A quick flick through “D” in my CD rack tells me that this is the Dropkick Murphy’s sixth album release (not including collections, live albums, singles/EPs etc.) and I have to say it’s a pretty darn good one – running at warp speed just about from start to finish. It sounds to me like they’ve taken the experimentation of “Blackout” and “Warrior’s Code” and applied it to the energy of “Sing Loud Sing Proud” and just done what the Murphy’s do best – create cracking good rock n’ roll songs with enough Celtic flavor that you know its there, but only enough that’s allowable in the Dropkick Murphy’s world of slam-it-down-your throat working class hymns.

By the way, I’m kidding about having a “D” section in my CD rack, I’m nowhere near that organized, but my Dropkick Murphy’s collection is all together and safely on one of the top shelves (out of reach of my baby daughter), so it was easy to count for the purposes of this review. Only special bands like this one get a place on the top shelves where they avoid the very real dangers of being chewed and soaked in dribble on a daily basis.

The album launches with the sound of a school bell and playground noises before cranking into “Famous for Nothing”, a song about the (mis)adventures of youth. The song is a real solid example of the Murphy’s with tight, heavy rhythm and a dirty guitar over the top that almost has a bit of a “surf” sound to it before adding in first a mandolin and then pipes as it builds into a breakneck, anthemic crescendo.

Next up is a number about lost loved ones called “God Willing” which, if anything, increases the pace of the opening track. It really cranks through and has a killer, catchy chorus.

“The State of Massachusetts” has some awesome banjo throughout it, and the song overall is real quality and one of my favorites after the first couple of listens. This despite the rather depressing subject of family neglect / child abuse and the vicious circle this introduces.

A couple of straight-ahead punk songs come up next in the form of “Tomorrow’s Industry” and “Echo’s on ‘A’ Street”, covering a working-class perspective on hard times and the support of family respectively.

“Vices and Virtues” is a fast-paced anthem about 4 dead brothers and the various ways they managed to die too young. Catch-cry of “Whiskey, war, suicide and guns”.

“Surrender” has some nice guitar work and is followed up by a re-working of Lannigan’s Ball with some new Boston-esque lyrics and guest appearances from The Pogues’ Spider Stacy and The Dubliner’s Ronnie Drew. Ronnie Drew’s voice is just gold – sets the song off brilliantly. I read a quote somewhere once, but buggared if I can find it now, that described Ronnie Drew’s voice as being able to “take the head off a pint of Guinness at 10 paces” or something to that effect and it’s spot on – Its so deep and rough and sends a shiver down your spine. Magic stuff…and great arrangement of the song overall I reckon with the mix of singers working well (almost a bit like the Murphy’s legendary version of Rocky Road to Dublin but with Spider and Ronnie adding their bits).

“I’ll Begin Again” is a flat-out punk track about prison life and as the CD booklet says “A mother’s love for a son…”

“Fairmount Hill” is another re-take of a traditional tune, and in this case “Spancill Hill” gets a pretty decent Murphy’s working over. It’s the only slower tune on the album. “Loyal to No One” comes after this which rekindles the album’s pace and paints a picture of a stubborn, self-reliant asshole who will suffer a lonely death. Some cheeky little banjo in the middle adds another element to the song. “Shattered” comes after this one blasting the bullshit out of every aspect of society, and next is “Rude Awakenings”, a rather comical view of the morning-after a one night stand with disappointment all around.

The third traditional song is up next, “Johnny, I Hardly Knew Ya”, a great version of the anti-war song accurately portraying the shell of a person that returns from such unfortunate adventures. And the album closes out with “Never Forget” which features Scruffy Wallace’s pipes in their most prominent position (although they are used in a complementary role very well throughout the album). The track is about love and family values and despite the uplifting pipes I found it a little bit of a weak ending to an otherwise really solid album.

Overall an album that sees the Murphy’s focusing back on their roots a bit more and it works really well. Existing fans will love it and if you’re new to the Murphy’s this is definitely a good listen, however if you prefer the folk end of the folk-punk genre “Blackout” would be a better bet.

2007

Review: Alex Dean