On this, his fifth solo outing, Electrics lead singer Sammy Horner continues in the same fashion carved out on the previous four. While the Electrics have slowly blossomed into a crack Celtic-rock outfit with declarations of faith sometimes understated, Horner’s solo albums leave little for debate. He is an unabashed Christian whose music is intended to edify and entertain the believer. That doesn’t mean that the non-believer cannot appreciate his work as he’s developed into a top-notch songwriter brimming with irresistible melodies. This album is what it is – an acoustic collection of songs of worship and praise. Several of these selections have appeared in more amplified versions on previous releases like QUAICH and T-ALLT RUADH. On this recording singer and guitarist Horner is joined by longtime Electrics member Jim Devlin on guitars and mandolin and recent Electrics addition Tim Cotterell on fiddle and all manner of acoustic instruments (mandolin, mandola, banjo, melodeon, etc.). Cotterell, incidentally, also plays with the left-leaning Tricks Upon Travellers, which must surely cause him to reconcile his beliefs in one direction or the other. Regardless, Sammy Horner and friends have created tasteful music that will hopefully appeal to those who might otherwise dismiss it as too preachy or “churchy.” As a longtime fan of Sammy Horner’s music (both solo and with the Electrics), and as one who is secure in my beliefs I am not at all hesitant to give ACOUSTIC PRAISE a categorical thumbs up.
I hate to be negative but “Die Trying” by the Vice Dolls was one difficult CD to sit through. Think bad 80’s trash metal ala a bad version of Nuclear Assault with screeching female punk vocals crossed with punk. Not my cuppa of tea at all.
Granddaddies of the whole Celtic-Rock scene in the US, B47 are back with their first studio album in 5 years – since the disappointing “Trouble in the Land.” “New York Town”, is Larry Kirwin’s attempt to compose a musical picture of his adopted home town, pre and post 9-11. I know on the sleeve Larry mentions Joyce and Ulysses and asks not to be compared but I do see a strong comparison in concept to Joyce’s “Dubliners” – a collection of unrelated short stories set in the general vicinity of a city (Dublin) in and around the same period of time, touching on the lives of ordinary people. On “New York Town”, like Joyce, Kirwin paints a picture of the lives of real people – the hero’s, the villains and working stiffs that make NYC the greatest city on the earth. Musically, NYT is B47s least “Irish” sounding release. B47 have always been the sound of the Irish ghettos of Queens and the Bronx sticking its toes into the pool of ethnic sounds of the rest of the city. But on NYT, B47 have taken that plunge head first and enveloped themselves in the sounds of the city as a whole. The additions of guests like David Johansen (New York Dolls) and Christine Ohlman adds some spice to the mix but on the other hand highlight the weaknesses in Larry’s own voice.
After an impressive body of work with the Rounder Records label this esoteric polka-infused ska, Tex-Mex and all around pioneering punky, worldbeat band signed to Cleveland International for a one-off, POLKASONIC. And after years of wowing the initiated with their virtuosity and eclecticism, Brave Combo finally received the recognition they deserved when in 1999 this album earned them a Grammy in the polka category. While this album perhaps stresses the polka more than previous efforts, Brave Combo is much more than “just a polka band.” Combining Latino, European and American folk with polka and alternative rock rhythms has garnered them a devout, yet varied fan base. Their electrified polka is best exemplified on “Apples, Peaches, Pumpkin Pie” and “Purple Haze – The Jimi Hendrix Polka,” the latter being yet another example of guitarist Carl Finch’s knack for reworking rock classics to fit their offbeat template. After a lone recording for Rounder in 2000 Brave Combo returned the following year to release a second title for Cleveland International, KICK-ASS POLKAS. Recorded live in Cleveland this recording revisits many of the tried and true Combo tunes of yore like “Hey Baba Reba” and “Flying Saucer.” And in expected fashion they tackle the classics again with a revved up rendition of “Wooden Heart.” The strength of this band is their ability to attract both polka aficionados and those who would never otherwise admit to enjoying this much-maligned form of music. These two releases are an excellent introduction to this Texas-based group and if your preconceived notion of modern day polka is less than lukewarm perhaps Brave Combo can change that.
