Interview

Black47: the Larry Kirwan interview

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April 2002

Black 47 are the original and most original Irish rock band in the US – today, yesterday or tomorrow. Thanks to Larry Kirwan for taking the time to answer my questions.

(S’n’O) The first time I saw Black 47 was back in 92(?) at the “Trip to Tipp” in Semple Stadium, Thurles. If I remember correctly B47 played about 11.30 am and I was there to watch Therapy? (I was a “Heavy Kettler” in those days) who were the next band up. Despite my whiskey induced hangover B47 blew me away musically and lyrically with a sound I’d never heard before. I’ve yet to hear another band that sounds like Black 47. Why is that? What makes Black 47 so unique?

(LK) I remember that show because my voice started to go during James Connolly. I think we had just arrived in the country under a lot of stress. We didn’t have a soundman traveling with us, at the time ,and I had to go an explain to the “house” sound engineer what the band was all about. Which leads to your question. Because he looked at me, his mouth somewhat open ,as I explained the instrumentation – Drum machine, electric guitar, uilleann pipes, African percussion, bass, sax and trombone. Nevertheless, he did an admirable job.

I had actually thought that, with the success of Black 47, there would have been more imitators but the reality is that the sound is unique and the players even more so. They’re not exactly replaceable. Each one comes from a different background of either big band jazz, Stax soul, classical, downtown noise, folk, etc. and each had done stints in improv bands. So, there is a certain fearlessness. As a writer, also, I’ve never been afraid (or perhaps been confident enough in the writing) that I don’t mind the songs being worked on, at an early stage, in front of an audience. Most writers like to have their songs somewhat polished and ready for an audience before they’ll showcase them. Because of Black 47’s schedule, we rarely rehearse; thus as soon as I have a rough arrangement ready, the band tries the songs out onstage, modifies (or even throws away) the arrangement and just goes for it. Then again, the lyrical content is pretty broad, dealing with everything from politics to bawdy humor with gusto and passion. So, there are a lot of contents to the Black 47 sound and, even with this long-winded explanation, I’m probably leaving out some vital elements that listeners would suggest.

(S’n’O) The Irish media have always jumped on the bandwagon of anything Irish that’s making noise in America and Black 47 for years now have been know as “the Irish” rock band and been in every publication from Rolling Stone to Newsweek yet Black 47 are an ignored, unknown quantity in Ireland. What do you attribute that to?

(LK) Oh, politics, undoubtedly. And also, we’ve never fitted in any genre and actually despise the fact that bands should be expected to fit. We’re a genre of one and proud of it. We, actually, did receive quite a lot of press in Ireland around 92 because we were getting such press and word of mouth in NYC. But, we always had a political agenda which was to keep the British problems in the North of Ireland on the front burner. Now, to the politically correct Southern Irish, this was a heresy. They wanted their politics to be the airy U2 type of conviction – that the earth must be saved, and that everyone be kind to each other (views that I share and I think that U2 are a tremendous live band); but ours were much more specific – that habeas corpus be restored to the 6 counties, that the rights of the minority be restored and respected, and that eventually the British should cede security of the “province” to an EU or UN force.

Now, on top of all this, we’ve had two major record deals – one with EMI and the other with Mercury. The Irish representatives of both companies seemed frightened and a bit ashamed of the band’s views – there was a war going on in the North at the time and each company felt very uncomfortable having a band such as Black 47 on their label. They felt that it didn’t make them look good when they would have to go over to London. The British companies weren’t too keen on us either. So, they would release the cds, let them gradually sell out and then not print any more. There you have it. It’s a shame but what were we to do. Drop the politics and become an ugly looking Coors? As Yeats put it, “Was there another Troy for us to burn?” We were and continue to be political. It’s cost a great deal but such is life.

(S’n’O) Larry, would you consider compromising your lyrics/ politics/ activism for the big record label push to success? How important are the politics/ activism to the Black 47 sound?

(LK) I didn’t see this question before answering the last one. I think we’ve already demonstrated that we would never compromise. In fact, I’m not even sure I’d know how to. We are political and activist too. But, for those who are not familiar with the band, it’s important to point out that there are also many other sides to our music. Black 47 is a great rollicking rock band who play and live life to the fullest. About 30 to 50% of the songs are political. Many of the other songs deal with life in general. There’s a lot of romance, humor and loss in the songs. Some are about emigrants, many are about New York City and they all deal with redemption (not the established church type) but the feeling that life is important. You may have a rough day or week or year but you still have to get up the next morning and do it again. Black 47 has written a soundtrack for the people who rise to the occasion, day after day.

(S’n’O) Along the same lines what’s the most important, commercial or critical success (or success at all)? Do you feel that you’ve musically achieved what you wanted when you started Black 47?

(LK) I’ve never thought about critics (professional or otherwise). I know when the song is good and when the audience is with you. I don’t need to be told – for better or worse. I’m a professional musician and a professional writer. We’ve had commercial success and, perhaps, will have more of it. But it never affected how I wrote, perform or feel. I’m immensely proud of the band, what it achieves every night, and of the songs I’ve written for Black 47. In the long run, we have a body or work that is top shelf and stands up to anything out there – both musically and lyrically. But then, I don’t tend to look back. That’s for other people to do. The band is vital and goes on making new music. As soon as we stop doing that, then it will be time to call it a day. But, for now, the new songs sound great. We’re always looking to break new ground. And, I’ve always gone along with Jim Morrison’s words as regards creation – “the future’s uncertain and the end is always near.” I felt that 12 years ago when we formed and it’s still in my mind today. We never set out to do anything except make great music and be original. As long as we continue to do that, we’ll stay together. If we don’t…..there are other easier ways to make a living.

(S’n’O) What are your long term goals/ambitions/dreams for Black 47?

(LK) I think that’s summed up in the last question. Tonight’s show in Boston is the most important we’ve ever done. Then Saturday’s show in Connolly’s will supplant that and so on…

(S’n’O) After songs about Connelly, Collins, Sands, RFK and Joyce (well his grave at least). Is there any other historical figure that you’d like to write about?

