Interview

Roaring Jack: Alistair Hulett Interview

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January 29, 2005

(S’n’O)
First of all, I’d like to thank you for your time, Alistair. I’d like to ask a couple Roaring Jack questions, if you don’t mind…Is Jump Up Records still planning on releasing an album of Roaring Jack’s unreleased and live tracks, & if so what exactly will be on them?

(AH)
The album of live recordings and studio demos is still in the pipeline and Jump Up still want to release it. It’s not them that’s causing the hold up, it’s me I’m afraid. There is a mixed down collection of live tracks, a couple of radio sessions and some rough demos that got left off albums, that Bob our guitar player and Rod, one of the drummers put together. They sent it to me a few years ago, and I suggested we put out all our proper albums again first, on a double CD, then use what that fetches in to pay for producing the out-takes album.
Since then we’ve got The Complete Works Of Roaring Jack out via Jump Up Records, and the working title for the roughie is Ever So Humble. I keep meaning to get onto doing a cover and booklet, work out a running order and also to add some more tracks that have surfaced in good nick since Bobby and Rod put the first version together. Somehow, what I’m involved in now keeps pushing Ever So Humble onto the back burner. It will eventually get done, honest. The unreleased stuff is quite good, but it was rejected first time round for one reason or another, so I find less enthusiasm for doing this than getting out something current. I’d imagine the rest of the guys would feel like that too.

(S’n’O)
Your old band, Roaring Jack seems to have a whole new generation of followers worldwide, 13 years after breaking up. (Myself included!) Any plans for another reunion?

(AH)
No, there’s nothing like that afoot. Rod Gilchrist our last drummer died suddenly a few years ago, as did Steve Thompson, who he took over from. Any real reunion would need to involve playing what we did back then, and the notion of rehearsing up a drummer for one gig seems kind of unlikely to happen. The drums were a big part of the arrangements, and anyone dong the job would need to know all the accents and stops and feel changes. I don’t see a reunion on the cards anytime soon. Actually I haven’t spoken with anyone from the band in years, till quite recently when I began chatting on the Internet with Steph Miller. He’s got a new solo album out, or coming out soon, so I sent him a note to wish him luck. Out of that has come a joint gig in Sydney during the tour I’ll be doing around Australia in Feb/March. That’s not us getting back together or anything, just a shared billing for old times sake. We hope to do a few songs together at the end, just acoustic guitar versions of some of the old songs from long time back. Veranda stuff. Pickin’ and grinnin’. We did invite Bob and Dave to join us but they didn’t fancy it. I’m sure they’ve got good reasons not to do it, but I don’t know what they are. Probably best that way. If Steph and me heard the reasons we’d maybe agree and not do it either.

(S’n’O)
Roaring Jack were one of the first celtic-folk punk bands around. Who were your influences back then? What do you think of the celtic-folk punk bands of today?

(AH)
Most of the RJ band members were people who had always liked folk music but we were not really involved in the folk scene. I got into folk when I was just a kid in the late sixties. All sorts of folk music, everything from blues and country to traditional Scots and Irish ballads. Dylan was a huge influence of course. Davie and Steph and Bob were probably coming from the same melting pot Id guess. Back then the Communist Party was heavily involved in organising venues for this music. There was even a folk record label in Britain called Topic Records that was set up by the CP. Most of the leading lights of what they called The Folk Revival were communists or anarchists, people like Woody Guthrie, Ewan MacColl and Peggy Seeger, Leon Rosselson. All these wonderful singers and writers and players were active in left wing politics to some degree or another. This was the folk music I knew and followed as a nipper, alongside all the other stuff that was happening then. For me, the music and the politics came as a single entity. Even though I kept on listening to these musicians and buying their records, the folk scene they were working in got kind of side tracked into becoming part of the antiquarian movement, part of the Heritage Industry. I got less involved, and when I met up with the other guys who went on to form Roaring Jack, it was like discovering fellow fugitives, meeting other refugees from a folk scene that had been taken over by beardy tankard wavers. I guess it was really the Pogues and Billy Bragg who brought it back to life again for me. They brought the fire back into the belly of folk music. The Clash had kind of showed the way a few years earlier with English Civil War, and then all that punk blues and rockabilly stuff on London Calling. But a whole layer of bands emerged in the early eighties that were fusing the political wing of the folk movement with that DIY ethic from punk. In Australia there was Weddings Parties Anything in Melbourne, Roaring Jack up in Sydney, songwriters like the Koori singer Kev Carmody, and a whole mob of other folk-based bands at the time springing up around Australia that were in there mixing it in the punk and indie scene. In America too, Jason and The Scorchers were doing it with country music, an English band called the Mekons as well. Shambolic english country and western. Sid Griffin had a band called The Long Riders that sounded like the Clash doing country rock. Every so often there needs to be a bit of a shake up and we were part of that process back then.

I couldn’t say I listen to much of the current punk folk stuff. Its very flattering that someone today thinks enough of what we did then to want to try and adapt it as a useful influence. I do think things need to move on and develop though. I sometimes go over to Germany and there’s loads of young kids there with Mohawks and Crass tee shirts, kind of doing a retro-punk thing. This is not the point, in fact its exactly the boring hippie conservatism we were trying to get rid of at the time. I don’t want to say that there’s anything wrong with liking music that’s been around a while, I mean I like ballads that were written several centuries ago, but whatever art we make today should have something to say about the world we live in now. For me to go resurrecting Roaring Jack would be daft, its my past but I don’t live there any more. On the other hand if a young kid today hears what we did fifteen years ago and finds something in it that speaks to them, and makes something new out of it, then of course I’m delighted. Especially when there’s a royalty cheque involved.

(S’n’O)
I know your current recording partner, Dave Swarbrick has been ill, how’s he doing? Any upcoming tours? Any possible US gigs?

(AH)
Swarb has suffered from a lung condition called emphysema for many years. Its one of those things that get gradually worse as time goes on. Three months ago he got put on the list to have a double lung transplant, and a few days later the hospital called him in to get it done. Since then he’s been wearing them in and getting used to breathing without a ventilator again. Its going to be a long recovery but he’s on the mend and given time there’s no reason why he won’t batter on for years. He got let out of hospital on Xmas Eve and knowing he’s home and tucking into plum pud and turkey is very reassuring. Hospitals are no place to be without an immune system, and his has had to be switched off to stop it going for the new lungs. We set up a website and a support network called Operation Swarb Aid that has regular updates on how he’s doing, with a link to his official website as well. http://www.swarbaid.org gets you there.

For the foreseeable future I’m a solo act, unfortunately. Swarb will be back as soon as possible, but there’s a lot of recovering and resting up to be done first. In the meantime I’ve got a tour of New Zealand and Australia kicking off in a few weeks, and a UK and European mainland tour to follow later in the year. The elusive US tour is still on the wish list for now. A tour promoter needs to be found who can be plied with intoxicants and persuaded to do me a tour of Canada and the USA. Santa wasn’t listening this year it seems. Maybe a couple more candles for St Anthony.

(S’n’O)
Your last solo album, “Red Clydeside” had plenty of Glaswegian history, & being that my entire family is from Glasgow, it really struck home. What subjects are you currently writing about? Any new solo album plans?

(AH)
I’ve never been a compulsive kind of songwriter. Some people write everyday, it’s their release, their outlet. For me song-writing is a difficult, uncomfortable thing to have to do. Songs turn around in my brain for ages before they finally get written down. There has to be a lot of gestation involved. So I tend to turn the writing on when I need songs and off when I don’t. Getting started and stopping are both tricky for me. Since I finished Red Clydeside I haven’t written much at all.

This set of songs called Red Clydeside was my anti-war statement, but instead of looking at the current war in Iraq I used the history of the anti-war movement in 1914-18 to say what I wanted to say. John Maclean, the leader of Red Clydeside said in 1914, ‘It is the task of socialists to build class patriotism to convince workers not to slaughter each other for a sordid World Capitalism.’ For me that is still the central principle for our anti-war movement today. Ordinary people in Britain and the US have everything in common with ordinary people in Iraq, and nothing in common with warmongers like Bush and Blair, and the rich thugs they represent.

Most of what I’ve been working on since Red Clydeside has been songs of a personal nature rather than overtly political songs. Red Clydeside covers that aspect of my world view well enough to be going on with for now. At the moment I’m midway through recording an album of traditional ballads and some fairly non-political songs of my own. It should be out soon, but the songs seem to be calling out for more instrumentation than I originally expected to use, so there might have to be a band again.

I’ve been listening to a lot of early 20th century American music, blues and hokum bands from the thirties like the Mississippi Sheiks, bluegrass players like the Stanley Brothers, the Blue Sky Boys, stuff like that. I want to see if there’s ways to use that kind of loose way of arranging to back traditional Scots music. Once I find the sound I want I’ll try writing more songs of my own to carry it forward. Right now the balance is fifty/fifty between traditional songs and original compositions, but that might have to change. So far it’s me on guitar and whistle and Gavin Livingstone on bottleneck slide guitar. There’s going to be more though, I fear. I can feel it in my waters, as we say in Glesga.

