and begins with a Ramones-ish

“Hey, Ho! Where shall we go?”

and while on the accompanying video the lyrics are sung in English on the album its in their native language but the words show SMZB’s great sense of humour as well as adding in a great bit of Irish folk thanks to some expert tin whistle playing.

‘Born In The PRC’ is not a celtic-punk version of The Bosses song but an angry and vitriolic response to the nationalism of their government and what punk means to those who face real oppression on a daily basis not like the pampered students here in the west whose oppression is only inside their own imaginations.

“I was born in the P.R.C., it’s such a tragedy,
It’s a so-called nation, but really a fake nation.
I don’t want to living here, I don’t have any choice,
There’s only one party here, I want to be their enemy.
I was born in the P.R.C., the nation with autocracy,
Punx Rebellion of China, is what it means to me.
I was born in the P.R.C., in 2 years I’ll be 40,
Still can’t live freely, that’s why I’m still on stage”

SMZB keep up the pace with ‘Road To Petition’ which brings in the banjo to great effect while ‘Generation’ has a much more traditional folky feel to it showing that the lads can turn it up and down when required. The next song is ‘Flower Of The Socialism’ and is fast heads down, balls out, two fingers to the world, punk rock which slows down only briefly for a few seconds of tin whistle while band founder Wu Wei spits out the words that obviously come straight from his heart.

“You have to try to play your role well, or choose to be a bastard.
You have to try to forget your dream, and then into the arm of reality.
You can’t to extricate yourself from here, you are the one of scars.
Socialism already in bloomed here, you have also sprouted in this land”

smzb-logo-2The next couple of songs, ‘Sunny Speculation’ and ‘One Night In Prison’ are sung in their native language again. Fast tuneful Murphyesque punk is the order of the day. They may have started as a straight up punk band but its thanks to the fantastic abilities of Tang on bagpipes and tin whistle and Tu Dou on banjo that that transition has been so successful. ‘Welcome To China’ sees a return to English in a song that bites back against tourism and the attitude of tourists when they visit China. Now if you have heard ‘White Noise’ on the Stiff Little Fingers album Inflammable Material then you will get what the breakneck ‘The Chinese Are Coming Again’ is about. If you haven’t heard it then give it a quick blast here. Its fair to say their still enormous mistrust of Chinese immigrants and here SMZB expose the bigots that would treat people as a mass rather than individuals. ‘Colonial Trip’ features a guest female vocalist and is reminescent of The Dubliners/Pogues until an electric guitar bursts in and we are brought up to the present day. A great song that nicely straddles both the past and present and even ends with some trumpet playing thrown in to the mix. ‘Tattoo The Earth’ again is more Poguesy while ‘Redemption Song’ takes Bob Marley’s original song and turns it into a celtic-punk classic with the pipes playing loud and proud. The Chinese Are Coming comes to an end with the absolutely stunning ‘Song Of The Seagull’. The longest track on the album, at well over seven minutes, its a tribute to Lin Zhao. A Chinese student from Peking University who was jailed in 1960 for pro-democracy activities. The song is based on a poem she wrote in prison where, forbidden to use pens, she composed countless articles and poems using a hairpin dipped in her own blood. In 1968 she was executed and in 1981 Lin was officially exonerated though the Chinese government still to this day are reluctant to allow any mention of her or her writings. Find out more about the tragic life of Lin Zhao here.

Beginning with just piano, acoustic guitar and the beautiful voice of their guest vocalist (sorry but I couldn’t find her name anywhere) before the full band kicks in with their tribute and some angry celtic-punk rock brings the curtain down on the song and the album. I simply cannot imagine a better way to end this album. A song dripping with emotion and meaning and that symbolises everything that SMZB stand for.

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Fifteen tracks and over fifty minutes to boot that gives you more than enough for your money and if there is ever a band in the celtic-punk scene that demands your support than it is SMZB. Being the only celtic-punk band in your state or city can be a lonely experience but SMZB have become an icon of Chinese music that deserve to be heard far beyond their own country. What they have to say is important and we can be grateful that they have chosen to wrap it some of the best celtic-punk music you will hear.

