Black 47: Iraq

Somewhere deep down I just know B47s main man Larry Kirwan gives thanks for GWB. I’m not saying that beneath the veneer of an East Village liberal is a gun toting red neck (and haired) Republican, but if it wasn’t for GWB and the Iraq war then B47 would still be stuck in the neutral gear they have found themselves in for the last few years. “Iraq” has again given Black 47 that purpose they had in their early albums. For those of you new to the scene and unfamiliar with Black 47 – the basic B47 sound is a familiar traditional Irish foundation built upon by horns, punk’n’pub rock (and the blues!!! in “Sadr City”) along with Kirwan’s Springsteen like lyrics that on Iraq look at the war though the eyes of the ordinary s olider, Iraqi and loved ones left behind (“The ballad of Cindy Sheehan” is touching – though still I think she is insane). Still one of the best and most original bands out there.

2008

http://www.black47.com/

Jamie Clarke’s Perfect: You Drove Me To It

By my count this is the 4th studio release from the former Pogues guitarist. The German based Perfect have now expanded to a 4 piece and there is a definite noticeable filling out of the sound. Style wise, “You Drove Me To It” is very much similiar to previous Perfect releases – classic British pop/rock meets the Irish-punk of The Pogues on the stage of a German beer hall. The disk is a little heavy on Pogues covers (4 out 14) though I do really like the almost polka Tobi’s Fall (IISFFGWG). ‘Adorable’, a really great original, originally on “Sickly men of 30 or so” has been re-recoded as a sparser more guitar oriented version. Well worth seeking out.

2008

The Fisticuffs: Neatly Stumblin’

A coupla’ months ago I ran across this band and ordered their debut CD, Bruised But Not Beaten and found it to be a very enjoyable entry into my Paddy-Punk library. And although this first release didn’t immediately inspire me to write a review, it had certainly whetted my appetite for further material. Fortuitous timing as I discovered this 2006 release only weeks before their follow-up disc, Neatly Stumblin’ was released. It is this CD that I am writing about today.

The Fisticuffs are a young, (formed in 2005,) six-piece hailing from South-Side Chicago and according to their MySpace page, list The Tossers and Flogging Molly early amongst their influences. These influences are evident from the first listen through, and comparisons to those bands are proving a challenge to avoid. So apologies in advance.

Neatly Stumblin’s instrumentation includes fiddle, mandolin, whistle, guitar, bass and drums, with some added harmonica and banjo peppered in here and there for some added spice. At the front of this mix are Bobby Baldwin’s barking vocals coming in like a mid-way point between Flogging Molly’s Dave King and The Killigan’s Brad Hoffman, but with a pinch more ire, like he is justing getting past a mean case of road rage. My only complaint is that they seem mixed a slight bit too loud on some songs, giving a feeling of disconnectedness from the rest of musicians. This, however, is not the case for all tracks, fortunately, and the majority of the vocals work quite well with the rest of the sound creating a solid recognizable entity.

The band chose to include a couple of covers on this release, (including Whiskey in the Jar, and Finnegan’s Wake,) however, with a total of sixteen tracks on the disc bringing it’s total time in at just under an hour, one can’t really accuse them of using covers as “filler” material. Originals on the disc range from toe-tappers to mosh soundtracks to a couple of lilting instrumentals, without a dog in the bunch. However, I have no idea why the band chose to not put God Bless Ya Rosie on their MySpace page. This is an awesome song that would definitely be moving this disc!

Now I know that this is reflective of my own personal tastes, but the mandolin/fiddle interplay from the debut release is what made me buy this sophomore disc, and I am really happy I did. This particular element is a strong feature on Neatly Stumblin’ and, along with Mr. Baldwin’s enthusiastic vocals, really creates a defining signature sound for this band.

With its many good songs and catchy riffs, I would recommend The Fisticuffs’ Neatly Stumblin’ for fans of Flogging Molly, The Killigans, and The Tossers, or just anyone who really digs mandolin and fiddle riddled Chicago-Irish punk!