(S’n’O)
Speaking of Glesga, how’s the folk scene doing nowadays? Any local political news?

(AH)
Glasgow rocks along as it always does. Edinburgh is the place where the folk scene situates most of what it does. A bit like a huge Tartan Theme Park really. Glasgow is where the gritty side of life gets lived. We just had a festival here in Partick on the west side of the city. The first Partick Folk Festival, and right good it was too. I got to be on a concert with my good mate Mick West and a wonderful band from the ’60s called The Clutha. My all time favourite Scots folk band, The Clutha so they are. The concert was called Glesga Belangs Tae Me and it was great! There’s a review of the gig on a website called Roots Review at http://www.rootsreview.co.uk

The Celtic Connections Festival kicks off in Glasgow just before I head off to Oz, so I’ll miss that one this year. That’s a massive event, acts from all over the world on a string of concerts that runs for nearly a month. Shane MacGowan is one of the headliners this year. But I’ll be over bronzing the limbs in NZ and Oz. Still well worth checking out the Celtic Connections website though.

The big upcoming political event on the horizon is the G8 Summit in Gleneagles. This is a meeting of the eight major capitalist states, right here in Bonnie Scotland. Its in July, from the 6th to the 8th, and the eyes of the world will be watching. I’m helping organise the acoustic music stage for the G8 Alternative. Some big names are already down to appear, and the expectation is that around 30,000 anti-capitalists will be heading for Gleneagles this July. Lovely!!

(S’n’O)
I’d like to talk about the pre-Roaring Jack days, could you tell us about the time when you lived in New Zealand and Australia?

(AH)
Cor, you don’t half give the old memory bank a good working over, do you Brian? I emigrated to New Zealand in the late 1960s, in my teens and a somewhat reluctant little camper I was. I spent the mandatory two years in NZ, (that was one of the conditions of receiving an assisted passage), then high-tailed it over to Australia in about 1970. I was playing around the folk clubs and festivals in NZ, and continued the habit in Oz for a few years, till the lure of better drugs and sex sent me off on the Hippy Trail for most of the rest of the decade.

(S’n’O)
You had a couple of “nomadic” years for a while there, what exactly were you doing in India?

(AH)
To the degree that anyone was doing exactly anything at that time, I suppose I was trying to find the meaning of the universe and subsidising the exercise by peddling drugs around Goa. I played a lot of music and met a lot of interesting people. Eventually Mother India put me in touch with some members of the Communist Party Of India, and they set me on the road I’m still travelling down today.

(S’n’O)
How was the early Aussie Punk movement when you returned?

(AH)
Well, not entirely thrilled to see me, initially. At least not until I got a decent haircut and lost the flares. Actually, the punk thing didn’t make a great deal of sense to me in 1979 when I first got back. Australia was in the middle of a prolonged economic boom that continued till Paul Keating put the brakes on it in 1985 with ‘the recession that we had to have.’ The punk revolt in Britain was a reaction to the winter of discontent in 1976, followed by the onslaught of Thatcherism. All this didn’t start to bite in Australia for a few years, so early Aussie punk seemed more like a dress code to me than a gut reaction to the news that the future’s been cancelled. All that changed in the mid-eighties though. Yellowcake Bob and his ACTU lackeys saw to that, thank you. I seem to recall that’s where Roaring Jack came in.

(S’n’O)
For people interested in your work, are there any websites, publications, events, etc. that you’d like to promote?

(AH)
Okay, self-promotion time is it then? There’s a website called Folk Icons that regularly updates what I’m up to. Folk can find that at http://www.folkicons.co.uk On the Roaring Jack side of things, there’s a site called the Roaring Jack Archives which can be located at http://www.angelfire.com/folk/roaringjack My UK agent is AMP World Music and that’s where to go for bookings etc. That’s at http://www.ampworldmusic.com For anyone who wants onto the email newsletter mailing list, The Gallows Rant, send me an email to a.hulett@btopenworld.com There then, that’s more than enough of that shite.

(S’n’O)
Alistair, thank you so much for your time! Is there anything you’d like to add?

(AH)
I’d just like to say thanks to Shite ‘n’ Onions for helping keep the flag flying for the music we love. These days there’s so much good stuff flying about, and no one really knows what to call it anymore. Punk Folk was always a totally inadequate label, but even more so now that the influences are coming in from all directions. If folk music means anything these days, it’s music that belongs to the people who make it and the people who listen to it, and the line between those two groups should be kept as blurred as possible. Keep the corporations out and we stand a chance of keeping creativity alive.

(S’n’O)
Bonus question: What the hell is wrong with Scotland’s football squad?

(AH)
A serious question at last!! As the great Jock Stein once said, ‘Fitba’s no’ a matter of Life and Death, it’s much more important than that.’ What’s wrong with Scottish fitba is what’s wrong with Scotland all together. Massive under-funding in health and education, totally inadequate training facilities at every level, a disparity between rich and poor that almost beggars belief and turns huge swathes of our young people into junkies, and so on and so on. Even Celtic, who finished last season a few seconds short of winning the UEFA cup don’t have a proper indoor training facility. There’s some great young players coming through in spite of this though, and I’m delighted to say that most of them play for Celtic. Sean Maloney, Aidan McGeady, John Kennedy to name but three. McGeady has come in for a huge amount of sectarian and racist abuse from the Hearts and Rangers fans because he has elected to play for the Republic of Ireland instead of the Scottish side. Given the ongoing bigotry against Irish Catholics in the West of Scotland, I think McGeady’s decision is perfectly understandable. It also highlights why as socialist and anti-nationalist I don’t support the national side. Scottish nationalism has only ever existed as an aspect of British Imperialism. Even disengagement from the British Union would not alter the fact that a huge number of the pillars of the Establishment are in fact Scots, and this has been so for the entire duration of the Union itself. But that’s a story for another day.

(S’n’O)
Thanks for you time Alistair, Happy New Year!

A grilling by Gillispie

Interview

Scott M.X. Turner: The Devil’s Advocate

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Scott MX Turner is the front man for Brooklyn, NY based Celtic-Punksters the Devil’s Advocates (and also the United 32’s and oh yeah a solo performer plus a Spunk Lad). The latest DAs CD, “Snipers In Derelict Houses” is benefit for the Pat Finucane Centre a civil right’s organization in Derry, Ireland. Thanks to Scott for taking the time and trouble….

(S’n’O) Who the hell is Scott MX? You have 3 band going (simultaneously I believe) plus a solo gig yet you are strangely low profile. What is your history and how did you become involved in this strange beast called Punk Rock?

(Scott) Oh, Christ, don’t ever ask a musician about “their history.” Unless you have lots of time to kill in a grisly way. In short, I grew up in New York and North Carolina, was in college to be a photojournalist, but then London Calling came out and changed all that for good. I dropped out, moved back to New York and have been in bands and day jobs — in that order — ever since.

Punk rock is a strange beast — especially now that its face is horrid, safe bands like Good Charlotte and New Found Glory. It’s amazing how contemporary punk is being used to make kids conform to MTV, Joe Lieberman and the Army of One.

Like I said, London Calling changed everything for me. My best pal Whit and I retroactivated our souls with The Clash, Pistols, Sham 69, The Jam, and all the two-tone bands back in ‘80, ‘81, ‘82. It was everything music should be — passionate, good tunes, great lyrics, enough energy to light small cities, and best of all, all the adrenaline 19-year-olds trying to figure out our future could ever need.

As for my flying under the radar, what with three bands and solo projects — that’s part the music biz’s inability to figure out anyone it can’t compartmentalize, and my inability to immerse myself in the music biz’s Byzantine currents.

(S’n’O) The lyrics are highly political in-your-face. How did you develop your beliefs and how important are they in the whole musical picture?

(Scott) I’m kinda crusty-of-age — 42 yrs. old. Which means my formative years were the very zany rebel ‘60s. Every night over dinner, Uncle Walter Cronkite beamed the news into my mom’s and my home — Vietnam, assassinations, spaceshots, the Cold War, Attica — okay, that was the early ‘70s. So much so that it felt normal…Dr. Seuss blended with Ho Chi Minh.

I still can’t imagine that ANYONE my age isn’t political. It coursed through schoolyears, even where the teachers did everything to pretend everything was normal. Our grades were the last to do duck-and-cover drills. Nothing normal there…we could see in our teachers eyes that desks weren’t gonna save our little asses.

I always paid attention to the news — current events and phys ed. were the only classes I aced. Then came the bands that sang about more than girls and parties and didn’t care about geetar solos and twelve-movement concept albums. When I started playing in bands, the ones just ahead of us proved you could write about important stuff, rock hard, put out a few ideas, and yet not hit people over the head.

I think it’s REALLY important to sing about what matters. Sure, there’re bands for whom fucking and getting drunk is all that matters. I think the music biz prefers them — its easier for a record company to answer to the PTA and Pat Robertson than to the Fraternal Order of Police, the FBI and the NSA when a band starts making REAL trouble.