(listen to The Chinese Are Coming for free by pressing play on the Bandcamp player below before splashing out your $10 on buying it and supporting this awesome band!)

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(full concert of SMZB from their 15th Anniversary show back in 2011)

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.

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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!

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.

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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.

dubliners2Now, 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)

(listen to the album below and follow the instructions to download for free)

The Dubliners On The Internet

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“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: CLEAR THE BATTLE FIELD- ‘Set Me Free’ (2016)

Armagh born multi instrumentalist Dominic Cromie and crew with a modern take on traditional Irish music that has something for bloody everyone!

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When talking about celtic-punk people sometimes think of a narrow genre situated somewhere between the two most famous bands to come out of it, The Pogues and The Dropkick Murphys, but when you also throw in Flogging Molly you begin to have a genre that stretches from traditional Irish folk all the way to hardcore punk. I also tend to think of other such diverse artists as Johnny Cash, Tom Waits and even Social Distortion as being an large influence on what we call celtic-punk today in 2016. Clear The Battlefield are no different. Taking Irish and celtic music and mixing it with all sorts of traditions, some old and some modern, all the while putting their own spin on it.

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Clear The Battlefield’s main instrumentalist, vocalist and lyricist is Dominic Cromie. Born in county Armagh in the north of Ireland he first began playing guitar at the age of ten and by eleven had written his first song. He played his first gig at fourteen with his sister Aine who was by then becoming a well know singer on the Irish show band scene. After touring Ireland, England, Scotland, Wales and Holland, Dominic left Ireland for the United States in 1991 to pursue his dream as a singer songwriter. Dominic formed Raglan Road, a Celtic rock band and has toured throughout the States performing with many of the nations best Irish-American bands. After these he formed Clear The Battlefield in 2008 and has been gigging solidly since leading up to this their debut album, Set Me Free.

dominic2The album begins, significantly perhaps, with the only cover on the album,’I Roved Out’. A old traditional folk song covered by all the great and the good in Irish musical history. Confusingly there are two versions of ‘I Roved Out’ but this is the one as popularised by Christy Moore telling the rather common tale of a young woman who is seduced by a soldier, only to find that he has abandoned her the next morning. The album kicks off with a sort of dancey backbeat and my first worry is that it is going to be like those awful techno rebel song medleys that get released every now and then and are used to whip up the drunks in nightclubs across the Irish diaspora. I need not have worried though as its not intrusive and (can I hear myself actually saying this) sounds pretty good.

Anyway pretty soon in the Irish instruments take over and expertly played tin whistle comes in and later the glorious sound of uileann pipes.

“With me too-ry-ay Fol-de-diddle-day
Di-rah fol-de-diddle, dai-rie oh”

Next up is ‘The Valley’ and a slow song but with Dominic’s voice bursting with emotion. He is blessed with a voice that sounds like those old crackly records our Grandparents owned but with the modern touches it easily straddles both worlds of old and new. ‘You’ follows and is a nice love song done as alternative sounding country while ‘Mary’ is back to more folkier territory. We are back next with ‘Set Me Free’. The instrument count rises as Dominic and crew rattle through a somewhat tribal tune. At any second we expect it to fly into complete trad but its just reined back enough. Accompanied by a great video that leaves us in no doubt where Dominic’s heart and passion lies.

The album’s longest track is the instrumental ‘The Rights Of Man’ at over six minutes and begins with an instrument we do not hear enough of in celtic punk those uileann pipes. With Black 47 no more and a long long time since Stephen Gara packed his bags for NYC and left London Irish rockers Neck only Italian band Uncle Bard And The Dirty Bastards are giving us what we want. More pipes! The following songs follow a similar path in that they start off as just guitar and voice before flying off into something else. ‘Get Up’ benefits from a Irish ending while ‘Go’ returns the album to the unconventional country sound we heard earlier.

We even dip into ‘C86’ sounding indie with ‘Even After The Drugs’ that takes in bands like The La’s or Teenage Fanclub. Finally Set Me Free comes to an end with ‘Days Days Days’ a short blast of upbeat jazzyness that is a way cool way to bring the curtain down.