2008

Review by Christopher Toler, THE Blathering Gomme

JD And The Longfellows: Happy Hour Again

I really feel that I didn’t give JD And The Longfellows first album, “Confessions”, a fare shake when I was putting together the Shite’n’Onions best releases of 2006. It didn’t quite make the top 10 – mostly cos I only got me grubby hands on the release late in December of that year – so I gave them an honorable mention. In retrospect 2 years later and after multiple listens if I could go back in time I’d move it up into the top 5 (then again if I could go back to 2006 I’d more likely be cleaning up on sports betting wins…..).

I’m very glad to say the “Happy Hour Again” is more of the same as the hedonistic JD leads his Longfellows through a drunken night of debauchery through London’s low life pubs in his familiar growling baritone. The Longfellows are the ultimate party-folk band with their mix of drinking lyrics and aggressive folk-punk meets jazz meets blues and American Country. I also really like the angelic jazzy backing and co- vocals of Clare Longfellow who acts as the perfect foil to the growling JD on this release. And if that doesn’t take your fancy then note this – ‘Happy Hour Again” is the ultimate party record of the year.

2008

http://www.jdandthelongfellows.com/

The Righs: The Rivers Run Deep

Okay, I gotta admit, I hard a hard time getting into the release ‘The Rivers Run Deep’ by Oklahoma’s The Righs. I couldn’t put my finger on why this was, though, and I decided that instead of putting it aside, I would scrutinize the disc and write up my criticisms. In doing this, however, the CD not only grew on me after only a couple of spins but I also developed quite an appreciation of The Righs’ sound.

Most immediately noticeable on the ‘The Rivers Run Deep’ is the CD’s rough cut, ragged edge, reminiscent of a recorded “live-in-the-studio” release which gives an impression of the energy that the band must convey while on stage. Listening further in, I discovered difficulty in finding an umbrella-term that could encompass all the influences at work. I mean, this band is all over the map with original songs of Ireland, (‘Dublin: Easter; 1916’,) cover songs from Scotland, (‘Loch Lomond’, and ‘Amazing Grace’,) a sea shanty, (‘I’m Bound Away’,) a deep country/western caterwauling chorus, (‘I Hope I Never see You Again’,) and tales of ghosts and Hobbits. Most surprisingly to me, though, was the use of a trumpet in a couple of songs, including the lead-off track.

Now, I have never been particularly interested in the trumpet’s sharp, shouting blare and this may have contributed to my initial indifference. I chastised myself for my close-minded hypocrisy, (seeking out and applauding bands for their new, unique and signature sounds, yet quickly blocking my ears at the inclusion of, *gasp,* brass!), despite the instrument’s use on only a small percentage of the CD’s 10 tracks. It should also be noted that the trumpet’s voice is used in a subtle supporting role. I dropped my prejudices and, after a moment to digest the blend found myself smiling in approval and even wishing for further inclusion of the “non-kosher” sound throughout the disc!

As for the rest of the instrumentation, a more traditional mixture of guitars, bass, drums, mandolin, fiddle, tin whistle and banjo are shared by the six members of the band. Vocals ring in strong, confident and comfortable somewhere between Flogging Molly’s Dave King and The Skels’ Chris Fried and compete only with the fiddle for the front pole-position in The Righs’ signature sound.

The strongest element in ‘The Rivers Run Deep’, however, is the songs. After I stopped scrutinizing and started simply listening, I noticed them. Really well-written songs. Very catchy melody lines with intelligent and engaging lyrics within the interesting arrangements.