Music and politics are completely interwoven, just like sports and politics. Anyone who disagrees either ain’t payin’ attention or is working for the Bush administration. Just playing music can be a political act, even if the song isn’t political. Even disco in the ‘70s was political, a liberation music for people of color, queers and folks who just wanted to dance without macho football players shoving Molly Hatchet down their throat.

So even if you don’t sing about race wars and struggles, don’t listen to or go see bands that do, you have to acknowledge that you’re a stitch somewhere in that political/cultural fabric.

(S’n’O) Did you ever have any doubts about your politics? How important is the message and what do you think of non-political gits like me that just like a good song?

(Scott) Everyone should have doubts about their politics. Question your own motives before others can do it. Because if an activist or a band with topical song goes out there waving two-minute-fifty-eight-second banners, people are gonna tear ‘em apart to see if they know what they’re talking about.

Spinal Tap’s famous quote was “there’s a thin line between stupid and clever.” As for doubting my politics, I’d say there’s a thin line between confident and arrogant. I’m confident in my politics. I listen to everything out there, whether it’s those boring shows on Pacifica Radio (good ideas on dullard radio that ain’t pullin’ the masses in) or Rush Limbaugh’s insane insecurity — like a rich straight white man has anything to worry about these days). I’m a lefty — I believe we should all look after each other instead of competing against one another. These days I believe that more than ever.

As for messages in songs, I put the song first and the message second. I’d rather listen to a great pop song like — don’t laugh — “Oops I Did It Again” than a putrid political anthem that condescends and clobbers people over the head. The trick, of course, is to write great pop songs with great lyrics. The Temptations’ “Ball of Confusion,” Bruce Hornsby’s “That’s Just The Way It Is,” Tracy Chapman’s “Talkin’ ‘Bout A Revolution,” Marvin Gaye’s “What’s Goin’ On” are all Top 40 hits that carry a heavy message…but the tunes are infections, great!

If I wanted speeches, I’d subject myself to anti-war rallies these days. People like me who put politics into songs have to respect the song and the rhythm — they come first.

(S’n’O) Speaking of politics and music, Joe Strummer was to me the guy who put politics back into rock’n’roll. Any thoughts on his passing?

(Scott) Well, it’s closing in on a month since Joe left the building, and I’m still heartbroken. He wasn’t done, you know? He’d just hit his stride, again. The Mescaleros put out great albums and played great shows. Joe’s last performance was a benefit for the British firefighters’ union and his last song, apparently, was the one he wrote about Mandela to raise awareness about AIDS in Africa. Even when he was quieter — doing soundtracks for Alex Cox films and trying to create new things under the massive shadow of the Clash — he was a real inspiration. I saw him play his last New York shows — in Brooklyn, I’m proud to say. He still had it. He was 50 and still had it. What more inspiration could you ask for.

I think about his black guitar, the one he had ever since I saw The Clash for the first time at Bond’s in NYC in ‘81. The black guitar with the “Ignore Alien Orders” sticker on it. How’s it gonna get on now that its partner is gone.

Now that Joe’s gone, all of us he meant something to are gonna have to pick up the slack.

(S’n’O) Have you ever had pressure to change your lyrics? I know the Hudson Falcons took a lot of shit for some early songs about Ireland and stay well clear of that subject now.

(Scott) I’ve never been pressured to change a lyric. That’s one of the benefits of flying under the radar. They only care about your politics after you’ve passed a certain number of units sold. And sometimes, they want you to be difficult, if your controversy makes the bottom line all shiny to their shareholders.

I like the Hudson Falcons; we’ve played with them. They’re a thrilling band with lots of integrity. But it saddens me to hear they’ve backed down on singing about Ireland. Especially these days, when less and less people are singing about Ireland.

If I have to change a lyric, then what’s the value of the song that’s left? What’s the value of all my other songs that, by extension, were deemed “acceptable” because there was no request to alter a lyric?

(S’n’O) How did a guy in Brooklyn get so interested in Ireland and “the troubles”? I grew up in the South of Ireland and one of the most common beliefs was the Irish-Americans have no idea what’s really going on in Ireland and in most cases couldn’t even find the place on a map but are caught up on some old sod romantic trip (an example being SLF’s song “Each Dollar a Bullet”). From my own experience while most Irish-Americans don’t really know that much about the Irish situation they don’t care either and those who do care are often more informed then your average person walking down Grafton Street in Dublin. Any thoughts or comments?

(Scott) When you grow up, certain things resonate, for reasons unclear. Like I said, I was a news junkie as a kid, and news of the Battle of the Bogside, internment, Bloody Sunday, all jumped right at me out of the newspapers. With all that was going on back then, news out of the six counties hit me hard.

I didn’t grow up in a traditional Irish-American household. There’s no explaining it.

I read Trinity in the early ‘80s, and that was a first step. Once I got acclimated to Irish politics, I felt sheepish that Leon Uris was my portal in, until I heard that Trinity was part of the program for Republican prisoners at Long Kesh. I didn’t feel so goofus after that.

I got the rest of the way in through my wife and my record collection. In the 90’s, Diane George was an immigration lawyer who handled some high profile Irish political asylum cases, including the Meehan and McAllister families. Not long after we started dating, we made our first trip to Ireland. I got to see everything I’d only heard about — the seisiúns, Kilmainham Gaol and the GPO, the Bogside, “peacelines,” how big a plastic bullet really is. Some of the family members in one of the cases took us to the Felons Club on the Falls Road, which was a privilege. After that trip in ‘92, there was no turning back. We’ve been there every year since, either music or work for the cases or visiting with friends — including the Pat Finucane Centre, the human rights center in Derry that Snipers In Derelict Houses is a benefit for.

There were also bands that I learned about Ireland from — you mentioned SLF, and there was Ruefrex too, who also had a song very critical of Irish Americans’ involvement in The Troubles. Black ‘47, Christy Moore, Ray Kavana, Marxman, the Pogues, a lot of trad bands from the ‘70s. One band that I learned NOTHING about the Irish struggles from was U2. No…better to say I learned how to apply myself to all political affairs Irish by flat-out ignoring all of Bono’s rock-star blather.

About Irish Americans…there’s a wide range of knowledge about the six counties in this community. It runs from people who are selflessly devoted to a united Ireland — reading up on it every day, politically agitating, mounting campaigns, fundraising — to those who put on green plastic derbies and get pissed on St. Patrick’s Day. The Irish diaspora in the U.S. is certainly infuriating — the best and worst, tumultuous family.

One thing that bugs me to no end — Irish Americans’ conservatism when it comes to political issues that don’t involve the six counties. It’s frustrating that people who support a people’s war for independence in Ireland turn a blind eye to all the other progressive struggles in the world…and here at home. That’s a double standard that I’ve never, ever been able to process. And it hurts us. Hurts us badly, because other political groups — African Americans, Native Americans, queer activists, Asians and Latinos and other immigrant groups who see parallels between the Irish struggle and their own — support us. And then we refuse to get involved with their struggles. The solidarity dissipates, and at some point, we’ll find ourselves alone in ways that the words “sinn féin” were never meant to convey.

Maybe the average Irish American knows a little something about the war in Ireland — and you know the saying, “a little knowledge is a dangerous thing.” Whatever the median, it’s unfair of folks in the Republic to rag on Irish Americans. I agree with you that folks in Dublin, Kerry, Wexford — in spite of the history in those locales — bury their heads in the sand when it comes to affairs in the north. Maybe they’re too far removed — geographically, emotionally, politically. Maybe they’re scared of an economic downturn when there’s a 32-county republic. Maybe they’re safe in their “we don’t go in for sectarianism down here” arrogance…though the treatment of travelers and recent asylum seekers may belay that stance. And maybe some of ‘em buy into the fear that loyalist paramilitaries will strike all over Munster, Leinster and Connacht — a red herring, far as I can see. Feeding a populace pure fear is how power stays in power. It works for the Irish and British governments in Ulster…and it’s working for Team Dubya here at home.

The view of the north from down in the south of Ireland reminds me of West Germans’ take on their cohorts in East Germany. The GDR really wanted no part of reunification, fearing all sorts of troubles — primarily economic. Now Germany’s the big star of the E.U.

Reunification of Ireland won’t be easy. But it is necessary, and once the anxieties are overcome, an all-island Ireland will be a good, strong, diverse community.

(S’n’O) On your web page every Scott MX/Devil’s Advocate/United 32’s track is available for download and your sleeve notes include instructions about home taping. Have mp3’s helped spread your music or just dampened you CD sales or do you even give a shit?

(Scott) Of course I give a shit. I’d like to earn a living from music. Nothing that’ll show up on “MTV Cribs,” mind you. But it’s important to make music available. The internet’s good for that…at least for folks with access to the internet.

Mp3s are a great thing. Don’t forget, back in my mom’s day, you could go into record stores, take any disc into a listening booth, and try ‘em out. When the record companies and stores phased that out, we were left with the few songs that made it on to radio, and the grapevine. Now, with mp3s, we’re opening up the listening booths again.

The difference, of course, is that in the old listening booths, you couldn’t download songs for free and keep them. It doesn’t matter…there’re all sorts of ways to attract fans — with the mp3s, they’ll check you out the next time you play their town, buy your tee shirts, put you on their buddies’ grapevine. And a lot of mp3 downloaders still buy the album.