(LK) Oh, there are many. You just have to find the right setting for them. I took my background as a playwright and wrote about Connolly, Sands, Collins, Countess Markievicz, etc by delving into their personalities (rather like a method actor) and becoming the subject onstage. It was a relatively new concept in rock writing and performing. But each one was treated differently. Finding the way into the heads of these people and then defining them in a different setting is not easy and takes time. I’m presently working on one about James Larkin (Connolly’s superior in the Labor Movement in Ireland) and I’m having a hard time. Two steps forward, one step back. On the solo cd, Kilroy Was Here, I’ve also worked with (in a more elliptical form) James Joyce’s releationship with Norah/Molly and the Spanish poet Garcia Lorca. So, it goes on. I’ve thought of doing a new solo project where I’ll just take a dozen important poltical figures (to me) and deal with their lives. But time is tight.

(S’n’O) Have you found younger fans digging for information about people like Connelly or Collins that they my not have heard of previously? What’s the feedback from the fans like on these people?

(LK) Oh, yeah, that happens all the time. You see, we don’t lecture people on stage. The songs are written in an allegorical manner. They set out the facts and delve into the personalities. Then it’s up to people to take what they want from those ideas. But we’re not like, say, The Clash (whom I adore). We don’t tell people what they should think. Rather, we introduce them to ideas and hope some of the ideas lead them to investigate topics and people in their own way. And that happens all the time. The emails I receive are extraordinary. People come home from a show and write asking a few extra questions; you reply to them. And then you might hear back a year later. The person has done extensive research and now may inform me of things I didn’t know. And so on, like a ball being batted back & forth. It’s a wonderful experience. The songs are also used in hundreds of college and high school courses around the country. And from time to time, I go out and speak in front of classes at the request of professors and teachers. Which can be fun. But there is nothing quite like the high of becoming James Connolly on stage in front of an appreciative crowd, who no doubt, are experiencing the same transformation.

(S’n’O) Finally, after “10 Bloody Years” how much do you think B47 have had a hand in modernizing Irish-America and Irish-American culture?

(LK) Of course. But I don’t think of it as modernizing. Rather we reintroduce Irish-Americans and anyone else who cares to their roots, many heroes, and to a way of seeing the world around them. We get people to think and that’s about the best gift we can give anyone.

Good luck with the site. Anyone who wants to write to me can do so at blk47@aol.com or visit http://www.black47.com

Interview

Celtus: John McManus talk about the past (Mama’s Boys) and present (Celtus)

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July 2001

Brother’s Pat, John & Tommy McManus grew up playing Traditional Irish in rural Ireland almost unaware of rock music. That changed one night when they went to check out a Horselips gig. Horselips were the first band to combine traditional Irish music and rock into one powerful sound. So impressed were the brothers that they formed their own power trio rock band Mama’s Boys. The brothers released eight albums as Mama’s Boys and toured the world over their fourteen years together with varying levels of success. Sadly youngest brother Tommy died in 1994 from leukemia and Pat and John called it a day. On the first anniversary of Tommy’s death, John picked up the low whistle and composed the instrumental track ‘Brother’s Lament’ in memory of Tommy. He played it to Pat who loved it and they started to play some Irish music purely for fun. Out of this Celtus was born. Celtus infuse folk, rock and roots styles to create some of the most uplifting original music heard in the last few years. Their latest CD ‘What Goes Around’ has just been released in the UK. Thanks to Lindy Benson for getting these questions to John (and John for taking the time to answer’em).

(S’n’O) The Celtus sound has been a radical departure from the hard rock of Mamas Boys how did this style come about ?

(John McManus) “When Tommy (our youngest brother) died, and Mama’s Boys folded, we weren’t sure if we’d ever do another album. Things could never be the same without Tommy.. After a year, Pat & I got back together and we wanted to do something different. Because we grew up playing Irish music, we wanted to return to the instruments we had neglected, like the low whistle and fiddle – and try to fuse together the Celtic ‘feel’ and also draw on our rock background. It really came quite easily.”

(S’n’O) What type of reaction have you had from the hardcore Mamas Boys fans to the changes and were you able to convert them?

(John McManus) “It’s only by chance that old Mama’s Boys fans know we have a new band called Celtus as it’s been on several websites. So far, no complaints! It’s amazing how many turn up to our shows!”

(S’n’O) Being base in the UK have you noticed a more favorable acceptance of music with Irish overtone then say 15 years ago and if so what do you attribute this to? (I remember criticism of Mamas Boys for using a fiddle by the music press).

(John McManus) “Riverdance, and the Corrs, I suppose.”

(S’n’O) What are you memories of the Mamas Boys days if you could re-live the last 20 years would there have been a Mamas Boys or would you have just gone and formed Celtus?

(John McManus) “Memories? They were all good – especially our tours in America that were so exciting! I think Mama’s Boys, being the 3 brothers, and being so in love with rock music, I would do the Mama’s Boys thing all over again.”

(S’n’O) Of all the song you’ve written over the last 20 years what’s your personal favorite?

(John McManus) “From Mama’s Boys it would have to be ‘Needle In The Groove.’ From the Celtus collection, I’d have to say ‘Cathedral’ from the ‘Portrait’ album”.

(S’n’O) I notice you have left Sony UK to go to an independent label. How is the new label working out?

(John McManus) “We licensed both ‘Live 2000’ and ‘What Goes Around’ to Evangeline – so they basically act as a distributor. Sony only ever released ‘Moonchild’ and ‘Portrait’ in the UK and Ireland. Evangeline have released world-wide which is much better as our music can be obtained by a lot more fans.”

(S’n’O) Finally do Celtus have any plans to tour/play in the USA in the near future (or have their CDs released here)?

(John McManus) “No plans yet to tour in the US. Any promoters out there that want us over? We’d be there like a shot! The ‘Live 2000’ CD and the new studio album ‘What Goes Around’ was released in the US at the end of February 2001. I know both can be bought from CD Warehouse (Media Valley/DNA distribution) and also over the internet on: CDNow, CDconnection, and CDquest. Please DO check out our website: http://www.folking.com/celtus as we love reading the messages from our fans – especially the ones from America.”

Interview

Catgut Mary: Ahoy Matey – Will Swan Interview

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October 2007

CATGUT MARY: The greatest band to come outta Australia since some guy in a schoolboy uniform strapped on a Gibson SG. Brighid from Celtic lounge sets the questions

Far away in Australia, the Goodship Catgut Mary has set sail. Onboard are Commodore Jason Block on drums, lead vocalist “Fighting” Tim Bradtke, Warren “The Admiral” Fraser on twelve-string guitar, mandolin and electric guitar player Jules “Mad Dog” McMullen, accordion player Captain Will Swan, Owen “Bacchus Aquinas” Thomas on bass, and “Blackjack “ Dave Mackenzie on whistle. Since befriending them on MySpace (www.myspace.com/catgutmary), I have spent copious amounts of time playing through the list of songs on their profile. They are loud, energetic, and fun and you should be listening to them, too. To persuade you, I interviewed with Captain Will Swan about being part of this amazing crew. Keep a weathered eye out for Catgut Mary weighing anchor in the US!!