Like Lady Godiva and Across the Border (both reviewed in Shite ‘n’ Onions) Fiddler’s Green is another of Germany’s well-kept secrets in the realm of folk-rock and Celtic-rock. Having recorded steadily since 1992 NU FOLK is their ninth full-length album and is characterized by (what’s become their formula of) cleverly recreating traditional pieces coupled with infectious original alterna-folk-pop songs in a manner like Great Big Sea. Unlike the previous two German bands listed, Fiddler’s Green’s music is much more polished, as is their CD packaging. Very slick indeed. I’ve always preferred their treatment of traditional material and on NU FOLK there are several such songs to choose from. Among the best are “Tarry Trousers” which employs an Eastern meets hard rock vibe and “Johnson Boys/Cotton-Eyed Joe,” two American folk songs given new life courtesy of this group from Erlangen. Curious readers are well advised to also listen to Fiddler’s Green’s first three albums FIDDLER’S GREEN (1992), BLACK SHEEP (1993) and KING SHEPHERD (1995) for a delightful trio of punk, ska and Celtic infused folk-rock recordings.
This two-disc set is the swan song for one of Germany’s most talented folk- punk outfits, Across the Border. Featuring an intense rhythm section, AtB derives most of their melody from accordion and fiddle with electric guitar tastefully complimenting their sound when needed. This collection judiciously samples their many releases from 1995’s HAG SONGS through 2000’s SHORT SONGS, LONG FACES. The most frequently represented album (with eight tracks) is CRUSTY FOLK MUSIC FOR SMELLY PEOPLE, which is no surprise because it is arguably their finest effort. Additionally, several previously unreleased tracks are included, the finest being “Glad to Know” and “Chasing the Tail.” The only obvious omission to this retrospective, in my opinion, is their fiery rendition of Simon & Garfunkel’s “The Boxer.” If you enjoy melodic folk-punk coupled with issues oriented lyrics a la The Levellers or Oysterband, Across the Border will be to your liking.
Sweden’s Bovver Brigade have big pairs of Doc. Martins and even bigger Mohawks and who play catchy sing-a-long, shout-it-out street punk. Similar to my ears as “Boys on the Docks” era Dropkick Murphys, Stiff Little Fingers or the Street Dogs.
The songs on their 8 track demo are strong and the recording quality good and it’s nice to see the bands doesn’t take themselves to seriously as well. Shite’n’Onions types will enjoy the token Irish song, “Whiskey Day, Whiskey Night” with its off key tin whistle (recorder?) and the “Pirate Song.”
Joe McGinty and the Kustard Kings join Rogues March front man Joe Hurley to celebrate 10 years of show at “The Losers Lounge” and to pay tribute to some of the finest 70’s Rock’n’Roll ever recorded – Bowie’s “Rock’n’Roll Suicide”, Costello’s “I Want You”, “Maggie May” and more. It’s all very “Exile on Main Street” sounding – boozy and sleazy. The Quireboys would kill to come up with something as authentic and with as much feel as this.
This six song EP is the fourth independent release by this Chicago trio. It’s comprised of previously unreleased material performed in the unmistakable and unapologetic punk/polka style of the Polkaholics. Heavy on electric guitars and 2/4 rhythm, this ain’t no joke. The punk and roadhouse adaptation of traditional and original polkas have become their trademark and surprisingly they’ve endeared themselves to mainstream polka fans as well as punk and alternative rock fans. Guitarist Don Hedeker and friends are rapidly making a name for themselves throughout the Midwest and beyond. To sum up their sound imagine the Ramones performing “Who Stole the Kishka,” “Happy Wanderer” and “In Heaven There Is No Beer” on just guitar, bass and drums. Yeah, this is polka but it’s rock & roll as well. Like Brave Combo, the Polkaholics will shatter all narrow, preconceived notions dealing with polka’s inherent “un-hipness.”
From Minneapolis Lehto & Wright are consummate purveyors of classic British and Celtic folk-rock championed by such luminaries as Fairport Convention, Horslips and Steeleye Span. On this, their third offering, they more specifically pay homage to folk guitarist Martin Carthy and rocker Richard Thompson. Steve Lehto’s inspired and meticulous playing makes him the ideal musician to handle both the acoustic and electric genius of Carthy and Thompson respectively. Bassist John Wright’s lightening-fast yet fluid playing revives the spirit of classic rock bassists like Chris Squire, Dave Pegg and even John Paul Jones. His heartfelt playing is the perfect fit for Lehto’s rock & roll and acoustic roles. “Siege of Delhi” and “The Silver Tip/the Merry Tailor/Thompson’s Reel” are stellar examples of this duo’s ability to rock as convincingly as their ‘70s mentors while the gentle pieces like Carthy’s “McVeagh” and Lehto’s “Antietam” reveals their impressive versatility. The 15-minute “Ten Long Years” is a progressive folk-rock tour de force as it includes instrumental passages that recall Steve Hackett and Led Zeppelin among others. Drummer Matt Jacobs rounds out their sound helping to give Letho & Wright a full but not overbearing presence. If Tempest, Fairport and classic Jethro Tull are to your liking A GAME OF CHESS should satisfy.
Shite'n'Onions 