The ten songs clock in at just under forty minutes and if I had a slight, and I mean slight, criticism with Set Me Free it would be that their is perhaps some unnecessary flourishes that don’t really add much to the music. It’s not your typical celtic-punk and sometimes it feels like the most un-celtic-punk celtic-punk album we have ever reviewed here. Nevertheless I thoroughly enjoyed it. The playing here is truly to be marvelled at and regardless of whether it is punk or not will strike a chord with anyone with a love of traditionally played Irish music.

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ALBUM REVIEW: RUSTY NAIL- ‘Bitter Ale, Bitter Heart’ (2016)

If Liam Clancy grew up listening to Nirvana, it would sound like Rusty Nail.

St.Louis based Celtic-infused celtic-rock originals and traditional Irish Pub songs.

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Rusty Nail will be a name new to the vast majority I am sure but with this their new album they deserve a much wider audience and this just may be the one to get them it. Born and bred in the second biggest city of Missouri, St. Louis and when you find out the biggest city in Missouri is Kansas City you begin to realise exactly whereabouts in America you are. Famed through cinema history as the epi-centre of just about any decent cowboy film St Louis was a city founded by the French that transformed into a booming nineteenth-century industrial mecca. Experiencing a massive influx of people beginning in the 1840’s especially from Ireland and also from Germany, in forty years the population grew from 20,000 to 160,00 in 1860. Today the US Census Bureau gives the population of St. Louis as 318,416. Militant societies were formed, and an Irish nationalist rally at the Old Courthouse over 110 years ago filled the place to the rafters. Sadly in recent years the economy of the city has declined and St Louis has the highest percentage loss of residents of any city in the USA losing 62.7% since the 1950 census. It also has one of the highest murder rates in the USA (happily on the decline since 1993) but don’t despair as gentrification has given the business area lots of shiny new buildings for everyone to look at from across the city. Though as usual statistics don’t take into account the heart of a city and St. Louis has plenty of that. The city has also acknowledged their roots with those famine Irish who arrived all that time ago by twinning with both Galway and Donegal and while many of the Catholic churches those Irish built are gone and new residents live where they once lived the Irish community is still vibrant and strong with gaelic games and culture and tradition flourishing. The story of the St. Louis Irish is fascinating and I spent many a late night reading about them for this review. A great place to start is Bob Corbett’s Dogtown Homepage here. Dogtown is the Irish part of St. Louis and the name stems from the time of the St. Louis World’s Fair in 1904 when poor Irish squatters, living in makeshift shanties in Forest Park, were forced by the fair to move southward to the neighboring hill. As Bob himself says

“When they had to give up their squatters’ rights in the park, many of them moved over here. Most of them had space, so they kept hunting dogs. Quite a few of the people living over here descend from them”

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So out of this imperfect (tell me where is?) city comes the latest in a long line of Irish infused celtic-punk bands. Rusty Nail are a seven piece group formed in the winter of 2005 that plays music inspired by the likes of the ususal suspects of The Pogues, The Tossers and Flogging Molly but also of the Clancy Brothers, The Wolfe Tones and even Tom Waits. Their debut album, Ounce And A Half Of Whiskey, released in 2006 showed a band a long way from today’s incarnation. Played as a straight up four piece acoustic band the album stands up extremely well with its mix of mostly self penned ballads and a few trad covers and all with some surprisingly good country’n’western touches. They followed that up in 2011 with the release of Boozers, Bastards, and Bards. It saw the band move away from the acoustic more folkier music they had been playing. As Rusty Nail co-founder Alvan Caby says

“We always wanted to be a full rock band. So about a year into the band’s run, we added drum, bass and guitar slots to make a bigger sound”

With this ‘full sound’, as they put it, the album brought some great reviews and gained them massive exposure and they very soon became firm favourites among the St Louis Irish community and its friends. The album is again a  collection of mostly self penned tunes about drunks, unsavory characters and Irish poets chucked into a blender and mixed up with traditional folk sounds, rock and punk. The band take their name from an old-timey alcoholic beverage made with Whiskey and Drambuie Liqueur that gives a nod to the past while keeping it modern and helping along the booze-fueled festivity!