Brighid: Okay…let’s start with the background. How did you come up with the name Catgut Mary?

Will: I came up with it one night on a roadtrip with a mate, watching a Zydeco rock band in a country town pub.

B: Where are you from?

W: The bulk of the band is comprised of Melbourne boys. Melbourne is considered Australia’s ‘second city’ in some ways, after Sydney which is slightly bigger and is well-known for it’s harbour and beaches and all. Melbourne is a grid city that is overwhelmingly Victorian in its design. It was built on the back of a mid-19th Century gold rush. I’m from Sydney and ‘The Admiral’ (12-string guitar) is originally from Northern Ireland.

B: How did the band form?

W: I came to Melbourne for its extremely vigorous live music scene after mucking around in various bands in Sydney. Melbourne has long held the crown for pub rock in this country. I placed various ads in music shops and tattooists but eventually found the original members through a musicians’ classifieds site. How we found our drummer Block I honestly do not know … I was living in a blur at that time. But now I can’t imagine life before him. We found our singer Tim Bradtke a few weeks before we played a really big St Patrick’s Day event here in Melbourne.

B: How long have you been together?

W: This incarnation of the band is eight months old. Catgut Mary first came together about a year before that. We didn’t start taking it seriously until early this year.

B: What are the major influences on your music?

W: The major influences on this band are the ballad tradition and the punk ethos of do-it-yourself. The Pogues are a lifelong influence for many of us. And of course we love the Dropkick Murphys and loads of bands doing so-called Celtic Punk. The thing about almost all of these bands, as I see it, is that they would all be doing their thing regardless of each other but also really dig each other. Those of us who grew up on British, Irish and Australian folk music have that in us and everyone in this band has ingrained rock’n’roll spirit anyway so it’s natural that we play what we do. I don’t see what we’re doing as fusion music at all. I just see it as amping up what could just as easily be played with one acoustic guitar and a tin whistle or whatever. We’re into high energy music and story songs. Our drummer Block will kick back with Sepultura for instance and our guitarist/mandolinist Jules has a background in bluesy Australian pubrock, AC/DC and Rose Tattoo, among other things. I’ve always thought that there is a bit of a hillbilly influence going on in Catgut as well. I’m into songwriters who have a story and setting going on in their stuff and I’ve always been really inspired by the positive ‘one in, all in’ sound and ethos of bands like Rancid and the Dropkick Murphys.

B: What are some of your favorite bands (that you haven’t played with) that have influenced you?

W: The Pogues showed the world what can be done by going somewhere really high-powered with the innate energy and emotion of Irish music. I’d grown up on The Dubliners so what MacGowan and The Pogues were doing was the most exciting thing I’d ever come across. I never saw it as novelty at all.

The great Australian band Weddings, Parties, Anything are an influence as well. They had a very rootsy sound and cranked it out around the country all the time. Colonial folk music meets country meets pub rock with legendary atmospheric songs.

B: Do you think your Australian roots influence your music?

W: Yeah, big time. Most of us know the Australian traditional ballad catalogue, on one hand. Pioneer songs, convict songs, all that sort of thing. On another level, Australia has a very proud rock and punk history and we’re definitely coming out of that. Traditionally, there hasn’t been much room for poncing about in Australian rock. The bands that have really made their mark were no-nonsense, sweaty, hard-rocking outlaws who came out of the cities, suburban beer barns and country towns and just lived for live music. Melbourne is absolutely crammed with live venues. Sydney used to be, too.

B: Which of your songs stands out to you the most, and why?

W: At this stage, two live (original) favourites seem to be ‘Jacky Butler’ and ‘Melbourne Tram Song’. Jacky Butler is an historical song about an English migrant who flees to Sydney after being involved in some sort of killing, it’s all pretty shady. He lies low and remains a defiant hard man, albeit a romantic one. Although a violent man, he finds some sort of redemption by refusing to get involved in the Boer War. It’s a song about flying the finger but keeping to yourself in a world that will kill you if it can. I suppose people like it for the chorus. Melbourne Tram Song is basically a love song I wrote for the city. It blurs the line between the love for a person and the love for a place.

B: What do you try to accomplish with your lyrics?

W: Without trying to, I’ve found myself writing using traditional ballad cliches. Jacky Butler has a basic introduction line early on in the song; “Well me name is Jacky Butler …”. That’s just an old folk thing, you present a character and they tell their story. Like the Paul Simon song ‘Duncan’; “Lincoln Duncan is my name and here’s my song …”. Likewise, Melbourne Tram Song starts off with “As I roved into the city …”, another textbook folk intro. When I look at old black and white and sepia photos I am fascinated by the fact that people from 1895 or whenever are the same as us, that they had more or less the same concerns and weaknesses and delights. And so with our thing, the music can accompany stories or imagery from the past – even a fantastical, stylized sort of past – or we can draw on old idioms and incorporate them into present day songs.

We’ve got a song we’ve just recorded called ‘Bourbon and Black Porter’ which is about the cycle of drunken madness and alcohol withdrawal and the final decision to give it all away. I quit drinking a year ago and I wrote this one on Christmas Day after being clean for two months. The thing is, I’ve always REALLY loved full-tilt drinking songs so I wanted to do a ‘farewell to booze’ thing that wasn’t some forlorn, self-pitying thing like that Nine Inch Nails song ‘Hurt’. I’ve always been bored to tears by the sight of a pack of drunkards singing the bloody ‘Wild Rover’ … “no nay never, no more” and all that. You either get straight or you don’t, you don’t bloody TALK about it. So this was written as a reaction to that, and from the point of transition as opposed to just talking crap. And I wanted it loud and brash and energetic, so Tim is the perfect voice for this song.

B: So, you guys are touring right now, how’s it going so far?

W: First time we’ve been out and about together and it’s been wicked. We’ve gone through a lot together so it’s been really bloody good to knock the dust off the sails and get her out there. B: You’ve played with a lot of well-known bands – any favorites?

