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.
It’s a risky proposition when a band with a reputation as an exceptional concert act decides to release a live album. Will the dynamics transfer onto CD? Will the audience participation and enthusiasm contribute to or detract from the recording? Having had the privilege of seeing the Saw Doctors in concert at roughly the same time as receiving this CD I must conclude that the live show is preferable to the live CD but not by much. Touching on all of their popular songs, LIVE IN GALWAY’s home audience is probably most familiar with the songs of the Saw Doctors. In addition to the crowd’s approval and familiarity with the songs, lead singer Davy Carton appears to be equally stoked and enjoying the event. His good-natured giggling escapes throughout the show, particularly in the opening tracks “N17,” “To Win Just Once” and “Bless me Father” indicating that this band truly enjoys performing and appreciates their fans. Noticeably absent are any selections from their most recent studio album VILLAINS? For some reason that album didn’t seem to connect with the same passion as earlier recordings. As usual guitarist Leo Moran carries the tunes with his nonchalant yet deft style of playing. Making his recording debut on bass guitar is new member and ex-Waterboy Anthony Thistlethwaite. With clear and well-balanced sound this CD is indeed the next best thing to being there
One of the most pleasant surprises in the first half of ’04 is the debut studio release by Madison’s the Kissers. Drawing equally from traditional Irish and American folk music as well as smarmy, melodic alternapop, they come across as an extension of (and perhaps a more focused) Boiled in Lead. With a bulk of their melodies emanating from instruments like fiddle, banjo, accordion and mandolin the folk component is duly addressed but the driving rhythm section and strategic electric guitar adornments affirms the modern rock affinities of this group. “69 Cadillac” is a prime example of the Kissers as a killer Blasters-styled rock & roll band while “American Folk Song” and “Scum of America” firmly places this band amongst the more clever and innovative of the modern folk-rock brigade. A thoroughly enjoyable recording FIRE IN THE BELLY rivals the eclectic recordings offered up by Reptile Palace Orchestra, (another Madison-based outfit) as some of the most original music emanating from the state of Wisconsin.
This 2001 compilation revisits two of the Electrics earlier and more obscure efforts — their second release BIG SILENT WORLD (1993) and their follow-up THE WHOLE SHEBANG (1995). While it would seem to be a laudatory effort to unearth these forgotten songs, this, frankly, is a hastily conceived compilation with little consideration given to the quality of song. For instance, of the 12 tracks contained here a whopping eight were culled from the less polished, more pedestrian sounding BIG SILENT WORLD, while a mere four were taken from what might still be their finest effort, the Buddy Miller produced, THE WHOLE SHEBANG. Furthermore, it’s practically criminal to think that perhaps their greatest, most rollicking song “Killicrankie” (from SHEBANG) was omitted. Thankfully Pila Music included their rendition of the Violent Femmes “Oh My (Jesus Walking on the Water).” Still, if you’re vaguely familiar with the Electrics but haven’t heard their early material, this collection serves as a suitable (but not ideal) introduction to their formative period when their development from album to album was quite evident.
I’ve been a big fan of Blood or Whiskey since the release of their classic self-titled CD back in ’96 ( or ’97,) so when it was announced last year that Barney Murray – vocalist and main songwriter – was leaving the band due to ill health, I was disappointed and felt the game was up for a great band. The other original members: Dugs (guitar and now vox) and Chris O’Mara (drums) thought otherwise. Too much blood, sweat and tears had been invested over the previous 6 years to just give it up now. A new line up was recruited with Dugs now on vocals and the band have been working their collective bollox off since – touring Europe, the USA, crashing vans, going to jail and having Topper from the Clash sitting in on the drums one infamous night.
The 5 track promo was put out for the recent US tour with the Dropkick Murphys and basically it’s a one-take in the rehearsal studio deal so it wouldn’t be very fair to nit-pick against the two proper studio releases. So how do the new band sound you ask? Well, the familiar – banjo – tin whistle – accordion – sound is still there making the trade mark Blood or Whiskey racket but the band are playing much harder then before. It’s as if though they have changed from being a traditional band playing punk to a punk band playing trad. Dugs tries hard on vocals to pull of the Barney Murray voice but sounds too strained. Hopefully the vocal chords improve when they get to the recording studio proper.
Shite'n'Onions 