The record conglomerates, the RIAA, and assholes like Dr. Dre and Metallica — and all the others who worked so hard to shut down Napster — are blaming free downloads for everything wrong with the music biz, democracy, and the health of the planet.

Expensive CDs…corporate control limiting distribution…shit, disposable bands being jammed down our throats…good bands being given up on after one poorly-promoted album…drinking age up to 21 and far too few all-ages show…music execs who are biz-people first, music-people last…MTV/VH1/BET. Those are the things killing the music biz, not free downloads.

Back in the ‘20s, baseball teams initially refused to broadcast their games on radio. They were scared that fans wouldn’t bother showing up. Same thing in the late ‘40s with t.v. Of course, baseball attendance, and interest in the sport, skyrocketed. The music biz has to recognize fans won’t buy what they don’t know. And with but five major record labels — who’re doing everything they can to disrupt indies — it was getting harder for us to know.

The big companies are well on their way to figuring out how to harness this new technology. It’s important that music fans and bands hook up and use the new technologies together and, for once, freeze out the big dogs — instead of the other way around, which is how it usually plays out.

(S’n’O) What groups do you listen to and why?

(Scott) Asian Dub Foundation — South-Asian/London hip-hop/reggae/raga/bhangra, with great politics, beats, melodies and passion to spare. The best band going.

Steve Earle — there’s no categorizing his brave lyrics and great songs.

Seanchai and the Unity Squad — pushing Irish music to the next level while respecting its roots.

Ozomatlie — their rock/ska sound of East L.A. and their lyrics make them The Official Band of the Lefty Movement…and that’s a compliment.

The Roots — speaking of roots, these guys have great hooks, a great live show, and craft great hip-hop without resorting to crap lyrics about material things and disrespecting women.

The Clash — they showed me the way, and they’ll always have a place on my turntable…or tape deck…or CD player…or computer.

Midnight Oil — still doin’ the good work with great melodies.

Blood or Whiskey — Barney Murray’s heart is driven, and it comes through on all their songs.

Joe Strummer — his last two albums are what punk rockers with open minds should be listening to.

Farrell Burk and the Pollynoses — songs that fall through the cracks and churn up all the angst lying at the bottom.

The Boys of the Lough — everyone has their fave trad band. We danced our wedding dance to a Boys of the Lough waltz.

The Spunk Lads — the best of all the reuniting Brit punk bands from the ‘70s…and the only ones who supported Irish republicanism back in the day. (They still do.)

Tom Waits — you can’t go wrong with his heart, irony, mystery and true American stories.

Randy Newman — makes us face our demons, with great songs and courage.

Public Enemy — they still kick ass, especially that belonging to the bloated, sad current crop of hip-hoppers playing minstrel for the Man..

(S’n’O) Scott, thanks for answering my questions and thing else you’d like to say.

(Scott) Like I haven’t gone on long enough. Eat yer veggies and do whatever it takes to save the best show on t.v., “Firefly.”

Interview

Neck: Leeson O’Keeffe talks some PSYCHO-CEILÍDH-BABBLE

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September 2001

Led by songsmith Leeson O’Keeffe (formerly of Shane MacGowan’s Popes), NECK is a 6-piece London-Irish band playing PSYCHO-CEILÍDH. Their songs reflect the emigrant and second-generation Irish life experience: combining the vibrant spiritual abandon of Irish songs and tunes with the rip-roaring electric guitar driven energy of Punk Rock. This heady mixture is evident in the line-up of whistle, fiddle, banjo, punky guitar(s), bass, drums and vocals – the overall effect is one of total release! Individually too, NECK are recognised musicians in their own right: with whistle-player Marie McCormack in demand for solo recitals; while Leeson (occasionally with fiddler Marion Gray) has been guesting regularly with The A3 (Alabama 3), from TVs’ “The Sopranos”. -That’s with all three NECK players maintaining a well-known presence on the London traditional Irish session circuit! (From Neck’s Bio)

The following interview was carried out over a serious of emails with Leeson O’Keeffe and Marie McCormack.

(S’n’O) Celtic Punk is exploding in the US have you checked out The Dropkick Murphys and Flogging Molly yet ?

(Leeson O’Keeffe) “We’ve shared column inches with Flogging Molly from day one since we’ve been coming here (the US that is), but we didn’t hear them until we were given a tape of Swagger by a guy who was coming to our gigs in October last year & I think they’re brilliant (we actually do a cover of “The Worst Day since Yesterday”! – it’s one of the best songs that Shane never wrote! – it’s a corker!).”
“We’ve seen The Dropkick Murphys twice in London and again, we think they’re brilliant – I’ve never heard “The Rocky Road to Dublin” done like that before in my life! – but it’s brilliant! and it’s great that they all sing at the same time on the choruses in those massive Boston ‘Irish’ accents, and that the crowds are so typically punk’n’daft! Wicked stuff! – you just stand there (Down the front me?-I should co-co!-I’ll leave that to Marie – she went down the front at The Underworld show in Camden – her boyfriend got biffed, but some unkind souls found that highly amusing….I wonder who that might be then? MOI?-perish the thought!) with a beer in yer paw, tapping your foot with a dirty great grin on yer face! -It’s fuckin’ brilliant to think that there are people thousands of miles away, who grew up completely different to you, but are doing something that is on completely the same wave-length! The feature in Broadside fanzine was brilliant!”

“I’m chuffed -to-fuck about the whole thing. I just hope that the U.S. bands like what we do as much as we like them – I would love to do a gig with both bands – but particularly Flogging Molly, because we are so similar-for my money, they’re the best punky Irish band since The Pogues and that includes everyone! Dave Kings’ a very good song-writer, although his voice is an acquired taste when he goes for the high notes-when he stays down ,it’s great-particularly on ‘Worst Day’, the start of “The likes of you again” & “the whole of grace of God go I” deadly! and he’s from Dublin!(can’t be bad-we’ll have none of yer culchie bollocks around here now!) Anyway-y’know what I mean?”

(S’n’O) How have you gone down in Ireland?

(Leeson O’Keeffe) “It’s been a dream come true – I was very apprehensive at first (coals to Newcastle & all that, and I know that The Pogues had a nightmare when they first went over) but probably thanks to the Pogues, it’s all different now. I mean Dublin now is predominantly a dance town, like London, Manchester or Kansas City (?!) but there is still a thriving live music scene and outside of Dublin (we’ve been to Derry, Belfast, Waterford, Letterkenny, Draperstown & Dublin) live music appears to be doing o.k. altho’ Belfast again, has a huge dance thing going-on; even in staunch Nationalist areas like Ballymurphy in West Belfast they’re all into Tall Paul, as well as people like The Wolfe Tones, of course. But then the best gig we had in Belfast was there!”

(S’n’O) So what have Neck been up to recently?

(Leeson O’Keeffe) “We’re just back from a “craicing” tour of Ireland, taking-in gigs in Derry & Dublin (including one with The Alabama 3), a live radio session, three Festivals: The Waterford Spraoi, The West Belfast Feile an phobail & The Derry Gas Yard Wall Feile (the last two were with the incandescent Undertones! -we got paid to watch The Undertones!!!!!)-jumpin? Jaysus! AND—–then there was the POITIN!!!!!”

“Also the regular trad. sessions are still occurring every Thursday in The Twelve Pins, Finsbury Park & every Sunday in The Queen, Brixton (both 9 p.m./no cover) London”

(S’n’O) Explain the “Plastic and Proud” logo and what is a “Plastic Paddy”?

(Leeson O’Keeffe) “Obviously, I’m paraphrasing the “say it loud: I’m black and I’m proud” slogan, just in the same way the T-shirt paraphrases the Sex Pistols. (Whose singer-John Lydon, whose parents are from Galway & Cork – grew up down the bottom of my road and did have bricks thrown at him as a kid ‘cos he was Irish. Incidentally, round the corner from him is a pub called ‘The Favorite’, where Tom McAnimal from The Popes grew up. It was one of the main traditional session pubs in London in the 60’s and 70’s, and as such, played a hugely important part in the social-life of the Irish-Emigrant community (particularly for those living in digs) – as all those pubs did, and still do. No wonder this area’s known as Co. Holloway!) We – the second-generation Irish in Britain- get called Plastic Paddies (I believe in the U.S. our equivalent are called ‘narrow-backs’) as a derogatory term by the first-generation Irish-because we’re not “the full ticket”. I personally don’t give a toss, it’s just a daft name, but there are contemporaries of mine who find it ignorant and offensive. -So the idea is to turn it on its head & reclaim it: if you call yourselves it, it takes the sting out of the intended ‘dig’, if y’knowwotahmeen…. and,of course, I am proud to be second-generation Irish – so if that means proud to be a “Plastic Paddy”, then that I am: I had no control over the place of my birth, but I choose to hold an Irish passport – I feel I’d be a hypocrite not to, doing what I do. -phew”.

(S’n’O) Would you ever let Ronan Keatin cover a Neck song?