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Rusty Nail left to right: Pete McAvity- Electric Guitar * Chris Otto- Tin Whistle, Native American Flute * Dennis Frentzel- Drums * Kelly LaRussa- Violin * Alvan Caby- Mandolin, Guitar, Vocals * Chad Ross- Guitar, Banjo, Dulcimer, Accordion, Bouzouki, EBow, Organ * Mark Hochberg- Bass

So in the 10th anniversary year of the band they have come up trumps again with Bitter Ale, Bitter Heart. The album begins with ‘The Magician’ and fiddle and from the outset sets the tone. You can hear influence from The Tossers here but Rusty Nail are their own band and within the first few bars you can tell this band is something special. Alvan’s lyrics sound like they are ripped straight out from his heart and laid bare for us. He said in a recent interview that

“There’s lots of silly lyrics in our older songs. But for now it’s about the idea of honesty and true-story kind of stuff. I’m a big fan of sad lyrics with happy-sounding music. There are a lot of artists who do a similar sort of thing. It’s about being honest. I don’t know if it will mean as much to the next person as it does to me, but maybe it will. It helps me deal with feelings of failure, feelings of loneliness and feelings of disappointment. But there’s also feelings of love and hope. As dark as the songs get, then there’s still hope”

That thing Alvan said about sad lyrics with happy-sounding music nails the Rusty Nail sound perfectly. ‘Return To The Start’ the next track up gives off an triumphant air with the jolly sound of fiddle and this time the mandolin to the fore but again there’s much more to it.

(not the album version but I like it even more)

Alvan’s voice is not yer perfect croon, that much is true but I very much doubt it could be done any other way and it fits in like no ‘crooner’ ever could. ‘Giving Up’ gives it over to the tin whistle to shine and more lyrics maybe best not to listen to in the dark on your lonesome but by Christ it’d be enough to get you out yer chair and leaping around. As has been said before here on this blog the level of musicianship of some of these celtic-punk bands is incredible.

‘Less Than Angels’ is the first slower song of the album and tells of the Irish that left in those so called ‘famine’ years. Again a real and honest heartfelt song that tells the story in a way I have never quite heard before.

“The hunger drives you to do incredible things

To travel across oceans and cut off all our wings

And be less than angels with sin in our heart

Abandoning our nature, destroying all our art

 

They say that the famine was the cause for all of this

It’s a hell of a gamble, a swing and a miss

A perishable future amongst gravel and soot

The dust of our harvest is trampled under foot

 

Will the poor be poor always?

Zero hope and dream is killed

Will the classes and divisions

Become narrower still

No belief in myself

Erasing all our goals

The grave-digging starts tomorrow

Better start digging your hole

 

The hunger drives you to do unspeakable acts

To lie to your brother, exaggerate the facts

And be less than angels with blood on our hands

The hourglass is emptied of the last grains of sand

 

I’ll do anything for a job, anything for a life

I’ll suffer for the scraps, for child and for wife

Bill collectors have all taken the dignity I have left

Politicians and the banks are all guilty of theft”

The band are back rocking out with ‘It’s A Shame I Did Nothing’ and gives them the chance to show off their rock credentials but also chucks in a flute to keep it celtic and an acoustic guitar that shines through the rocking loud and clear. ‘Another Story of Unreturned Love’ is by far and away the catchiest song on this album of catchy songs. Telling of a failed relationship and its aftermath.

“I couldn’t talk to you

Standing in front of you

Holding my feelings and biting my tongue

And our “Little Ireland” is what we decided on

Things that I wish that I said when I’m young”

All the band come together in celtic-punk perfection and a wee mention for the superb drumming here too. ‘Hardscrabble Road’ is the tale of a loser told in a slow ballad that speeds up towards the end and the accordion drives it along till Alvan’s voice takes the lead.

Coming to the end and celtic-punks favourite subject pops up in ‘Liquid Miracles’ again telling of a loser who, like many, knows exactly what he’s doing but can’t help himself.

“the disease of the mind that I have caught”

Another slower song ‘Central West End’ and more misery and the common theme seems to be that the loser in Rusty Nail songs is trapped by addiction despite knowing all too well what he’s doing. Another catchy as feck number that is a great example of the excellent production here. All the instruments, electric and folk, are clear as them bells (what does that mean??) and despite the tune speeding right up in parts doesn’t lose that clarity so hats off to Chad for the excellent recording and mixing. Chad plays guitar, banjo, dulcimer, accordion, bouzouki, EBow and organ on the album so surely knows what he is doing! Next is the album’s longest song at well over five minutes.