W: It was great to play with Mutiny who are an institution down here in Melbourne and that was really nice of them to ask us along for some shows.

B: If you could play with any one band or artist, who would it be and why?

W: Personally, I would love this band to one day share a stage with The Real McKenzies because they are pure energy. And my old man is a piper.

B: What do you like most about gigs?

W: Other than playing, which is what we live for (clichéd as that might sound) I love getting to talk music with people and make new friends. And it provides us with a chance to try new interestingly scented but masculine deodorant spray cans. I can’t believe how many of those things I go through.

B: When you’re playing, how do you cater to the crowd?

W: We ‘channel’ the songs, not just ‘recite’ them. And I consider that it’s our job to put music under the feet of those who want to dance. Tim’s a natural showman so he’s the man for the banter.

B: Any interesting anecdote about touring, or a show in particular? Maybe your first, or one where somebody ended up in the hospital, or one with an amazing crowd?

W: All of the above. There was one show when one band member was in M.I.A in some hospital somewhere and where I took out Block’s drumkit but that’s all in the messy amateurish past and we don’t talk about it anmore. The fact that I’ve even mentioned it will have earned me six lashes.

So … the latest story here is that we had a member of Rose Tattoo at one of our recent shows; Rock’n’Roll Royalty, so we got a kick out of that.

B: Thanks very much! Slainte!

W: You are very welcome, Brighid, me hearty!

Interview

Blood or Whiskey: Barney Murray, Leixlips Finest

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October 2001

Leixlip County Kildare’s Blood or Whiskey are one of the finest if not finest Folk-Punk bands on the planet (and I’m not just saying that because I discovered I went to the same High School as Barney). Their second CD “No Time to Explain” is out on Eire Records. Thanks to Barney for taking the time to answer my questions.

(S’n’O) First some band history questions. Can you give me a brief history of the band, how did you get together and who’s in the band?

(BM) “We have been together since 1993. I knew a few of the lads and we got together for a jam and played a few of each other’s songs and it went from there. My feeling was that The Pogues had lost their way after “If I Should Fall From Fall From Grace..” and that we should take it from where they left off. We recorded the first album in 1996. It was all done in three days. Then we went on a never ending or going anywhere tour for about three years till we called a halt to do the second CD. Nearly everyone in the band is from Leixlip, Co Kildare.
The line up is: Barney Murray – Vocals, Bouzouki; Dugs Mullooly – Vocals, Guitar; Paul Walshe – Banjo; Chris – O’Meara – Drums; Tom Touhy – Bass; Aishling De Claire, Tin Whistle (the only girl and the only one not from Leixlip!)”

(S’n’O) Are you happy with the new CD and how would you compare it to the first? It’s an Irish only release right? Any plans for a US release?

(BM) “I’m totally happy with it. The first one was a hard act to follow but I think we have done it. I think there is a greater variance of styles on “No Time to Explain” but I didn’t want to loose our basic sound or compromise the songwriting. It was a hard album to make because with the first one we didn’t have much choice, we were put in the studio, we had to get it done in three days and we were kept away from the mixing. This time we had complete control and loads of time and all these choices to make ourselves and it wrecked our heads. That said, I love the first one and I love this one. I wouldn’t have let them be released if I didn’t. We are trying to get it released in the US and hopefully it will be soon.”

(S’n’O) How’s the CD doing in Ireland, did you get any airplay or support from the Irish music establishment (2FM, Hot Press, Etc.)?

(BM) “The CD is selling well but we have not got much (if any) support from the Irish music establishment. The Punks have kept us going over here. The established media is now just an extension of the major labels marketing arm. It’s been like that for a long time.”

(S’n’O) What do you think of the current state (or non-state of) of Irish rock right now?

(BM) “Non-state is right. It’s rubbish. The bands here just copy the latest trend from England or America. When we started out they were all trying to be Nirvana, now they want to be Coldplay or Blink 182. Next year it will be something else. They have no balls. If it wasn’t for the Punk bands there would be nothing.”

(S’n’O) Do Blood or Whiskey listen to any of you peers (Flogging Molly, Dropkick Murphys)? What do you think of the whole scene that’s developing stateside?

(BM) “We played support to The Dropkicks in Dublin in 1999 so we know them fairly well and I listened a lot to Flogging Molly. I was surprised how big the whole thing is in America. It’s different in that its a lot more guitar driven than we are. Maybe we are Trad. with Punk influences and they are Punk with Trad. influences or that could be just me talking more shite.”

(S’n’O) You just completed an American tour, how did the tour go, any particular high points?

(BM) “Despite everything it was the best tour we ever did. All the gigs were great and I’ve never been able to say that about any other tour. The Irish bars that we played in never once asked us to do any cover versions or to tone it down and we got a great response in the venues that were pure Punk despite us not having electric guitars and stacks of amps.”

(S’n’O) The WTC disaster took place right in the middle of the tour and I know you actually visited the WTC a couple of days before. Any thoughts, opinions about what happened, did you feel there was a noticeable effect on the remainder of the tour?

(BM) “Like millions of people I still cannot get my head around the whole thing. I’d never been to Manhattan before and I’m sort of tired of cities so I didn’t expect to like it but it struck me as a really vibrant and multi-cultural place with an energy all its own. I still can’t believe what happened. We didn’t know what to do so we just said to the venues that if they wanted to cancel we would be ok with that. They all wanted us to play. It seemed that people just wanted to keep going. I never said a word about it from the stage. It was like everyone wanted us to shut up and play, so that’s what we did. We didn’t play the last gig in Yonkers, it was supposed to have been a benefit night for Firefighters and it was understandably cancelled.”

(S’n’O) Any plans to return to the US in the near future?

(BM) “We would love to go back. It’s the most accepted we have ever been anywhere. More than Ireland. It would likely be next year though at the earliest.”

(S’n’O) What are the future plans for Blood or Whiskey?

(BM) “Its very unPunk of me but I’d love to make it big just to show the bastards that we can do it. I’d love to be doing this in twenty years or more. The lads feel the same. Why should Bono, Britney and all the other talentless wonders live in mansions while Punks go around broke ?”

Interview

Blood or Whiskey: Sticks and Stones – an interview with Beano

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November 14, 2004

(S’n’O)

1. First of all, congregations on the new US record deal with Punk-core. How did the deal come about? I know when we spoke back in April, you mentioned you had a few labels interested in signing the band but none would commit on tour support. Will Punk-Core be giving you the necessary tour support and can we expect to see a lot more of Blood or Whiskey in 2005?