(Leeson O’Keeffe) “Boyzone did a version of “She moved thru’ the fair” (my niece has the album-honest!) and James McNally (Afro-Celt Sound System-brilliant band!!!!) plays in his band as a session player I dunno, if he paid us loads of wonga and he had to do it in a NECK stylee, then maybe. Actually I think doing something with Shane Lynch might be a bit cool, he stuck -up for his missis with all that carryon when Puff Daddy (Puffy Daddy got beating up by Lynch) was in Dublin. EXCLUSIVE NEWS: we are working on some new T-shirts, which will please the Plastic Paddy callers, they’re just gonna say “DUFF PADDY” -geddit? I know, we’re being naughty little ironic tinkers. We could do some tuff jams & break-beats and then diddly-aye all over it!”

(Marie McCormack) “As to Ronan Keating: we’re happy to write songs for anyone but can his leather trousers cope with the crazy mad rocking that performing a Neck song would entail and could he cope singing songs about Irishness, when he is a bit of a m.o.d. croooner – watch the lawyers on this one! But we do not wish to blacken the name of Ronan and take it in vain when he very likely will end up the President of Ireland at some time down the years!”

(S’n’O) What was it like growing up Irish in London?

(Marie McCormack) “I didn’t know any different , it was just as things were. Nevertheless, this is how I recall growing-up: My upbringing was a little unconventional anyway-having the excitement of a pub to grow-up in: unlimited access to coke and crisps (potato chips) until my dad said who do you think has to pay for those when the auditor comes round, etc. etc.

I did Irish dancing instead of modern and tap unforced by my parents, whistle lessons rather than piano lessons, a complete uninvolvement with music competitions but mucho Irish dancing and medals galore for that. Always asked to do impromptu performances: ‘Ah, will you play a few tunes on the accordion/ whistle for…’, ‘The Sally Gardens’ reel being a popular one and ‘Boolavogue’ (watch the spelling for the weepy eye section). Donning harp medals on St. Patrick’s day -never enough shamrock from granny!

First Sunday in July- a proper Irish festival in Roundwood park in ‘County’ Kilburn in London (huge Irish area): stalls from every County; Irish soda bread ; step dancing; Irish dancing and a big parade.

My sister and I carting our dancing shoes to Donegal every summer and the ‘little English girls’ ‘entertaining the natives’ to a display of dancing in Egans on a Saturday night drew a big crowd: handed over the crown in later years to two more ‘little English girls’.

I only remember being asked once if I was Irish or English by Mrs Dunphy in Navan and actually had to think about that one: came down on the side of second- generation Irish( a sgi !).

Val Doonican on the telly on a Saturday night -oh yes! Must have claddagh rings (the secret sign!) until Argos stores started selling them 4 or 5 years ago!

No obvious signs of racism in school cos the majority were second generation everything – during the 70’s tension in air re: bombings and relatives questioned by the Metropolitan Police C.I.D. when they got off the boat train in early hours of the morning on their way to a wedding. A ban on ‘The Sun’ newspaper when it advised the public not to buy Kerry Gold butter, as an anti-Irish reaction. Others not so fortunate in securing their Irish identity, but that is their story and I cannot speak for them.

(S’n’O) Long term ambitions for Neck?

(Marie McCormack) International travel; the band that made a contribution to the world of music -make people happy; for some members, obviously, (whodatden?) to get laid around the world – watch this for future prospective brides. Memorable songs that enter the psyches of the world; and to have a bloody good laugh along the way!

We don’t live in the future but we have an eye to it, the journey thus far has been incredible and long may it continue -oh: and to play the London and New York Fleadhs 2002!

Fuck the messers and begrudgers !

http://www.neck.ie

Interview

Hudson Falcons: Working Class MF’s

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April 2002

(S’n’O) How are the Hudson Falcons doing? What have you guys been up to lately?

(ML) We’re doin ok. Just trying to get through. We’re breaking ass working right now between tours. To say that money is tight is more than an understatement, but it’s worth all the hassle to be able to live the dream. How else would a bunch of poor fucks from Jersey and Indiana get to see the country? Rock ‘n’ roll is good for the soul. We’re going into the studio in a couple of weeks to record a split we’re doing with GC5 on Cosa Nostra Records – a label that was started by Doug and Dave McKean of the GC5 along with myself.

(S’n’O) As I’ve been a fan from the beginning, I’ve noticed the constant line-up changes…who are the current members and why have former ones come and gone? (Props to Jim and Alyson)

(ML) The current band is Uncle Chris on guitar, who has been here from the beginning, Ben Glotzbach on drums, Craighton Fischer on bass, and myself on guitar and vocals. Ben & Craighton are both formerly of the Brassknuckle Boys. When they were filling in for us on a tour a while back, the singer of the Brassknuckle Boys, Mark Dacey, told them that he was gonna be changing the band around a bit, and if they had the chance they should stay with us. We swiped them up in a heartbeat.
As far as former members go, Jim Meyer – original bass player, wasn’t one for touring, and had a lot of problems balancing the band schedule with his work schedule. We still see Jim once in awhile. He just went to the AFL-CIO Organizing Institute, so maybe I’ll be working with him again for the Union rather than with the band.

Alyson, decided to leave the band because of her religious convictions. She wanted to devote her entire life to following Jesus Christ. Since she left she has been working with some Christian organizations in Canada, New Orleans, and Croatia. We’re very proud of her getting out there and doing what she wants to do.

The other full-time member we had, Chris Sorensen on bass, left the band because of some problems he was having at home. He’s currently in the band Abnormal Behavior, and fills in for us quite a bit for local shows. Craighton lives out in Indiana so he can’t always make it to the East Coast for shows.

(S’n’O) Some people and fans of punk rock/Oi! see you as a highly political band. I’ve seen quite a bit of people on your webpage guestbook who are displeased with some of the stances you guys take. Have you guys ever gotten into physical or uncomfortable situations because of your views?

(ML) We’ve gotten a shitload of threats. The only time things got really fucked up was at a show in Atlanta back in Dec 00. A few folks were acting like jerk-offs, because for some reason they thought we are “Commie pinko scum” I think that was the term. And of course with songs like Abandoned Vets, Responsibility, Requiem for a Patriot and the like its sooooooooo obvious we are so Anti-American. Moral of the story – You can’t reason with absolute idiots.

(S’n’O) What are your views of America at the moment? I know you guys are the furthest thing from anti-American, so let’s air some views. What do you think about the “war on terrorism” and the September 11th incident? Do you think Bush is handling it well?

(ML) I’m in extreme agreement with getting the Taliban out of power (I started writing an anti-Taliban song back in March 2001). I also agree with dismantling the Al-Qaeda network. I think, generally, Bush has done the right thing, but he hasn’t inspired too much confidence from me in doing it. In comparison, I have never been a fan of Mayor Guiliani’s politics, but was amazed at the job he did handling everything that went down in NYC. He is a true leader. President Bush doesn’t come across in the same manner. I’m glad the Colin Powell is Secy of State, though.

What does bother me is the flaunting of the Constitution in creating military tribunals. There is a reason that we live in the greatest country in the world. By subverting some of those ideals, the integrity of the country is greatly lessened.

(S’n’O) I know you’re a very Pro-Union man. Do you think the Union is as important now as it was 25 years ago? How so?

(ML) I think it is a lot more important now. Unions don’t wield as much power as they used to. To make things worse, shit like NAFTA and GATT further undermine workers’ leverage in the work place, therefore, creating greater need for collective action – this is where the Union comes in. Approaching those in power with a united front exponentially improves working conditions, benefits and wages. Without a resurgence in organized labor, the plight of the working class will continue to spiral downwards at a devastating rate.

(S’n’O) How has being raised in Jersey shaped you? What about influences from the Boss and Little Stevie? Sopranos? (Just kidding)

(ML) If you keep talking like that I’m gonna lock you in the trunk of the car. In all seriousness, Springsteen’s music inspired me to pick up the guitar and write songs. There is no way in hell, I would be doing this today without his inspiration. Little Steven’s music exposed the political realm to me. Both Springsteen and Little Steven’s music compelled me to question society’s mores, political norms, ideals of freedom and justice, as well as my own internal struggle.

Being born and bred in Jersey, along with the idea that I’m gonna live here for the next 50 years or until I’m dead (whichever comes first), definitely influences one’s attitudes and way someone lives. There’s always a certain paranoia that one must have to survive in the area. The first few times through the Midwest and beyond I was always taken aback at how nice people are. My first thought was “what’s their angle?”, “why are they bein so nice?” It took a few trips out to realize that people, in general, are being nice just because they want to be, not for any ulterior motive. I’m glad I have enough of that paranoia, but can still appreciate people’s kindness and friendliness.

(S’n’O) Who are some of your favorite bands, old or new?

(ML) Springsteen, Rolling Stones, Southside Johnny, Steve Earle, Tom Waits, Little Steven, Chuck Berry, Dion, The Clash, SLF, Johnny Thunders. As far as newer stuff, GC5, Callaghan, Day Care Swindlers, Tanka Ray, Roustabouts, Gut Feeling, King Size Braces (RIP), Tommy and the Terrors, Brass Knuckle Boys, Amazing Royal Crowns (RIP), Ducky Boys, Blood for Blood, Dropkick Murphys , Swinging Utters, I’d fucking be here forever if I had to list all the bands I like, so suffice it to say many more

(S’n’O) I notice you guys always tour with the GC5 and Callaghan…who else is in this Cosa Nostra and what does it mean to you?