‘Mad As Birds’ another standout track and evokes sadness upon sadness here as the song builds up and up and swirls round and round before ending on, for them, a rather positive note before coming to an end with ‘The Nightmare Will Prevail’

“It’s only fair, that you buy another round for all your friends

They’ve stuck around and stuck up for you

When the rest of us could not pretend

This bitter divide that you’ve caused for us is one that’s hard to defend

But I have faith in you,

Even though it may be hard for anyone to comprehend”

This is pure infectious dance music (proper dance music that is!) with enough fist in the air moments going on here to give you a bad shoulder in the morning! Like the best in celtic-punk its a roller coaster of emotions and the joyous music belies the seriousness of the words and though Alvin’s (and Chris) lyrics often inhabit a dark place it’s the story of Irish-America. It’s not all shamrocks and shenanigans you know. So whether you are looking for a band to get you off your feet and move and shout and scream and spill your drink to or just kick back and sit and listen to with a glass of the pure to warm you and take in every road these bhoys and ghirl have travelled then Rusty Nail are the band for you and whichever you choose you are guaranteed to find a great time.

(you can listen to Bitter Ale, Bitter Heart for free before you buy it by clicking play on the Bandcamp player above)

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  • for another view of the album check out Celtic Folk Punk And More here

(great video with music and band interviews)

ALBUM REVIEW: SHAMBOLICS- ‘Riot On Race Day’ (2016)

“In South Australia I was born, heave away, haul away In South Australia, ’round Cape Horn, we’re bound for South Australia”

…Ten original songs from rollickin’ celtic punk to country and spaghetti western…and beyond!

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One of the biggest dangers of doing a site like this is that there are only so many ways you can describe something and if that something is something that you love it is near impossible to hold back and not go overboard about it! Now regular readers will know that when it comes to Australian celtic-punk we turn into a blubbering mess. Well if that gets on your nerves then skip this review as it is yet another fantastic album release from down under that we are going to rave on and on and on about!

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Hot on the heels of the review of the new fellow Aussies Rumjacks album earlier in the week itss the new long player from Shambolics (there’s no The!) who hail from Adelaide which is the capital city of South Australia and they play good auld fashioned Poguesy style Irish celt’n’roll tunes. Formed out of the ashes of a previous celtic-punk band called The Gartloney Rats they featured on these pages once before back in June, 2014 when we reviewed their debut EP (here) titled ‘Pogue Mahone’ (in gaelic ‘póg mo thóin’)  which is, of course, the Irish for Kiss my Arse and also the name The Pogues began with till the Brit media realised what it meant and made them change it! The Pogues reference fits Shambolics well as almost uniquely, to me anyway, they adhere to a much more folkier sound then their Australian celtic-punk counterparts. Most Aussie bands you would generally call punk rather than folk so Shambolics stand pretty much alone doing what they do and they are doing it as well as anyone else across the globe. A trio consisting of an Irishman, an Englishman and a Russian you would hardly tell there’s no drummer either.

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Jimmy on Banjo (Irish) * Alan on Guitar (English) * Paul on Accordion (Russian)

The album kicks off with the title song ‘Riot On Race Day’ and you get a feel for The Shambolics and what they are about from the first few seconds.

This is good time music for jigging about and going off on one after a few jars in the pub. Sure it’s folk but the kind of folk that would have the purists running away from and the punk rockers running to!

“There’s a riot on race day the Shambos beat them all
Played all day and never did stall
Music started they couldn’t stand still
There’s a riot on race day way down at Morphettville”

The second track is ‘Banshee’ and my favourite on the album. As catchy as feck and a real good tune with a whole host of instruments jumping out of you. Now gotta add that the production is here is absolutely spot on. All them instruments sound perfect and compliment each other so well done to Gavin O’Loghlen and the Bhoys for that.

