All posts by Mustard Finnegan

Stiff Little Fingers, The Gobshites – JUne 1, 2011, Showtime Live, Foxboro, MA

June 2, 2011

Lesser bands then SLF would have canceled last nights show – guitarist Ian McCallum took sick moments before the tour started – John Haggarty of Naked Raygun infamy stood in, and while a competent substitute, he looked a little uncomfortable on stage. Then there was the odd choice of venue for a punk gig – Showcase Live, a state of the art concert venue beside Foxoboro football stadium some 30 miles outside Boston, but a venue more used to hosting tribute acts – Showcase is also not exactly easy to get to even when there isn’t frigging tornado’s ripping up various parts of the state and a state wide tornado emergency in effect – thus ensured a small turn out (though if SLF had played the Middle East club instead it would have sold out, tornado or not). Despite the poor attendance, an appreciative (and somewhat portly) Jake Burns along with original (and skinny) bass player McMordie, the a fore mentioned Haggerty and drummer Steve Grantley played a blistering set of SLF classics to an enthusiastic and hardy crowd of storm chasers, though with the exception of Strummerville everything was from the glory days of the late 70’s and early 80s and guess what, nobody seemed to mind.

Support was from The Gobshites who gave me a nice shout out from the stage and a song dedication or so I though was a nice shout out until they broke into Arsehole by Snuff –

What an arsehole
What a fucking wanker
What a toss-pot ,a toe rag ,a fart in a jar

– where there is smoke there must be fire I guess.

The Mahones, The Gobshites, Continental, Chris Skel – JULY 24, 2010 @ McGann’s Pub, Boston, MA

July 27, 2010

Just around the corner from Boston’s North Station and the home of The Celtics and The Bruins, is McGann’s Pub. Although only average-sized in square footage, the place is laid out perfectly for a show like tonight’s.

The first act to go on was a single guy with an acoustic guitar. There was no fear of any James Taylor-like smooth and/or mellow stylings though, as the guy was Chris Skel, helmsman of New Jersey pub punk act, The Skels. With just his axe and his voice, he created a huge noise off of that stage! His set included a track or two from the Skels catalog, true, but the bulk of it came from his solo material. For those unaware, Chris has put out two solo project CD over the last eighteen months, so he had plenty of great material to choose from. (Look for a review of his newest 6-track EP, “Sudden Psalms” here soon!) Chris set the pace well and got the crowd on their feet.

Up next, (or ‘again,’ since they did the sound check earlier with some killer stuff!), was Rick Barton and The Continental. Rick Barton, a familiar face in this type of venue as the former guitarist for the Dropkick Murphys, assembled this new project with himself in the guitar and lead vocals role, (and his son on the bass.) An incredible performance from these guys, tight and sharp, with some fantastic guitar solos from his lead guitarist. (Oh, and an excellent rendition of DKM’s The Torch, by the way!)

The third band in the line-up was The Gobshites, who somehow manage to show up and play at every show I see in Boston!
Pete and the gang jumped right into action and proved, once again, to possess the largest catalog of drinking songs in the free world!
Apparently on a first-name basis with every member of the audience, the band’s conversational banter and audience participation portion, (which included alternating readers for the limericks, and some masterful beer-tray playing,) brings Gobshites’ sets as close to an open seisiún as punk rock gets.

The headliners, of course, were The Mahones. The band were in the midst of celebrating their twentieth anniversary tour, and a festive mood was running amok!
Unfortunately, the band was playing as a four-piece, without their mandolinist. As a mandolin player myself this was a bit of a let down, but the band seemed to compensate by selecting songs from the higher-energy end of their catalog! This was probably for the best, and the mood of the crowd was perfect for these tunes.
Tight, clean and in top-notch form, The Mahones blasted out a great set deep into the evening.

By the time the music had died down, the Newcastles and Patron were making their presence known to me. Fearless and bulletproof, I was feeling pretty good. The show, though, was a great time for all, and another huge success for Shite ‘n’ Onions.

Thanks a bunch to S’n’O’s John Murphy, for another fantastic show!

Review by Christopher P. Toler, THE Blathering Gommel

The Skels – The Castlebar, Brighton, MA (JULY 17, 2010 )

July 19, 2010

You might have notice on the bottom right hand side of the blog there is now a little widget that tracks site visitors and how they found Shite’n’Onions – well to my surprise I’m getting lots of visitors from Saudi Arabia – now originally I was thinking that my Arab friends were actually searching on Shiite and getting Shite but then I noticed that the key words being searched were, “hairy backed guys” and I realized to my shock and surprise that The Skels have a fan base in the Middle East!

Speaking of HBGs, The Skels were in Boston for the 1st time in a long while, paying their 1st ever gig in bass players Henry Ryan’s home from home – Brighton’s own The Castlebar. The special occasion that merited 3 sets from The Skels and was to celebrate Paddy Keys of The Larkin Bridges impending nuptials (congrats Pat), and The Skels were in rare form – lots of Pogues covers, their own master pieces and synchronized Judas Priest style guitar/banjo poses – in fact there were even a few new tunes and an new CD announced which is schedule for release at the end of the year (though Chris Skel wouldn’t commit to which year). It was also nice to see Benny from Toxic Narcotic join The Skels on his accordion for a few songs.