(ML) The original Cosa Nostra is us, GC5, Callaghan and the Daycare Swindlers, it has extended to encompass some younger bands that are doing things the right way. Namely, Tanka Ray, The Roustabouts, and Gut Feeling. We are like one big family. Characteristics, such as integrity, loyalty, and passion are the common threads running through these bands. Bonds of that type create a feeling of family though out. Being a part of the Cosa Nostra means maintaining a devotion to the rest of the family and to these ideals.

(S’n’O) What bands do you like to tour with the most? Who would be your DREAM band to play with? I know you’ve played with many, many great bands over time….any memories stick out to you as being the best?

(ML) We like to tour with the GC5. They are like our 4 little brothers. They are good kids and they do things the right way. Any of the Cosa Nostra bands are great to be on the road with for the reasons stated above. We’ve had a great time touring with the Boils; we had a blast when we did a ten day tour with Dropkick Murphys, Tommy and the Terrors, and Toe to Toe. It’s always nice being out with any variation of The Brass Knuckle Boys. For the most part, we don’t set up tours or shows with people we don’t like or have respect for. Be it the Amazombies, King Size Braces, Pressure Point, the Brass Tacks, et al, we’ve always been really lucky to play with good bands and more importantly good people.

Obviously it would be a dream to play with Springsteen or the Stones, but at a more attainable level we’d love to do some shows with Agnostic Front and Sick of it All. Although I’ve never been into hardcore all that much, I appreciate and respect to the highest degree, how these bands have kept it real for all these years. I started opening up to hardcore a few years ago. Ken Casey teamed us up with Blood for Blood on that Flat/TKO split 7″. I thought he was nuts when he told me. We’re a rock ‘n’ roll band, they’re a hardcore band. He said not to worry about its a good match. I went to go see them live a few months later and they fuckin blew me away. It was one of the best things I had ever seen. That started my interest in hardcore.

As far as tour experiences, every time we go to Texas, we come out with so many good memories playing with the likes of The Staggers, Worm Suicide, Razor Burn, The Blacklisted, the Booked. (et al.)

(S’n’O) What do you feel is the best song you have written and why?

(ML) It really depends on the context. There are certain songs that I like for different reasons. Not to sound cliché, but they are all like my children and it’s hard to differentiate degrees of fondness for any of them individually. Among my favorites are “Different Breed” and “Altar of the Open Road” because I think I was able to put forth exactly what I was feeling at the time and still feel. I like the narrative and emotional family oriented aspect of “Latin Knights”. I think I got forth exactly what I wanted to say when I wrote “Worker Fate”. And one that is still in the crib that will hopefully get on our next record “Fight the Good Fight” for a variety of reasons.

(S’n’O) What’s the future plans for the band?

(ML) Keep playing rock n roll for all the lost souls and working class motherfuckers out there. We ain’t got a fuck of alot except music and each other so we gotta keep this thing rollin till we can’t roll no more.

(S’n’O) How is your wife and family doing? How’s the New Year going?

(ML) My wife Kerri is counting the days until we go back on the road. She’s workin some shit temp jobs. We’re all really buckling down so we don’t get evicted. My mom recently got laid off which makes things pretty tough. But she’s still fighting through it. We all are doing what we have to do.

(S’n’O) Anything else you’d like to address, feel free!

(ML) Stick to your guns! Follow your gut!

(S’n’O) Thanks to anyone?

(ML) Thanks to everyone who has given us support, bought our records, and danced at shows.

Interview By Sean Holland

Interview

Greenland Whalefishers: Norways Pogues

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June 2002

Greenland Whalefishers released an unbelievable great CD this year called “Loboville”. The following interview was conducted via email with Arvid (vocals) and Stig(six strings)
(S’n’O) How did a bunch of guys in Bergen, Norway get involved in playing Irish/Celtic punk music? What is the history of the band?

(GWF) It started many years ago with the two brothers Arvid and Gunnar jamming together and listening to Thin Lizzy, the Pogues, and the Dubliners with some more trad. Irish music. Then Arvid started writing songs and got together people who couldn’t play at all. Agnes e.g. had never touch a tin-whistle in her life, same with the instruments Gunnar is playing. The rest of us could a few cords. With a lot of rehearsing Arvid manage to form the band he wanted which might have been more difficult if he had choose experienced musicians.

(S’n’O) What’s is the reaction to the band and your music at home in Norway (home country of Aha)?.

(GWF) In Norway we’re not well known at all, especially compared to Aha. With a population of 4,5 million we’ve sold around 3,000 copies of Loboville. But we’re a popular live band and play around 50 gigs a year, which is quite good for an amateur band in this country.

(S’n’O) While I did like the earlier GLW CD’s and thought they were pretty good I never expected your last release “Loboville” to be as brilliant as it is. How did GWF get so good?

(GWF) Nice of you to say that. Lots of rehearsing, Arvid is a good songwriter and leader of the band; he works very hard with us. Also we feel that Loboville IS Greenland Whalefishers. I guess that’s it.

(S’n’O) All the reviews of “Loboville” I read have been great, what has been the fan’s reaction?

(GWF) I’ve never heard back from anybody who didn’t like it. But then again fans know what they want they buy the stuff I reckon.

(S’n’O) How do you feel about comparisons to the Pogues and especially Arvid’s Shane MacGowan comparisons?

(GWF) It’s no doubt that we are influenced by the Pogues also, but we never tried to copy anyone. Arvid’s voice sounds like Shane’s but you can’t do much about the voice can you. We didn’t like it much in the beginning even though Shane is like God to Arvid. Now we don’t care.

(S’n’O) I know there is a tour of Italy coming up soon, have the band any other plans to play outside Norway? Any plans to play the USA?

(GWF) YES. It looks like a US tour of the east cost coming up in October. Walter F. Wouk, who is a fan of S’n’O, is helping us out. I’d say it’s has 90% chance for happening.

(S’n’O) Will “Loboville” be getting a US release ever?

(GWF) Yes. First one who contacts us about it will get the deal.

(S’n’O) What bands do you listen to? Is there anyone you’d recommend to S’n’O readers?

(GWF) The Clash, White Stripes, Dropkick Murphy’s, Thin Lizzy, Rancid, Eastfield, DSS are bands worth a listen to.

(S’n’O) Is there anything else you’d like to say?

(GWF) Arvid feels sorry bout the death of Dee Dee Ramone but then again glad for all the good music from him. RIP.

Interview

Flogging Molly: Celt-in-a-Twist interview with Dave King

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January 16, 2005

Dave King was interviewed by Celt In A Twist host, Patricia Fraser, December 9th, 2004, and the following transcript as reprinted with her permission. Listen to Celt in a Twist for an hour of outrageous Celtivity every Sunday afternoon on AM 1470. It’s Celt in a Twist, the very best in contemporary Celtic music.

(CELT IN A TWIST)
Some Irish people walked into a bar…..and instead of starting a joke, they started a band. Yes, not just trendy cars are fueled by alcohol in Southern California; a brand new sound was born the day the members of Flogging Molly met in a bar named Molly Malone’s. The seven members invented an as-yet-unnamed classification of music. It might be agro-Celt, jig-punk, or Celt punk, but it’s gaining popularity all the time. Their new album is “Within a Mile of Home” and we’re talking about it with Dave King. Dave! How are you?

(DAVE KING)
How are you? Are you good, Patricia?

(CELT IN A TWIST)
Yeah! We’re really happy to be talking with you about the new album. You’ve been part of the Van’s Warped Tour, and just returned from a tour of Europe. Do you do your writing on the road or at home?

(DAVE KING)
Sometimes in sound checks. I will play a chord or something and it will sound different to me and I’ll record it down. Then I’ll come back home and I’ll play my tape to see what I have and something might strike me. But usually I write the body of a song here at home. You know I have a little desk set up here and I have photographs of friends and family around me and a little bottle of whiskey maybe here or there, and I just reminisce of things past, you know?

(CELT IN A TWIST)
You name the Pogues and the Dubliners as inspiration as well as Johnny Cash. Do you see a connection between the music of the old country and the country music of the new?

(DAVE KING)
Oh, absolutely. It’s a very interesting story. When I was a kid, my father brought me out to buy me a couple of albums. And the albums that he bought me were Johnny Cash at Folsom Prison and the Dubliners Live at the Gate Theatre. And it’s really, really bizarre because I obviously listened to those albums when I was a child for years. And when I think of Flogging Molly, in some ways it’s almost like a combination of the two. You have that train-driven sound, but you have traditional sound on top of that as well. And to me country music I think sprang originally from traditional Irish music and folk music, do you know what I mean?

(CELT IN A TWIST)
You wrote the song “Don’t Let Me Die Wondering” after the death of Johnny Cash. How did his music affect you and your writing?