‘Hell On Wheels’ slows it right down showing a different side to Shambolics and reminds me of Hell’s Ditch Pogues with a real cowboy banjo driving the song along. We are back with another slower song next with ‘Grace Of God’ and a word here for Alan’s vocals that portray both the funnier side of Shambolics as well as those songs more from the other side of the tracks. To be sure its not all piss taking and when they need to pull out a serious one his voice portrays perfectly with his deep raspy cigarette laden Irish accent doing a great job altogether.

“So with pockets full of holes, as are my worn out shoes
I feel the cobbled stones along the lanes
As I fall into a bar, and I hear a poor man singing
I drink my beer and share the poor man’s shame”

That Hell’s Ditch banjo is back with ‘Preacher’s Daughter’ and again the band nail it and chase that with ‘Stand Me Up’ that begin’s with one of my favourite instruments in celtic-punk the harmonica. A slight rock’n’roll flavour to this reminding me again of Shane with The Popes this time. Again a classic already and a song I’ll still playing in the months to come. ‘Go Wan Go Wan Go Wan!’ takes me back to summer holidays and slave labour on a farm in south Tipperary during the school holidays where your only reward would be a coke and crisps in the evening in a pub full of men talking about the price of milk.

“Ger Up the Yard, Ger Up the Yard, Smell of Hay about yer Person”

‘World Away’ slows again and you know I could see the appeal of Shambolics from 8-80 here. That sort of downtrodden thing that the Irish sometimes have in song fits in great here when placed up against some of the more upbeat and jolly songs. After all as much as we love those songs where we can leap around like maniacs and shout ourselves silly we also need songs where we can hold our loved ones and strangers and tell the word who we are while raising our glasses high.

“Travel the world, I was told, would make me a man
All the four corners, I’ve sailed and come back again
Always reminding myself wherever I roam
Someday my journey will soon, be calling me home”

‘Truck Of Lurve’ is classic Shambolics with some utterly hilarious bits within it and then finally Riot On Race Day comes to an end with the superbly fantastic ‘Shambo Blessing (Good Luck to you)’.

“May the road rise up to meet ya, may the wind be at your back
May the horse that has yer money be the first around the track
May the love you have inside ya never wither never die
May you live long and forever have a twinkle in your eye
So good luck to you
Good luck to you”

I think sometimes it would be easy to judge The Shambolics as a sort of jokey band thanks to the cartoon record sleeves (done by regular Shambolics collaborator Mark Mathieson)  and aye admittedly sometimes jokey lyrics but sometimes they can pull a song like this out of their ass and it all makes perfect sense.

“May your pint glass never empty, and yer pockets always full
May you never get a knock back, cos you know she never will
May you wander free and easy, and you never have to hide
And you wake up in the morning to a rasher and a ride
So good luck to you
Good luck to you”

So their you have it. Ten original tracks that will certainly get the blood racing that were all written by Alan and Jim of the band. I can have nothing but high praise for this album. From beginning to end it encapsulates everything I love about celtic-punk. A love and respect for folk music but which is never afraid to take it and shake it and give it a nudge up to the modern day. If the spirit of The Pogues still lives on in any band then by Christ then that band is Shambolics! Go Wan Go Wan Go Wan!

(have a sneaky free listen to Riot On Race Day by pressing play on the Bandcamp player below before you buy it!)