(Beano/BoW)
YEAH THANX, THE DEAL CAME ABOUT ‘COS BASICALLY WE WERE FISHING ABOUT FOR A NEW DEAL BASED IN THE U.S. WITH GOOD DISTRIBUTION IN THE U.S. AS WELL AS THE REST OF THE WORLD.I KNEW WHAT PUNKCORE’S CAPABILITIES WERE, BUT I MET DAVE THE LABEL BOSS SOCIALLY FIRST WHEN HE WAS ON HOLIDAY IN IRELAND SO AFTER THAT I KNEW HE WAS SOUND ‘COS WE DIDN’T TALK ABOUT THE BAND OR BUSINESS, WE JUST TALKED ABOUT WHAT THE NEXT ORDER AT THE BAR WAS! SO WE HAD TO WORK WITH SOMEONE WHO WE COULD GET ON WITH PERSONALLY SO THAT WE WEREN’T JUST A “PRODUCT” TO THEM, THAT THEY WERE PEOPLE INTERESTED IN US AND NOT JUST IN FUCKIN DOLLARS.BUT SO FAR WE’VE BEEN TREATED GREAT AND THEY KNOW WHAT THEY’RE DOING. PUNKCORE WILL GIVE US WHATEVER RESOURCES THAT THEY HUMANLY CAN IN ORDER TO SEE THIS JOB THROUGH COS LIKE US OURSELVES , THEY BELIVE IN WHAT WE’RE DOING AND WHAT WE PLAN TO DO. YEAH WE’LL BE GETTING A U.S BOOKING AGENT AS SOON AS, THEN THE ALBUM WILL COME OUT EARLY FEBUARY 2005 THEN WE’LL BE ON BASICALLY A NEVER ENDING TOUR.

(S’n’O)
2. Speaking of touring, how did the US tour with the Dropkick Murphys go?

(Beano/BoW)
YEAH THE DATES WITH THE MURPHY’S WERE GREAT. THEY TREAT US FINE ( WHY WOULDN’T THEY?), & ALLOW US ENOUGH TIME AND SPACE TO DO OUR THING. THE BAND AND THEIR CREW ARE NICE FELLAS Y’KNOW? WE WENT DOWN WELL WITH THEIR CROWD TOO AND SOLD A LOT OF MERCH AT THE GIGS. THEY DON’T OWE US ANYTHING AND IT’S GREAT EXPOSURE FOR THE BAND AS WELL OBVIOUSLY.

(S’n’O)
3. How is the new CD coming along, with the line up changes can we expect a different sounding Blood or Whiskey to what we hear on the previous releases?

(Beano/BoW)
THE NEW CD IS GOING GREAT.WE’VE LITERALLY JUST FINISHED RECORDING AND IT’S GOING TO BE MASTERED THIS WEEK. THERE’S 14 SONGS ON IT & IT’S GONNA BE CALLED “CA$HED OUT ON CULTURE” – ‘COS A LOT OF PEOPLE CASH IN ON OUR CULTURE SO WE’RE CASHING OUT! IT DEPENDS ON WHAT YOU MEAN ABOUT SOUNDING DIFFERENT .WE’VE PURPOSELY GONE FOR A MORE PRODUCED SOUND SONICALLY BUT LIKE OTHER BLOOD OR WHISKEY RELEASES IT’S GOT STRONG MATERIAL PLAYED BY A BAND THAT BELIVES IN ITSELF. WITH REGARDS TO LINE UP CHANGES IT’S BOUND TO SOUND SLIGHTLY DIFFERENT, BUT WE’RE PLAYING TO THE SAME BEAT WE’RE JUST BANGING A DIFFERENT DRUM!

(S’n’O)
4. Blood or Whiskey seems to had a ton of bad luck over the last few years – contract problems, label problems, van crashes, line-up changes, illness and jail time – what keeps the band together? mearer mortals would have knocked it on the head a long time ago.

(Beano/BoW)
A BELIEF IN WHAT WE DO AND IN WHAT WE HAVE TO OFFER ,A GOOD DOSE OF STUBBORNESS TOO PROBABLY. THERE’S X-AMOUNT OF DETRACTORS AROUND WHO HAVE NO LIVES AND WHO CONTINUALLY TRY TO SOUND OFF ABOUT THINGS THEY HAVE NO FUCKIN CLUE ABOUT REGARDING THIS BAND.AS FAR AS I’M CONCERNED IF WE’RE DOING NOTHING ELSE APART FROM ANNOYING THESE SAD PATHETIC SACK HOLES THEN THAT ALONE IS REASON TO CONTINUE.

(S’n’O)
5. Irish/Celtic punk bands seem to be everywhere these days – from Norway to Japan and the Billboard top 20 – and while Blood or Whiskey were argubally the first of the post-Pogues and authentically Irish as well, nothing else similar has come out of Ireland. Why do you think that is? What do you think of all the non Irish bands playing trad. Irish based punk?

(Beano/BoW)
I THINK THE MAIN REASON THAT BANDS/PUNX FROM IRELAND DON’T PUSH THE “PADDY” ANGLE IS BECAUSE I THINK IT’S SO BRED INTO US THAT WE DON’T HAVE TO WEAR IT ON OUR SLEEVE.IT’S NOT SOMETHING TO SHOUT FROM THE ROOFTOPS.IT’S JUST SIMPLY WHAT YOU ARE WHETHER YOU LIKE IT OR NOT. IT SEEMS IN THE U.S. PEOPLE ARE REALLY PROUD OF THEIR FAMILIES ORIGINAL ROOTS TO GO ALONG WITH THEIR AMERICAN ROOTS HENCE THEY’RE “IRISH-AMERICAN” OR “ITALIAN – AMERICAN ” OR WHATEVER.THERE’S NOTHING WRONG WITH THAT BUT PERSONALLY I COME FROM AN ANGLE IN PUNK WHERE NATIONALITY HAD NOTHING TO DO WITH PUNK ROCK.IT DIDN’T MEAN YOU WEREN’T PROUD TO BE IRISH OR WHATEVER IT JUST WASN’T AN ISSUE Y’KNOW? IT WAS AN ANTI-SYSTEM THING I THINK.OBVIOUSLY FOR SOME BANDS IT’S A PRIDE THING OR FOR OTHERS IT’S A COMMERCIAL THING BUT FOR SOME OF THE BANDS I’VE HEARD FROM GERMANY AND THAT IT’S JUST A FUCKIN SAD THING! THINGS LIKE THIS DON’T REALLY BOTHER ME EITHER WAY , EVERYONE HAS THEIR OWN TAKE ON IT. A GOOD EXAMPLE IS THE AMOUNT OF ENGLISH OI! BANDS WHO I WOULD PERSONALLY KNOW NOT TO BE NAZIS/RIGHT WING, BUT AS SOON AS THEY SING ABOUT ENGLISH PRIDE THEY GET A NAME FOR BEING RIGHT WING.WHY IS IT OK FOR “IRISH” PUNK BANDS TO BE PROUD AND NOT ENGLISH/BRITISH ONES?? THIS TO ME IS WHY NATIONALISM FUCKS UP PUNK ROCK. ANYWAY WHEN I HEAR THE TERM IRISH PUNK I DON’T THINK OF US OR THE MOLLY’S OR THE MURPHY’S , I THINK OF THE OUTCASTS, SLF,DEFECTS, RADIATORS ETC. ANYWAY.