(DAVE KING)
To me he was a man who sang of freedom and he sang of justice for man and he went through so much in his life. And when I found out, when I heard he died it was the last thing I could imagine Johnny Cash doing was lying in his deathbed wondering what he should have done and what he shouldn’t have done. You know what I mean? Johnny Cash lived a life, and he lived it every day, and that’s an inspiration for me in any way it is because hopefully when I’m on my death bed I’m not going to be lying there going “Oh, I should have done that and I should have done it this way.” No, I’m going to do it my way and that’s it, you know? So spiritually and musically he was a huge influence on my life.

(CELT IN A TWIST)
You sing a song on the new album with Lucinda Williams called “Factory Girls” The Rolling Stones also used a Factory Girl as inspiration for a song. What is it about those girls that moves you to pick up a guitar?

(DAVE KING)
I remember as a kid when I lived in Beggar’s Bush, there was a factory up the street. It was a cleaning factory where you’d bring all your dirty wash and you know, the cleaners they did it for you. And every night when those girls got off, they would walk by Beggar’s Bush, and they were all linking arm in arm and they would always be singing songs. And it always stuck in my head. Then when I went back to Ireland last time, I was sitting with my mother, and she’s on in age now you know, and it was like I tried to imagine her as the factory girl, and what it was like for her when she was younger. And so they both combined and Factory Girls came out. And then as I was writing the song I was, you know, “I don’t hear myself singing this. I need somebody else to sing it with me. “ And we’ve always been huge fans of Lucinda Williams. And I just put it out there, you know? Never thinking that she’d do it. And a couple of months down the road, you find out that she’d love to do it and it was fantastic.

(CELT IN A TWIST)
You were born in Ireland, and traveled very far, musically speaking, before you came home again. Is “Within a Mile of Home” getting you even closer to the music of your childhood?

(DAVE KING)
Yeah, I mean, I suppose it is. I think the further away I go the closer I want to be back. It’s a contradiction of course, being Irish, which you probably know, we’re full of contradiction. I mean I didn’t really realize it until the album was done, how much more at home I felt. The title itself has nothing really to do with being within a mile of home as such. It actually means for me personally, it’s within a mile of being happy. Not afraid to be happy. And therefore once you’re happy, I think you’re home.

(CELT IN A TWIST)
You’ve got your Celt In A Twist and we’ve got Dave King from Flogging Molly on the line to talk about their new album, Within A Mile Of Home. More news from Flogging Molly is within your grasp. Just visit http://www.floggingmolly.com. What’s next for the band, Dave? Back to Molly Malone’s?

(DAVE KING)
I might head down there. Yeah, I might head down there for a few pints. I’ve got a bit of time off so I might go down see all the old folks down there. All my old friends. Yeah, we’ve got a little bit of time off, something we haven’t had in years. And I don’t know what to do with myself, really. But we’re going to be going to Australia and stuff like that. But we’re planning a big Saint Patrick’s tour. In March, we’re going to do seventeen days in March for the 17th of March, Saint Patrick’s Day. We’re going to do a big seventeen-city tour in the US. So that should be fun.

(CELT IN A TWIST)
Lots of celebrating?

(DAVE KING)
Oh yeah, of course, you have to celebrate don’t you? The good and the bad.

(CELT IN A TWIST)
We’re going out on 7 Deadly Sins from the album. You can also catch the video for that on World.Beats. Tell us about that song.

(DAVE KING)
Well, once again, that tune was inspired by people like Johnny Cash and Joe Strummer. People like Luke Kelly, who passed away, and who had this camaraderie about them that made you want to jump into their lives. And that song made me want to write a song about Flogging Molly and how we’ve all influenced each other and how we’ve all been on the road for so many years now, and sailing around the world, and singing our songs. It’s just one of those celebration type songs, celebrating the passing of great heroes that we’ve had and looking forward to the future as well. I love that song. Matt actually started playing the accordion riff on that and I had another part and the two, even though one is in major and one’s in minor, they both completely gelled together, and I really, really like that song. It’s a great song live.

(CELT IN A TWIST)
We’re going out on 7 Deadly Sins from the album. You can also catch the video for that on World.Beats. Tell us about that song.

(DAVE KING)
Well, once again, that tune was inspired by people like Johnny Cash and Joe Strummer. People like Luke Kelly, who passed away, and who had this camaraderie about them that made you want to jump into their lives. And that song made me want to write a song about Flogging Molly and how we’ve all influenced each other and how we’ve all been on the road for so many years now, and sailing around the world, and singing our songs. It’s just one of those celebration type songs, celebrating the passing of great heroes that we’ve had and looking forward to the future as well. I love that song. Matt actually started playing the accordion riff on that and I had another part and the two, even though one is in major and one’s in minor, they both completely gelled together, and I really, really like that song. It’s a great song live.

(CELT IN A TWIST)
We were just wondering because there are seven members of Flogging Molly, and of course, seven Deadly Sins,

(DAVE KING)
Well there’s that of course as well….

(CELT IN A TWIST)
If you each took one to specialize in. Thanks for joining us.

(DAVE KING)
Patricia, you are more than welcome.

http://www.floggingmolly.com

Interview

Dropkick Murphys: grilled by Barnacle Brian

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October 27, 2003

Dropkick Murphys Interview With Al Barr, and Mark Orrell aka (The Kid) October 27, 2003 Portland, Oregon
We got ahold of Al and Mark, for X-58 Radio (a local radio station) before the Portland gig at the Crystal Ballroom, Here’s what we got…

(Brian/X-58/S’n’O)
I know you guys have come along way since the barbershop basement days, where do you see the Dropkick Murphys in 3-5 years?

(DKM)
Al: That’s a tough…That’s hard to say, I mean we’re always growing, (know what I mean) in numbers in the band (laughs).

The Kid: We can’t predict the future.

Al: We like to think our music is growing and not changing, but getting better, hopefully. So just doing pretty much the same as what we’re doing now, we’re just trying to put out the best music we can, and touring…

The Kid: We’re pretty healthy, so I figure we’ll still be around…

Al: well some of us..(laughs) Some of us have been avoiding the doctor for years.

(Brian/X-58/S’n’O)
Brian/S’n’O: You’ve been leaning more & more towards using traditional Celtic instruments, Is that going to continue on future recordings?

(DKM)
Al: From the inception of the band, we’ve always used those instruments. In the studio records like Sing Loud Sing Proud, we got guys in the band that were in the punk scene, but played Celtic instruments, so we were able to take that on the road. Before we had a ceiling, so we weren’t gonna put alot of those intruments on the records because, If we can’t recreate it live, it’s a bumout, know what I mean?, Now we have the instrumentation, so we will continue to incorporate that.

The Kid: We’re looking at a didgerido player. He’s gonna be coming in for the next record. It’s gonna be pretty cool.(Trys to keep a straight face – but starts to laugh)

Al: Yeah, we’re gonna fly him in from Australia (laughs) No, that’s not gonna happen.

(Brian/X-58/S’n’O)
As of today, who are your favorite bands? Extra points for naming Hudson Falcons.

(DKM)
Al: Not the Hudson Falcons.(laughs) Although they are friends of ours. I’m being honest, but favorite bands right now? Jesus, the new Joe Strummer record…

The Kid: The new Joe Strummer record is REALLY good.

Al: Yeah the new Joe Strummer record, and I don’t wanna cheapen that answer with any others, so i’d just say the new Joe Strummer record.

(Brian/X-58/S’n’O)
Tell us about the Boston Bruins gig, you guys have lined up.

(DKM)
Al: Well, what we’ve been told is we’re gonna play the FleetCenter, on the 15th of November, when they play Vancouver, and we’ll see how that goes, I mean it’s the first time we’ll play…

The Kid: At the FleetCenter, at a sporting event.(Laughs)

(Brian/X-58/S’n’O)
On the ice or what? (laughs)

(DKM)
The Kid: No, they’re taking out handicap seats and building a stage for us, so it’ll be pretty cool. We wanted to play in between the periods, that would be cool. Hopefully people will stick around for the set after the game…

Al: We’ll see who sticks around and see who throws shit at us!

The Kid: Ahh, It’s too loud!!! (regarding some “older” fans)

Heather/X-58: If you were on the ice, i’m sure people would stay! (laughs)

Al: Maybe we’ll just rush the ice, and…

(Brian/X-58/S’n’O)
What do you think of this whole Celt-Punk genre? And do you think websites like Shite’n’Onions are doing a great job? (This question was originally for Ken, who i’ve been told is an S’n’O fan)

(DKM)
Al: I ‘m not really familiar with the website (Bastard – that the last time we’re ever nice to you – S’n’O), and obviously there’s a lot of bands that are doing the whole Celtic punk thing. There’s a lot of bands bands that have been doing Celtic music for a long time. I think with the Dropkick Murphys, we’ve always been a punk band first, and then we incorporate the celtic influences later. But yeah, there’s alot of bands doing it, and doing a great job with it. We are just doing what we do, and letting the people decide.

(Brian/X-58/S’n’O)
What was it like working with Woody Guthrie’s lyrics on Blackout?