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INTERVIEW WITH COMRADE X

Hitting home with the force of a police raid on a late night lock-in at the dodgiest South London boozer Comrade X emerges from the rubble of political failure, X Factor and wall to wall mediocrity to raise a pint of Guinness to the spirit of 1977!
Over the last couple of years it has been our pleasure to make the acquaintance of a good few people, who we are extremely proud to say, have become part of the extended London Celtic Punks family. If you have attended a London Celtic Punks gig over the last few years then I am sure you will have witnessed our auld mucker Comrade X starting off proceedings by kicking up a storm with his own unique brand of acoustic-punk. Best described as “one geezer, one guitar, three chords and the truth” and, my own favourite, “Woody Guthrie meets Oi!” he’s just an ordinary bloke with an acoustic guitar and the truth to tell. That pretty much tells you all you need to know about what he does, but what does he think on the important matters of the day? We asked yer man a few questions over a few pints of stout so read on and find out…
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Now Comrade X has been around on the music scene a lot longer than any of us have been so we thought we’d give him a chance to fill us in (not literally!) and give us the benefit of his knowledge. Now there may be a small handful of people reading this who are not aware of your contribution to the world of alternative music so want to enlighten them? What started your interest in music and how long you been playing and what bands you been involved in up to now? I was 14 when the Pistols appeared on Bill Grundy and it just blew me away. Till that point I was wearing tank tops, Oxford Bags and DM’s and fancied myself as a boot boy with an aspiration to be a face on the Shed End at Chelsea. After Grundy I wanted to know more about these punks. I bought New Rose when it came out and that was that – but it was really the first Clash album that shifted everything for me. After that I bought a guitar out of a junk shop in Leatherhead and started rehearsing with my first band Discipline at the Cabin Club down on Longmead Estate in Epsom. That would have been some time in 1977. We had guitars that chopped your fingers off and 5 watt Woolworths’ practice amps – we were dire but a fire had been lit. 

Comrade1Like most Londoners there’s more than just a drop of Celtic blood coursing through your veins. Do you think that has effected or contributed to how you play or why you play or your beliefs? Well, my grandad was from Kilkenny and arrived in Liverpool sometime in the 1890’s before heading to the East End. Of course I never knew him – he was dead by the time my dad was ten years old and he was orphaned and bought up by his older sister. The family name was changed by my grandad and I only know what my dad and his older brothers told me. Grandad sang rebel songs in pubs around Stepney and his favourite was Bold Robert Emmett so I was told. I think there’s a fair drop of that spirit in what I do. What? Singing rebel songs in a pub? I’d say so!!
Having been in bands and played solo yourself which figures or bands do you think have been the important links between the past and the present and folk/celtic/traditional music and punk/rock music? Biggest influence on me is Joe Strummer – his catalogue from the 101ers to the Mescaleros stands the test of time. The Mescaleros picked up some of Joe’s Celtic connections back to his own Scottish roots. He also introduced a lot of us to Woody Guthrie and through that Leadbelly and some of that deep roots Americana which of course all tracks back through the Celtic immigrant trail. I remember seeing the Pogues in their early days and for loads of us with an Irish/punk background lots of bits started dropping into place. Great to see new bands tipping their hat to that pioneering work by the Pogues and the Men They Couldn’t Hang. The Lagan are the tops for me, that might be a Surrey thing, but they are run close by outfits like Matilda’s Scoundrels and Black Water County. Steve Earle deserves a nod here as well – I was lucky enough to get to work with him a few years back. Top fella
 How you find the London Irish scene these days? Obviously the old community has shrunk and the new arrivals seem, to me anyway, not to be interested in Irish music. Maybe I’m reading it wrong. I certainly hope so. Is there still a community out there? So many pubs have closed or changed and communities are much more dissipated. I’m from Epsom where there used to be five big mental hospitals and they were staffed throughout by Irish immigrants working alongside colleagues from across the Commonwealth. My dad worked his way up to managing and inspecting the quality of those NHS services. Those hospitals have all closed but the social clubs in those places were something else. The sense of community was massive. The loss of those big centres of employment has had an inevitable impact.

As I say you’ve been performing for a hell of a long time in bands and now as a solo act but it has been said (and I am in agreement) that being a solo artist is the hardest thing to do. Just yourself on the stage and nowhere to hide. What does it take to be a solo performer. I would say big nuts and a big ego but obviously that’s not right for everyone! Yep, nowhere to hide! That is a bit of a downside but on the upside there’s no one to row with other than yourself and the odd sound man who thinks that every solo artist with a guitar should sound like Cat Stevens.

What bands are you listening to at the moment? Do you follow celtic-punk at all. Any bands out of the scene that you like? I’ve already bigged up The Lagan, Matilda’s Scoundrels and Black Water County but I can add to that Mick O’Toole and of course the old troopers Neck who I’ve know since time began. I pick up loads of stuff from your recommendations from around the globe and I think that the Irish influenced punk/folk scene is healthy as fuck – cant wait to see the Cundeez down in Brixton as well.

