All posts by Mustard Finnegan

Review

The Porters: Anywhere But Home

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I was familiar with The Porters from their 2001 debut, ‘A Tribute to Arthur Guinness,’ which was essentially a CD of rocked up traditional standards. As such, however, it failed to leave any lasting impression on me aside from containing a couple of fairly respectable covers, (“Irish Soldier Laddie” and “Four Green Fields” being the ones that stick out the most in my, granted, overly-perforated memory.)

In any case, it was with only minimal enthusiasm that I decided to sample their latest release, ‘Anywhere But Home’ while trolling iTunes for new music. Quite a surprise, here, as this whole disc proved to be a confident, and welcome addition to my Paddy-punk rotation.

Musically, the band appears driven primarily by the guitar and accordion, but is peppered liberally with mandolin and whistle as well as an occasional fiddle. Also, still present are the gruff, gravelly vocals from the first CD, but practiced into a naturalness with a result far more listenable and sounding somewhere between those of St. Bushmill’s Choir, The Skels and Popes-era MacGowan.

Although the band hails from the Düsseldorf, Germany area, one cannot detect any betrayal of this; all lyrics are in perfect English, and without accent, (unlike a fellow German paddy-punk band’s ‘Foggy Dew’ rendition, “Vas down ze glen vun Easter morn…”) Nor is there any novelty act stuff or a German-influence hybrid effect in the music. Just straight ahead, energetic, Irish-folk-punk sounds. And, after repeated listens, a number of tracks stood out on the this CD and not a dog to be found.

True, there is no major innovation or departure from formula, or anything we haven’t heard before from others in the genre, but ‘Anywhere But Home’ is a strong release in the vein of Greenland Whalefishers and The Swaggering Growlers, and, with 14 tracks and clocking in at just under an hour, its Paddy-Punk-Per-Penny value should also earn it your average bean counter’s nod of approval.

Grade: The Porters’ ‘Anywhere But Home’ comes in on The Toler Scale™ with a grade of a solid, clockwork “B+” for above average, which translates to your average listener as “worth the purchase” and ”worthy of repeated plays.”

But don’t take my word for it, check ‘em out first on iTunes, and dowload the whole disc for $9.99!

2008

Review: Christopher Toler, THE Blathering Gommel

Review

The Broken Shillelaghs: The Broken Shillelaghs

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The Broken Shillelaghs, from Brooklawn, NJ, are a 5-piece Irish musical group featuring acoustic guitar, mandolin, bass, accordion, tin-whistle, and percussion. I believe this is their first release. Though I honestly think the bhoys here have managed to squash every Irish-American cliché onto one disk – the bands name, the cartoon leprechaun, the IRA mural on the cover, the thanking of every Irish tavern and AOH division between the Hudson and Delaware – Yet despite this (or because of maybe) the 13 or so contempary Irish standards played in an upbeat Irish meets pub-rock is bloody enjoyable. It also cool to see Flogging Molly getting respect as the band cover ‘Devils Dance Floor’ along with more standard covers of material originally by the Pogues and The Wolfe Tones ect.
As the count down to Paddys day starts, if your in the New Jersey area on the big day go see these guys, you’ll have a beer soaked great time.

2008

Review

The Lorelei: Home EP

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From the way north of Scotland come The Lorelei who originally formed in 1990 and after 2 albums and 7 years on the high and low roads of England and Scotland in a little yellow transit van the band split………………until 2005 when after a chance meeting of original founding members Jonny and Beefy the wheels got in motion and a great and much missed band were backed. The 6 track Home EP is the first offspring of the reunion. I would describe The Lorelei as fast trashy indie guitar rock meets fast trashy Celtic folk. The Waterboys on crystal meth if you will.And remember if it’s not Scottish it’s crap!

2008

Review

The Dirges: When Laughing Got You Killed

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The Dirges are a loud sleazy punk’n’roll band from California – infact they are the house band of LA’s infamous Molly Malone’s – which as you all know as the birth place of Flogging Molly. So do The Dirges sound like Flogging Molly? Yes and no. Sure they are Punk’n’Irish but clones of FM – no way. It’s much more sleazy rock’n’roll guitars with a love of The Pogues (Dirty Old Town and Jessie James are covered and the band pay tribute to himself in The Ballad of Shane MacGowan). Closest comparison I can think of is a more Irish sounding Swingin Utters or a much more punky Filthy Thieving Bastards. Good stuff.

2008

Review

Can Kickers: Live at Lavazone

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Can Kickers are a 3 piece folk-punk outfit coming outta New London, CT. Recorded live in Philly in 2007 and live is the best way to experience Can Kickers in all their stripped down fiddle, banjo, and washboard lo-fi glory. In a different age these guys would be hobos playing the campfires and railroad boxcars of the American great depression.

2008

Review

The Deans: One

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Blood brothers Gavin (guitar) and Gary (bass) Dean along with their blues brother Gary Keon are a young band (ages 17 through 19) from Athenry, Galway. Being from Athenry you would expect tradition Irish music, right? Wrong, these guys have the blues like you wouldn’t believe. Think of fellow Irish man, Rory Gallagher or maybe Johnny Winters. I’ve a feeling Rory is looking down from heaven and he has a smile on his face. Thanks to Lee Templeton over at http://www.onenightatmcsorleys.com/ for passing on to me.

2008

Review

Barleyjuice: Bonny Prince Barley

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“Bonny Prince Barley” is the 4th full-lenght release from Philly’s Barleyjuice and I’m happy to say it’s very much in the vein of their previous 3 releases – classic rock on a whiskey bender in a spit and sawdust Philly Irish bar. I’m also very glad that the band has continued to stay on the track they set on “Six Yanks” and continue to focus on originals – though I do love the Celtic twist given to their cover of “London Calling”.