(S’n’O)
Beano – thanks for thaking the time to answer my questions – anything else you’d like to say?

(Beano/BoW)
JUST THANKS FOR THE INTEREST AND THANKS TO ANYONE WHO SUPPORTS US AS FOR ANYONE WHO DOESN’T SUPPORT US FOR WHAT EVER REASON , FUCK YOU! WE’RE DOING IT ANYWAY, GET A LIFE!!! – BLOOD OR WHISKEY WWW.BLOODORWHISKEY.IE

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The Pogues – The Showbox SODO, Seattle, WA (October 17, 2007)

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“A Rainy Night In SODO”

Flash back to 2001, when the news broke out of a Pogues Reunion Tour. Insanity is a word commonly used to describe the feeling worldwide. I seriously debate flying all the way to London just to see the band play live. (A few freinds made it) At the time, I simply could not afford the trip, so I nervously waited 5 years for the band to arrive on American shores. Again, I back out like a cheap stupid bastard. The tour is a success, and I punch myself for not attending. I then begin to hear rumors of a full blown West Coast Tour in 2007. I await the Portland billing…(And for reasons I cannot discuss) It falls through. Luckily for me, Seattle has confirmed two dates. I order my tickets and dance a drunken jig.

October 17th arrives. I get out of work early and haul ass north to Seattle. Prior arrangements have been made to meet up at a local pub called the Owl & Thistle. We arrive to a series of cheers. The good times are certainly here! (And as we all know, a Pogues gig isn’t complete without a pre-gig pub-crawl.) After an hour or so, the pub is crawling with fellow Portlanders, and our cheery pals to the north, The Canadians. After a few pints are drowned, various footy chants are sprinkled among the Pogues faithful.By the time we’re about to leave, full blown Portland Timbers chants echo across the pub. (WTF?) We also raise a pint to ailing Pogues guitarist Phil Chevron, who could not attend the tour due to his recovery from cancer. Like some sort of Celt-Punk roll call, I bump into various members of The McGillicuddy’s, the Scurvy Bastards, The Dolomites/Rag & Bonemen, and even had a Wages Of Sin sighting!

Eventually, the pub empties out into the rainy streets of Seattle, it’s the middle of Autumn, and a chill is in the air. This does nothing to dampen our spirits, because this crew of misfits are heading to The Showbox SODO to watch the Pogues! Somehow we cut the line and walk right in. The opening band is a guy named William Elliot Whitmore and he sounded great, I was too busy at the bar to get a good view.

Then it was time. Time for me to witness The Pogues for the first time ever. (Sure, I’d seen Shane & The Popes play before, but who am I kidding?) To be honest, I had pretty much written off Shane MacGowan a few years ago, so I wasn’t expecting much. In fact, I was relieved just to see Ol’ Snaggletooth up on stage. (It’s the first night of the tour, mind you!) The band crashes into “Streams Of Whiskey” and a mad rush toward the front of the stage begins. The crowd is hungry. Considering this is the first time The Pogues have ever played Seattle, it seemed appropriate. Within seconds, the leather jackets, the skate punks, the paddycaps, the trads, and the skins, all came together to celebrate the night. Let’s not forget some the older fans a bit further back with their offspring in tow. Showing the wee ones a night they’ll never forget. You couldn’t catch your breath before they steam right into “If I Should Fall From Grace With God” It’s about this time everyone realized how good the band sounds. In fact, The Pogues sound fucking great. Not to mention, Shane, (who was currently sporting a classy tophat) who had not sounded this good in years! “Broad Majestic Shannon” “Turkish Song Of The Damned” Phil Chevron’s smiling replacement, James Walbourne subbed in perfectly. By about the time “Young Ned Of The Hill” comes I simply lose the ability to properly review this show. There’s too much to take in. All those years of wishing, and waiting, have arrived and my fucking god, they have arrived with a vengeance! Overwhelming is an understatement! I am willing to bet serious amounts of money that I had by far, the biggest smile in the entire place that night!

Here’s the set list of the remainder of the show

Pair Of Brown Eyes
Boys From The County Hell
Tuesday Morning
Kitty
Sayonara
Repeal Of the Licensing Laws
Sunnyside Of The Street
Body Of An American (Shane dedicating it to Kurt Cobain)
Lullaby Of London
Greenland Whale fishers
Dirty Old Town
Bottle Of Smoke
Sickbed Of Cuchulainn

Encore!

Sally MacLennane
Rainy Night In Soho
DOG

Second Encore!

Star Of The County Down (Andrew on vocals)
Poor Paddy
Fiesta (With Shane And Spider smashing beer trays over their heads!)

And that was that. After two hours, a long term goal was fufilled. I finally saw the Pogues, and again, they sounded fucking amazing. I honestly expected a half-arsed reunion gig, instead I received a full blown kick in the ass. There was a faint buzz in the air. Not only the fans, but also the band. Accomplishment comes to mind.

Again, I must admit, Overwhelming is an understatement.

Review By: Barnacle Brian (Still smiling)

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Flogging Molly /The Currency – The Corner Hotel, Melbourne, AUS (APRIL 10 2008)

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So its 9am the morning after the show, I’m struggling a little, however I’m feeling the need to get this down on paper before the buzz wears off too much. What a great show last night! It was truly sensational, and Melbourne gave it to Flogging Molly as much as they gave it to us. The intensity just went up and up with both sides dealing it back in spades.