Comrade2There’s always been a big debate about celtic-punk and whether or not it is cultural appropriation and politically correct for non-Irish bands singing about the Irish getting pissed and fighting and pubs and what have you. Personally I love it. The idea of the likes of Indonesian or Brazilian bands getting into The Dubliners and The Wolfe Tones after listening to the Dropkick Murphys. I mean its not like The Dubliners ever wrote a song about getting pissed is it? I think its just a case of snobbery but do you think it’s ok? I agree. I’m sick of being told what is and what isn’t acceptable and until everything is narrowed down to a tiny spec. I like covering Holy Spook by the Popes – “…I wrecked my life on whisky, bad wives, taking pills and cursing…”. That’s just the blues mate and it doesn’t belong to anyone. This “cultural appropriation” stuff is just more hand-wringing, liberal bollocks.

Now London Celtic Punks have always had the by-line of ‘Folk Punk Football’ and football is very dear to your heart as we know. Obviously the modern game is shite and the only real football fans are to be found in the lower divisions and non-league. That about right? ha ha – no, you are completely wrong and modern football, as invented by Sky TV, is brilliant! What’s the matter with you?
How long you been going to Sutton United? Do you think supporting a team that has never really won anything has made you a better person? Does learning the value of defeat and pride in losing but trying your hardest teach you something that is missing in the Premiership or even society? I’ve been going to Sutton since the early seventies. My old man took me down there to try and wean me off Chelsea and a career as a hooligan. He wasn’t totally successful but I always kept a link with the U’s. About ten years ago I jacked in the Chelsea season ticket and now it’s Sutton home and away. I love it. I meet loads of old punks who see the connection with those old values in the non league game. Never won anything? We won the bloody league last season! And did I ever tell you about the time we beat Coventry City in the FA Cup? 
As well as football you are heavily involved in promoting trade unionism. The decline of the unions is a terrible thing but what do you think can be done to reverse that trend. My own union is a waste of space and I may as well throw my money down a drain but as a good friend of mine (a Scouser of course!) once said joining a union is like having house insurance you don’t expect the house to burn down tomorrow but what do you do if it does. I got involved in NUPE in the early eighties when I lost my job as a sparky and took a job as hospital porter. Brilliant days and we were solid as a rock before everything was ripped apart and privatised. You’ve got to have that strength in the workplace or you’ve got nothing.
With so much music in your life. What are your happiest memories of playing. The best gig or best people… Tolpuddle main stage last week was one of my best ever gigs. Strummercamp and that night at the Water Rats with you lot, Anto Morra and Pogue Traders is up there as well. The rest is just a blur of fast living. 
Comrade4Right you have hinted at this every now and then on stage so lets get the full unabridged story out of you now. How did you manage to get Neck’s anti-racist single ‘Every Bodies Welcome To The Hooley’ into the national charts? Ha, that really was the wide boys revenge mate. I pulled in favours with every journo I know and got the band on BBC prime time TV and radio and we had people targeting the record shops that used to file returns for the official chart. It was some proper old spivery and I am rightly proud of it.
What’s the immediate future hold for Comrade X. Any gigs/ festivals we should be looking out for you at? What about recordings. Ain’t it time you got something down on disc… or vinyl’s coming back you know? I’ve got a mate up in Luton who has built an analogue studio and I’ll be doing some recording up there in the autumn – some great shows coming up very shortly with you lot and the Veg Bar, The Lagan at the Fighting Cocks and Undercover Festival. And I will be helping my old mate Noel Martin from Menace with his bands 40th anniversary bash at the 100 Club. I’m enjoying myself and you can tune in through the Comrade X Facebook page.
 

Thanks Comrade for taking the time to answer a few questions. It’s a privilege to include you as a member of the London Celtic Punks crew and work with you over the last few years, so here’s to many many more!
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You can catch Comrade X playing live at our next London Celtic Punks gig later this year on Saturday 3rd September on home territory in South London. He will be supporting Dundee based bagpipe punk band THE CUNDEEz on their London debut gig. All starts at 7-30pm sharp and costs just a fiver on the door. You can check out the Facebook event here to find out all the details of the venue and the other support bands or go to our What’s On- Upcoming Gigs & Events here.
Contact Comrade X
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