2008

Review

Prydein – Loud Pipes: (save lives) – 2nd opinion

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After reading through the Shite ‘n’ Onions review of Prydein’s Loud Pipes I was mighty intrigued. This sounded like a combination of two of my favorites styles of music; Celtic folk-punk and Classic Rock. And although the band does dip a toe into the pools of funk, ska, rockabilly, metal, and of course, Celtic music, they are at their heart a rock band.

The band, Prydein, is comprised of the bass, drums, and guitar line-up with the addition of not one, but two Great Highland Bagpipes players, and, as the disc title may suggest, the pipes are very predominantly featured throughout this release, taking a break on only two of the tracks, both uniquely arranged traditionals; the swinging rockabilly of ‘The Wild Rover’, and a laid-back, strolling ‘Nancy Whiskey’, with the latter tagging-in the tin whistle for ornamentation.

The CD runs the gamut from these traditional songs to a cover of Slade’s ‘Run Runaway’ (that almost smiles in pride of itself, and at what it has become,) to the delicate weaving of ‘Aria’s Waltz’, and wrapping the whole package up with a medley called ‘Stairway to Scotland’ that takes ‘Amazing Grace’ and ‘Scotland the Brave’ to a place more suited to crowd-surfing than funereal melancholy.

With seven of the eleven tracks being instrumentals, it is clear that the pipes do the talking for the lion’s share of the CD. But they a do have a lot to say, occasionally trading off licks with a lead guitar, with the band’s rhythm section provides a rock-steady forum for them to say it.

Most impressively, for me, anyways, is just how everything seems to fit together. Each tune/song gets a unique treatment from the band, but nothing seems unnatural or forced. All elements come together in a very organic mixture that covers a lot of ground but still remains securely in rock’s embrace.

My personal fave: Probably “The $17.00 Red Head.” It’s snaking shuffle-beat, a lazy, urban-groovin’ bass line and some sweet wah-wah guitar set an unlikely stage for a dueling-bagpipe melody that just keeps on building.

But, since this disc in currently out on iTunes, don’t take my word for it, grab a free, 30-second sample and see if you can sit perfectly still for it. I couldn’t.

2008

Review by Christopher Toler, THE Blathering Gommel

Review

Big Bad Bollocks: Hanged at Gibbet Rock

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Originally released in 1991, Big Bad Bollocks’ Hanged at Gibbet Rock has been re-released on the “Load a’Bollocks” label for 2008 and available through the bands website, along with their other fine products.

“…Gibbet Rock” starts off as strongly as any Bollocks release, (or even as strongly as any young Paddy-Punk band can hope to,) with the song “Whiskey in me tea” (and for an idea about what I mean, check out the video on YouTube, http://www.youtube.com/watch?v=AHNQ4BGjskc,) and keeps up that pace through the disc’s ten tracks including a beautiful rendition of “Sally Gordon,” and the appropriately enthusiastic standards, “Waxies Dargle” and “Leaving Liverpool.”

The original songs on this earlier release are all of the upbeat, party, “happy-drunk” variety that the Bollocks’ have become known for and have that same quality of an incidental Celtic lilt as well as lyrics that seem as much of a cathartic purging of unresolved issues as they do odes to, and about, Johnny Allen’s days gone by back home in his native Derbyshire.

There’s no denying that Mr. Allen’s got a powerful and distinct voice, and even on this earlier release his crooning bravado seems fully developed and presents as a comfortable and commanding entity directing the energy of each of the ten tracks. This does pose a bit of an inconvenience on the other instruments, however, relegating the majority of them further back in the mix, giving the disc less depth and polish than later Big Bad Bollocks’ offerings.

Although lacking the theme, finish and shine of the “Night on the Tiles’ or even the production depth of “Where the Beef Meets the Sea,” “Hanged at Gibbet Rock” presents as an early snapshot of the swaggering Johnny ‘Alien’ Allen and co. as a fledgeling outfit still developing their sound, and cruising past a point where many the lesser bands have peaked.

2008

Review by Christopher Toler, THE Blathering Gommel

Review

The Dreadnoughts: Legends Never Die

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This highly-anticipated release, (well, by me, anyways!) grabbed me immediately upon my first play through, living up to and even surpassing my expectations. No “How-do-you-dos” or needing to grow on me, No! Just here it is… BAM! A favorite new disc that I hadn’t heard before!

The Dreadnoughts’ sound is one of a driving, crunchy guitar at the helm of a tight and kinetic rhythm section that provides a dynamic underscore for the combination of traditional instruments that define each tune, specifically mandolin, fiddle, and one monster accordion. All these elements come together for an intricate and engaging backdrop for Ol’ Jimmy’s distinctive, rolling roar.

But at the end of the day, its the songs that carry the CD, and here is where Legends Never Die really shines! The disc’s 11 tracks include frantic and frenzied hornpipe and reel-based Celtic songs, and crashing and forceful whaling and maritime rants full of folk-tale, storytelling lyrics sung with fiery urgency, that blur the lines between contemporary songs and traditional tunes past the point of knowing where one ends and the other begins.

Legends Never Die may be the debut release by Vancouver quintet The Dreadnoughts, but it possesses all the confidence, muscle, and production of a seasoned outfit in the prime of their career.

Recommendation: You should really own this. Seriously.

2008

Review by Christopher Toler, THE Blathering Gommel