The venue was fantastic. There was a smaller stage to the side where The Currency played, with the main stage set up on an adjacent wall ready to go for Flogging Molly. This made for a very smooth transition, and there was plenty of viewing room even for the small stage. The Currency were great, they kicked off with a tune that built up layer upon layer as it got going into quite a frenzy by the time the vocalist took the stage. The crowd was appreciative and after a few songs the keener (drunker?) members got quite an impressive bit of jig-spinning mosh-pit action going on by the stage. I would have joined in but it was still important to me at that time not to spill my drink.

The Currency definitely deserve a few words, these guys really know how to play and connected with the crowd well. I had only heard a couple of their tracks previously but I tell you what, I can’t wait for their album release, they have written some brilliant tracks. One that really stuck in my mind was referencing the 8/8/8 plight of the Melbourne unions for 8 hours or work, 8 hours of rest, 8 hours of sleep I think it is. It was also talking about the monument erected to commemorate this which I happened to stagger past drunk at 3am the previous morning but that’s a different story.

Anyhow, after a good set – I would estimate about 45 minutes – there was a relatively short break and Flogging Molly took the stage. The crowd was well pumped and moved into action immediately as the first riff of Selfish Man kicked in and the place went off. I’ve seen Flogging Molly once before as a support act in a large venue, but this was something else again – they were on another level. You could feel how hard they were playing from the moment they hit the stage. The intimate venue meant I could reach the foldbacks and so the band was less than a couple of metres away – and they brought all of my old FM favorites to life in a way I couldn’t have imagined.

It was particularly evident what a fan-base Flogging Molly now have in Australia when during the intro to The Likes of You Again, Dave King found himself drowned out by the crowd singing along – you could see in his face how taken aback he was that here were several hundred people thousands of miles away from home who knew all the words to their songs. And the band just responded in turn.

The sound was great at this venue, the mix was excellent, you could hear all of the instruments distinctly so whether it was the Bob Schmidt’s banjo in Drunken Lullabies or the Bridget Regan’s tin whistle in Devil’s Dance Floor it cut through like a knife. The playing was tight and powerful, exactly what you’d expect from such a hard-touring, seasoned band but it’s still so impressive to see. The set list was perfect for fans like me who will only see them every couple of years at best. It drew heavily from the first couple of albums, from memory they ran through: Salty Dog, Black Friday Rule, Selfish Man, The Likes of You Again, Devils Dance Floor, Swagger, Drunken Lullabies, What’s Left of the Flag, If I Ever Leave this World Alive, and Rebels of the Sacred Heart. From Within a Mile of Home they had my two favorites Tobacco Island and the title track plus Whistles the Wind and Seven deadly Sins. I think there were only 4 off the new album – Float, Paddy’s Lament, Requiem for a Dying Song and Lightening Storm – and all 4 were fantastic – and I certainly appreciated the majority being from the earlier albums that are so well ingrained in the musical appreciation section of my brain.

There were a couple of highlights for me from the night, the first was on the roof-top bar before the show – it was a warm Melbourne Autumn night so sitting outside was very pleasant – when I saw Nathan Maxwell walk past so I had a fan moment and accosted him at the bar to buy him a beer. I tried to impress him with how far I’d traveled to see them, realized I was carrying on like an asshole and eventually we sat down with my friends and discussed everything from Californian red wine to the sights of Chapel Street. He’s a hell of a nice guy and eventually wandered off to sound-check. I saw him later, he watched the entire Currency set from the midst of the audience chatting with people and soaking up the atmosphere. Half an hour later he was bathed in sweat playing his ass off as I was once again blown away by the power of Flogging Molly’s rhythm section (this was in fact my main recollection from last time I saw them – just how tight they had the rhythm section which is of course the heart of Irish music – without rhythm, how can you dance?).

Anyway, highlight number 2 had to be the encore, Dave King came out and played through the verses of Black Friday Rule with his acoustic guitar – it was magic with the crowd singing along – and then when the rest of the band joined in for the mad finale, it was truly awesome.

Throughout the show, the band were beaming, they’d found a home away from home with a manic fan-base, and this was only the Thursday night show – it wasn’t even sold out which the Friday one is – it’ll be off the planet tonight for sure, its just a shame I will be on a plane when they take the stage again, still I feel privileged to have experienced this show, definitely one of the best I have ever attended.

Review By: Alex Kiwi Dean

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The Real McKenzies: Empire Hotel, Sydney Australia – 19TH March 2004

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Its very rare that overseas acts ever live up to the expectations or the hype that surrounds them when they come to Australia. For some reason, it appears all too common for European and American bands to think that they can come down here and dominate the market, even with a mediocre live performance. Such has been my experience on many occasions.

Nevertheless, I had heard good things about tonight’s show, and looked on in keen interest. I arrived at about 9.30pm as local act Bagster opened up the night. I’ve seen these guys many times, and each time they seem to get a little tighter, and their set more cohesive. I cant help but think that they sound very much like Reel Big Fish, which is not really my thing – nonetheless, they are relatively entertaining and tight, and combine power-pop and punk riffs with horns..

Soon after the beer began to flow more freely, and the crowd seemed to loosen up a little as The Go Set took to the stage. I had heard good things about these guys, but never managed to get out and catch them when they’ve been in town. The seem to be touring all the time, and after watching tonight’s set, the road time is obvious. The Go Set combine some traditional Australian and celtic folk influences with Clash inspired punk, and they do it well. Songs about Australian history, war, and sailing the seas made these guys the perfect support for the McKenzies. They were tight, aggressive, self assured, and singer J.Keenan engaged the crowd for interaction continuously. Matthew McNasty and a couple of the other McKenzie lads climbed up on stage for a couple of songs, which was a highlight of the night. These guys are definately on their way to bigger things.

A short break, and The Real McKenzies hit the stage with an energy never before seen at the Empire. These guys blasted into their set with a series of songs from their new album Oot and Aboot. Highlights were Bone’s amazing guitar work on ‘Cross The Ocean’, and of course ‘The night the lights went out in Scotland’. The McKenzies had, by now, worked the crowd into a moshing frenzy, and included a number of older tracks such as “Bitch off the Money” and ‘Nessie” from their Lochd and Loaded album. Each of the members of this band are amazing players, and Paul McKenzies is one of the most intense and engaging front men I have ever seen.