So, in a final attempt to define the sounds on this CD, let me just say that The Righs’ debut release, ‘The Rivers Run Deep’ is an enthusiastic Celtic folk-punk blend seasoned with sea-spray, barn-floor sawdust, Tolkien-esque halfling toe-tapping, and a pinch of brass. If this doesn’t sound like your type of music, just remember, it wasn’t mine. Then, it was. Now, despite the seemingly unrelated influences at work, (or, perhaps, because of them,) I not only enjoy this CD, but I find myself anxiously looking forward for future releases!

2008

Review by Christopher Toler, THE Blathering Gommel

Irish Stew of Sindidun: Dare To Dream

Okay, I want to start off by saying that this is a great CD. This band is a tight, solid and cohesive group of musicians that create a sound so completely synchronized and in harmony with each other. I dig their sound… A lot.

Okay, with the editorial portion out of the way, Irish Stew of Sindidun is a six-piece, Celtic folk-punk outfit out of Belgrade in the former-Yugoslavian state of Serbia. Their instrumentation on this CD includes acoustic guitar, bass, drums, banjo, fiddle and tin whistle, with all of the lyrics in English, (albeit a somewhat accented one.)

Singer/whistler/chief songwriter Bojan Petrovic’s slightly nasally midrange tenor voice comes in so well connected to band’s sound and really carries the emotions of the songs with a lazy melancholy appropriately befitting the subject matter on ‘Dare To Dream,’ the band’s second full-length release.

The CD consists of twelve tracks; ten originals, two covers, and one instrumental. The songs on ‘Dare To Dream’ are not the “mug-swinging, sing-along” kind by a long shot. Instead the mood carried is a darker, introspective and brooding one with titles like ‘Blessed and Damned,’ ‘Pile of Sins,’ ‘Life Without Living On A Sunny Winter Day,’ ‘Memories,’ and ‘I Will Never (Be Your Friend.)’ The disc’s two cover tracks are traditional numbers; the fittingly somber ‘Carrickfergus,’ and the ironically happiest-sounding song on the disc, that traditional, toe-tapping little ditty about reclusive infanticide, ‘Weila, Waila.’

‘Dare To Dream’ comes off Celtic-sounding more in instrumentation and ornamentation than in it’s songs’ structure themselves, and, due to this, has me comparing this band to ‘The BibleCode Sundays,’ ‘The Mahones,’ and, to a lesser extent, ‘The GO Set.’ Not necessarily for their sound, but in the way that all elements work together so seamlessly to create a sound that begins in a Celtic-influenced light punk arena and bleeds into many different styles consistently.

It seems that most of these Slavic bands have remained in the more obscure corner of the genre; perhaps due to language or cultural differences, or perhaps due to the high cost of obtaining some of these bands’ material, But Irish Stew Of Sindidun is not one that should be overlooked.

2008

Review by Christopher Toler, THE Blathering Gommel

Spud N***er: Scratchings – The Free Spuds EP

As a sub-genre, ‘Celtic Folk Punk’ tends to be a hybrid; a combination of traditional and punk styles. It’s songs, (contemporary, traditional, or a mixture of the two,) and instrumentation, (from both the rock and traditional music arenas, i.e. electric guitars with fiddles, whistles and/or pipes, etc.,) make up the elements that typically define this style of music. Nevertheless, almost as if this seemingly instinctive concept wasn’t properly explained, along comes ‘Spud N**ger,’ a band that is Celtic, being from the very middle of the Emerald Isle,) Folk, (well, acoustic anyways,) and Punk, (in almost every other interpretation of the definition.)

More specifically, ‘Spud N**ger’ is an acoustic punk trio out of County Westmeath, in the center of Ireland. Made up of acoustic guitar, bass, drums and vocals, the three-piece outfit plays fast-moving, upbeat punk in a stripped-down, minimalist style entirely like itself and no one else.

‘Scratchings’, the sampler EP from the band, contains five tracks with lyrics embracing the punk ethos and ideals of anti-authoritarianism, anomie, and rebellion, on top of fast-moving, driving rhythms. Though strictly acoustic, and thusly devoid of any distortion or effects, the tracks on ‘Scratchings’ still provide a broad and varied sound and, while a family resemblance between each song is undeniable, each has a unique personality of it own.