The Skels are always great to see live and 3 sets in The Castlebar a special treat – I’ve been going to see The Skels for over 10 years and they never fail to impress and hope to see ’em again when they come back from their tour of Iran, Iraq and Yemen.

The Rumjacks: Saints Preserve Us

March 3, 2019

Saints Preserve Us is another balls bustingly good album from The Rumjacks. Classic Clash meets the Dubliners – fast and punky with a slight reggae undertone while downing pints with Luke Kelly and Ronnie Drew on a Friday night in O’Donoghue’s.  Frankie McLaughlin’s lyrics are as sharp as ever – “though its been eight generations since we’ve kissed Erin’s shores, my bloods greener then yours”. I love the cover of the traditional, “An Poc Ar Buile”, sung (or snarled) in gaelic. Saints Preserve Us continues to prove that The Rumjacks are one of the premier Celtic-punk bands – but you knew that already.

Sir Reg: The Underdogs

February 10, 2019

Wow is this really the sixth album from Sweden’s Sir Reg? They still seem like the spunky new guys on the block. Maybe it’s because they are still hammering out Celtic-punk at a neck-breaking speed with no sign of slowing down or ‘maturing’, just playing like that proverbial underdog’s bollox. The Underdogs is all everything we know and love Sir Reg for; the aforementioned fast as feck yet melodic Celtic-punk but also a lyrical wit so sharp it could kick the eye out of a maggot that only a true Dub could produce.

The Langer’s Ball: Hard Time In The Country

February 10, 2019

Hard Time In The Country is a return to early form for The Langer’s Ball after the full band excursions of their most recent releases. Like the first couple of releases by TLB, Hard Time In The Country is a guy (Michael Strum) and girl (Hannah Rediske) acoustic duo doing contemporary interpretations of Irish folk, Americana, protest folk and Motorhead (really!).

Hard Time In The Country is a richly and beautifully performed album where each song seems to effortlessly gel together whether it’s a Billy Bragg cover (Constitution Hill), or an original (Hoist Your Cup High), or a traditional standard (Parting Glass) or even Motorhead’s 1916 (which really, really works a folk song)

The Mahones: Love + Death + Redemption

January 26, 2019

LDR is a testament to the unrelenting spirit of Finny McConnell and The Mahones. Life sucks at times – health fails, relationships end, loved ones die, and all you can do is pick yourself up and keep going. Though sometimes moving forward involves revisiting the past as The Mahones have musically done on Love + Death + Redemption , moving back towards the classic Mahones sound of the mid 2000s and before i.e. not as punky as as The Hunger and The Fight (though stuff like, Win Some, Lose Some, show the Mahones can still pogo with the best of ‘em). Love + Death + Redemption is is the Mahones moving forward and hey it’s gonna be alright.

Pete Berwick: Island

January 26, 2019

I’ve been a long time fan of Chicago’s (and formally Nashville’s) Pete Berwick’s bad attitude and cheap beer cowpunk. Island, Berwick’s sixth full length solo album in an almost 40 year career, backed by The Mugshot Saints, to these ears sounds like Pete has mellowed a wee bit. The Island is less cowpunk and more traditional outlaw country – Cash, Jennings and Haggard or even Steve Earle. While Pete’s previous albums could be described as the musical equivalent of a brawl at some rundown rural roadhouse, Island is more the older guy sitting on the porch, drinking that cheap beer and reminiscing of a life well live and battles well fought with not a single damn regret.

McDermott’s 2 Hours Vs. Levellers & Oysterband: Besieged

January 26, 2019

The now long running musical merger of McDermott’s 2 Hours, one of the forefathers of the whole Celtic-punk scene and their prodigy The Levellers has been joined by UK folk rock institution Oysterband on Nick Burbridge’s swansong for McDermott’s 2 Hours, Besieged.

If your not familiar with the work of singer, songwriter, playwright & poet Nick Burbridge, he is one of the finest Anglo-Irish songwriters and lyricists, a Beckett or Kavanagh to MacGowan’s Behan or even a Springsteen in his lyrical imaginary of the ordinary or downtrodden.

I’ve had a copy of Besieged since 2017, I listened continual to it though 2018 as I waited to be given the ok to review the advance copy. I can say it truly that Besieged is a great album, brilliantly crafted songs and lyrics and beautifully produced. An album that has passed the test of 12 months. The only question is Besieged the best album of 2017, 2018 or 2019?

http://www.burbridgearts.org/

Sons of O’Flaherty: The Road Not Taken

December 1, 2018

The Road Not Taken is an impressive release from these Celtic son’s of France. The Road Not Taken is Sons of O’Flaherty first full length release following up on the band’s debut 5 track EP from a few years back. The Sons of O’Flaherty straddle the ground between the big boys of Celtic-punk, DropkIck Murphys and Flogging Molly. Closer to the Mollies then the Murphs but also reminiscent to the Swedish/Irish lads Sir Reg. Sons of O’Flaherty are tight, talented and a band to watch out for.

Personal favorites include “Saint or Sinner” and one of the best versions of “Fields of Athenry” I’ve ever heard.