I recently read a review of ‘Oot and Aboot’ that rated it as an ‘average’ punk rock album. Obviously this reviewer has never seen this band live. Tonight was one of the best shows I’ve seen in years, and for $17 a ticket it doesnt EVER get any better than this. When Paul McKenzie sang “MacPhersons Farewell”, the friendship and bond that had been developed between these bands and with the audience, through a booze soaked and sweaty pub room, was as thick as blood. A member of one of the band’s had told me earlier in the night that seeing the Real McKenzies live was a life-changing experience – he was’nt far off the mark. Sooner or later, Australians will catch on to this, and when they do more people will experience what these select few experienced tonight.
Review by Matthew Burke Punk Australia Zine

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The Dreadnoughts – Live At The Railway Club, Vancouver, BC (June 7, 2008)

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I totally lucked out on this show. I just happened to be up in Vancouver, when I noticed The Dreadnoughts were scheduled to play at the infamous Railway Club that very same night. I recently picked up their fantastic debut album “Legends Never Die” and was blown away. Now, when I say fantastic, I mean to say Fan-fucking-tastic!

While cruising the streets of downtown Vancouver, I played the album for a friend of mine. He instantly muttered something along the lines of “The Dreadnoughts??? These guys kick fucking ass, man! Let’s go! ” Eventually, we arrive at the gig, walk up to the bar and order some drinks. Turn around, and watch one of the opening bands. To be honest, I could not tell you who they were. I didn’t really care. We decide to hang out at the bar and wait it out. Shit… Another forgettable opening band. Then eventually, another, and another, another… It’s starting to get late. The drinks are slowly catching up to us… We begin to wonder if there’s been a mistake.

Then I hear a familiar voice. It sounds like that guy (Nick) from Siobhan. (Great band, btw!) and current mastermind behind the Dreadnoughts. We walk up and say hello. After a pint or two, Nick finally stumbles up from the bar and gets ready for the gig. We figure the Dreadnoughts deliberately took as long as possible so everyone present would be a drunken mess, and ready to party. I think the plan worked, because I was literally shaking in anticipation. If these guys sound anything even remotely close to the album, I’d be a happy fucking camper.

Boom, off they go. The Railway literally starts bouncing. It’s a sea of drunken scallywags. The music is soaring, the crowd is roaring. In a matter of moments the entire place has gone insane. Tables and chairs are knocked over. Folks are flying atop the crowd. The building is going to crumble. You can see people trying to protect their pints by holding them in the air. It’s no use, the beer is spilt in every direction, every second or two. The entire club is a drunken mess. By about the second or third song, dancing in the middle of the mayhem, I’m covered in beer, sweat, and god knows what else, and I’m loving every moment of it. As a matter of fact, we all are!

I give no effort in remembering the set list. Fuck that, I’m having too much fun. I’m too loaded anyway. Tonight is all about watching a brilliant band tear the roof off. The sound these guys make over the course of the night is amazing. The energy is almost unmatched. I have seen a few shows in my day, and I will say this… The Dreadnoughts have “it”… And, if you have to ask what “it’ is, I’d suggest seeing them for yourself and you’ll find yer answer…

Holy shit. Get the album “Legends Never Die” and pray to whatever God you believe in, that the Dreadnoughts will hopefully go on tour near your town!

Review by: Barnacle “Man in trees” Brian

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Neck w/The Swaggering Growlers/The Beantown Boozehounds/The Gobshites – The Beachcomber, QUINCY MA (September 18, 2008)

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The Beachcomber is really my kind of bar, having a mix of all the right ingredients for a perfect dive; including a multi-decade history of Irish and Celtic-inspired entertainment, a cheap and crappy pizza that was the best food on earth at a blurry 11:30 PM, and a decent stage area that can hold a larger band of six or seven.

And it was that stage was the whole point of the evening. A four-band bill with Neck headlining could’ve been held anywhere and turn out awesome. It just so happens that it was here, and it did.

The show opened with The Swaggering Growlers who set the pace for the evening with some good energy despite the fact that the audience was still arriving. Their set was comprised of some material from forthcoming recordings, some covers, and a decent-sized handful off of their (highly recommended, by the way,) CD, “THE BOTTLE AND THE BOW,” including two of my favorites off of that release, “Greetings (from the Unemployment Line,)” and “Dover Tenement.”

The following act was The Beantown Boozehounds, who I was unfamiliar with prior to the evening. Their sound was a far more straight-ahead punk sound with dalliances into the Celtic influence only on a few songs and due almost solely to the inclusion of the mandolin by one of the band’s two guitarists. Each song the band played came off tight, solid and rockin’ and as the crowd had grown considerably by this set, (to include a number of obvious fans of the Boozehounds, regurgitative and rowdy,) they upped the ante of the evening further.

The third act of the evening was The Gobshites, who, (after a bit of mopping up of the sprayed beverages from a particularly demonstrative Boozehounds fan,) took the stage as if they owned the place. Their noise was huge and wide with a full-boat of trad. instruments and a big bag of variety about their songs. I knew that the band toured furiously, but I hadn’t seen a full set from these guys before. I was fully impressed.

By the time Neck came on, it had already been a great night. Mr. O’Keeffe and co. sounded the balls as they tore through some stuff from their awesome SOD ‘EM & BEGORRAH, (“I Turn My Face to the Four Winds,” and “Every Day’s St. Patrick’s Day,”) as well as material from some earlier recordings, (like “Topless Mary Poppins” and “Hello Jakey!,”) some songs from a forthcoming release, (“Come Out Fighting” and “Ourselves Alone,”) and some impossible-not-to-include songs, (like “Star of the County Down” and “Everybody’s Welcome to the Hooley.”) The band even threw out a bit of the ol’ céilí music for a professional step dancer in the audience, (the sister of yours truly,) if only for a moment or so. Had a survey been taken at the end of the night, everyone in attendance would have agreed the evening was one metric shitload of fun all around.

As one of the biggest, and most highly regarded and respected bands in the genre, a Neck show is not one to be missed. This show was no exception. All the supporting acts were in excellent sound and Neck kicked some serious arse. Everybody was great, approachable, and ego-free, and I had a fantastic night with a few pints of black, meeting some new friends and hearing some of the best music made.

Review by Christopher P. Toler, THE Blathering Gommel

Potato-eating, Whiskey-drinking, Bog-trotting, CELTIC PUNK ROCK