The disc’s five tracks continue with the bare-essentials mentality and contain no elaborate intros, solos, spoken word, raps-in-the-middle, or drawn-out fade-to-silences. In fact, the song lengths on the E.P. ring in at an average of just two and a half minutes each. Without the additional instrumentation of larger bands, however, and with the lack of solos, the vocals and lyrics tend to fall under the lead spotlight. In the case of “Da Spuds,” as they are sometimes billed, this is not a bad thing at all. Lead vocalist, Fr. Jack’s voice is both confident and in control as he delivers the one-two punch of lyrics comfortably and clearly. The lyrics themselves are clever, laden with locally specific terminology, (i.e. ‘The Gardai,’ ‘Donegal,’ or as in lines like “when coming off the smack you stole the bogroll in the jacks,” from ‘Cake ‘N’ Beer,) and often humorous, and, partially due to the shortage of competing sounds, distinct and easy to make out. The songs are also very sing-along-able, (although some discretion is suggested due to certain “grown-up words,” especially in the song, ‘Donegal!’)

Describing the Spud N**ger’s sound is not an easy task. There are elements here and there that may remind the listener of something else, (like the attitude of The Ramones every now and again, or occasional rhythms reminiscent of Nirvana,) but, as there really is no one else doing this style that I am aware of, I won’t continue to attempt this exercise.

‘Scratchings’ may be only five tracks and less than twelve minutes longs, (and, apparently free to anyone in Ireland!), but, hopefully, it does give an indication of what to expect from this band.

As such, it makes it known that Spud N**ger is definitely a band to watch out for.

2008

Review by Christopher Toler, THE Blathering Gommel

Pat Chessell: Live And Lusty

Live And Lusty is the debut CD from Irish-Canadian, Pat Chessell. Recorded live in October 2007 at Vancouver’s’ Dublin Crossing Irish Pub in front of a rowdy and vocally appreciative crowd. The set consists of mostly high energy Irish/rebel songs, some Canadian/maritime, one original (I think) and being Canadian a hockey anthem. Chessell is a strong vocalist and the band tight. Musically it’s a high energy version of The Clancy Brothers or Wolfe Tones with a touch of Johnny Cash or maybe even the Great Big Sea. A good introduction to a name we will be hearing again (and again).

2008

The Gobshites: Get Bomber/Another Round

“Get Bomber” and “Another Round” are two separate CDs both released on the same day by one of my favorite bands. Boston’s own The Gobshites. The Gobshites basically take old punk-rock standards, preferably punk-rock drinking standards and give’em a good old Celtic headbutt in the nuts. Highlights on “Get Bombed” include “Nervous Wreck” (The Nips), “Alcohol” (Gang Green), “Too Drunk To Fuck” (Dead Kennedys) and “Long Way Back” (The Ramones with Tommy Ramone helping out The Gobshites on backing vocals). Highlights on “Another Round” include “Frigging in the Rigging” (Sex Pistols) and “Drinking and Driving” (Peter and The Test Tube Babies). Also, “When The Shite Hits The Fan”, The Gobshites first release has been remastered and re-released.

2008

The Closet Squatters: Here We Go Again

Chicago’s The Closet Squatters are heavily influenced by the holy trinity of American Celtic punk – The Tossers, Dropkick Murphys and Flogging Molly. These influences are very apparent on their newest release, “Here We Go Again”. Songs like “Rovin’ Eye” and “Why Must Yah Leave” are acoustic Celtic rockers in the vain of The Tossers. The Dropkick’s influences can be heard in the dueling vocals of “Her and I”, ala DKM’s “Dirty Glass”. Pretty much everything is highly influenced by Flogging Molly, in fact these guys at time sound more like Flogging Molly then Flogging Molly sound like these days on “Float”.

2008

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