(DKM)
The Kid: An honor. Al: Yeah, It was an honor, and a daunting task to be asked to write music for unpublished lyrics for someone as great as Woody Guthrie, know what I mean? We had music already that was written. We were calling the music for that “Reggae Ramone” actually, because it sounded like a reggae meets The Ramones song. So we had that music, and actually Kenny and I were in the basement of his house looking though the Guthrie lyrics saying “How in hell are we gonna tackle this job?” because it’s not something we though of as being easy. We had a little handheld cassette recorder of our band practice in the background with these guys playing the music to what became “Gonna Be A Blackout Tonight” and Kenny picked up the lyrics to that, and was reading it, and (the music) just happened to be playing, and said “What do you think of this?” and we said “yeah that’ll work!” and it just kind of fell together.

The Kid: Hopefully, he’d not rolling around in his grave right now.

Al: Hopefully we did him proud. I think in spirit, it’s in line with what he was all about.

Brian/S’n’O: Especially with your background…

Al: Right, it’s in keeping with the whole thing.

(Brian/X-58/S’n’O)
So, any chance of flying me out to the St. Paddy’s Day show in Boston?(Laughs)

(DKM)
Al: We don’t even know where we’re gonna be doing this and where we’re gonna be doing that. Know what I mean, we know we’re gonna be playing some shows in Boston, but there’s now talk of possibly doing some West Coast shows in California that same week. So we don’t really know. (looks at the mic) Don’t plan your calanders around what I just said, because that could all change tommorow. We definatley will be playing Paddy’s Day week. Definatly be playing shows in Boston. As far as how many? Last year we did four…

The Kid: Seems like, No, we did five.

Al: We did five?

The Kid: No, four, but it seems like every year we add a day on.

Al: Or they try to add another day..

Brian/S’n’O: A whole work week!

The Kid: Exactly.(Laughs)

(Heather/X-58 radio)
When you guys were in elementary school, and the teachers asked what you wanted to be when you grew up, what did you guys answer to that?

(DKM)
Al: I Don’t know if would have answered a Singer, but since I was in grade school, I was singing in concert choir. I was always singing along with Elvis, or The Beatles, when I was 10, or 11.Then when I was 12 or 13, I heard some harder stuff like punk, you know, The Ramones, The Sex Pistols, Clash, that kind of stuff. So I always loved music, & I always loved singin’ along. I had a little Hi-Fi, you know, it looked like a suitcase, and you could open it up and it was a record player.

Heather/X-58: I had one of those.

Al: Yeah you know what I mean. I would always just sing along with music. My father gave me all his Beatles records, my first record was a “Hunka, Hunka Burnin’ Love” by Elvis in 4th grade. I think you get caught up.. Everybody tries to outdo themselfs with the whole (little snotty kid voice) I wanna be a spaceman,I wanna be a fireman,a policeman, oh yeah? well i’m gonna be a friggin’ G.I. Joe. ya know? (laughs) But yeah, I think I’ve always loved singing and loved being on the stage. Like I said, since I was a kid, I was doing the concert choir and stuff, so we’d perform in front of all the old folks, and parents, and that kinda thing, so.

The Kid: I kinda wanted to be a hockey player. I was playing hockey, like for the Lakers, back in Worchester.I always wanted to be a hockey player, I looked up to Wayne Gretsky, and Bobby Orr and stuff. They were always my favorites. Basically I wanted to be a hockey player. I don’t have a long drawn out story like Al did! (Laughs)

Al:(laughs) That’s just cause i’m long and drawn out!(laughs)

(Heather/X-58 radio)
What’s your favorite song to play live?

(DKM)
Al: Right now, i’d say the “Workers Song”

The Kid: “Workers Song” yeah, Definatley, it’s a rockin’ number.

Al: It’s like you said, a rockin’ number. Just the way it kicks in, and the way the audience responds to what the lyrics are saying. You see everybody singing along with that, and as soon as we kick that song in, everybodys eyes bug out, and they’re psyhced. Know what I mean? It gets the hair on the back of your neck to stand up.

(Heather/X-58 radio)
What’s your favorite album of yours?

(DKM)
Al: I’d say Blackout.

The Kid: Blackout, yeah, yeah, definatley.

(Heather/X-58 radio)
Were you influcenced by The Pogues?

(DKM)
Al: I would say that musically…Obviously there are influcences there because The Pogues were doing, what we were doing, years ago, but more in the traditional sense, they had that punk edge, just because I think Shane MacGowan’s attitiude more than anything else, and the time that The Pogues started in London, there was a punk explosion going on at the same time, and his other band The Nipple Erectors were also definatly a punk band for that time period.
We as a band have never sat around, I mean when it comes to writing we don’t sit around to music and write like… I don’t know, I’m 35 years old. I get my influences when I write music from my daily life. So that’s kinda how I write.

(Heather/X-58 radio)
So, how many of you are Irish? Or have Irish in you?

(DKM)
Al: I’d say everybody in the band except me.

The Kid: I’m half Irish, & half English.

Brian/S’n’O:Your part English? (Laughs) So you guys are the butt of all the jokes in the band?

Al: and I’m the Scottish Kraut, you know what? First of all, (stares at the mic) I don’t wanna be Irish. (Everyone laughs) Because the curse is true!

The Kid: Al’s holding up his pinky right now! The Irish curse.

Al: The Irish curse, I don’t wanna part of that. I don’t wanna stuff socks in my drawers! (Laughs) So, you can have the Mick’s. The Mick’s can…You know.. Whatever. My oldest friend, Peter Donovan’s a Mick, I love him. I’ve grown up with Irish my whole life, Irish American, but, yeah, I’m a Scottish Kraut.

Heather: I’m Irish, & German, so I can make the beer and then drink it.

Al: There ya go!

Brian/S’n’O: (Laughs) Either way around huh?

Heather/X-58: Either way, it’s good. So, what’ your favorite beer?

The Kid: (points at a bottle) Budweiser brand beer.

Al: I don’t drink beer anymore, I drink dark rum. That’s what I’ve found keeps me out of fights, headaches, and hangovers.

The Kid: Everytime Al drinks beer he loses some teeth. (laughs)

Brian/S’n’O: Really? Nice work! Yeah! (thumbs up)

Al: Not really, not alot of fun, I don’t recommend it to the kids out there.

(Brian/X-58/S’n’O)
Is there anything you want to add?

(DKM)
Al: (pauses) Ahh……No. (laughs) Thank-you for the interview, we appreciate the interview, but we’re not much on the whole soapbox thing… You kids out there you need to do…Y’know? No, just live your life, and we’ll live ours, and if we’re in town, come check it out.

(Brian/X-58/S’n’O)
The went on to play a hell of a show.

Interviewed by Brian, and Heather, from X-58 radio (A big thanks to Matt for scheduling the interview)

http://www.dropkickmurphys.com/

Interview

Black47: the Larry Kirwan interview

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April 2002

Black 47 are the original and most original Irish rock band in the US – today, yesterday or tomorrow. Thanks to Larry Kirwan for taking the time to answer my questions.

(S’n’O) The first time I saw Black 47 was back in 92(?) at the “Trip to Tipp” in Semple Stadium, Thurles. If I remember correctly B47 played about 11.30 am and I was there to watch Therapy? (I was a “Heavy Kettler” in those days) who were the next band up. Despite my whiskey induced hangover B47 blew me away musically and lyrically with a sound I’d never heard before. I’ve yet to hear another band that sounds like Black 47. Why is that? What makes Black 47 so unique?

(LK) I remember that show because my voice started to go during James Connolly. I think we had just arrived in the country under a lot of stress. We didn’t have a soundman traveling with us, at the time ,and I had to go an explain to the “house” sound engineer what the band was all about. Which leads to your question. Because he looked at me, his mouth somewhat open ,as I explained the instrumentation – Drum machine, electric guitar, uilleann pipes, African percussion, bass, sax and trombone. Nevertheless, he did an admirable job.

I had actually thought that, with the success of Black 47, there would have been more imitators but the reality is that the sound is unique and the players even more so. They’re not exactly replaceable. Each one comes from a different background of either big band jazz, Stax soul, classical, downtown noise, folk, etc. and each had done stints in improv bands. So, there is a certain fearlessness. As a writer, also, I’ve never been afraid (or perhaps been confident enough in the writing) that I don’t mind the songs being worked on, at an early stage, in front of an audience. Most writers like to have their songs somewhat polished and ready for an audience before they’ll showcase them. Because of Black 47’s schedule, we rarely rehearse; thus as soon as I have a rough arrangement ready, the band tries the songs out onstage, modifies (or even throws away) the arrangement and just goes for it. Then again, the lyrical content is pretty broad, dealing with everything from politics to bawdy humor with gusto and passion. So, there are a lot of contents to the Black 47 sound and, even with this long-winded explanation, I’m probably leaving out some vital elements that listeners would suggest.

(S’n’O) The Irish media have always jumped on the bandwagon of anything Irish that’s making noise in America and Black 47 for years now have been know as “the Irish” rock band and been in every publication from Rolling Stone to Newsweek yet Black 47 are an ignored, unknown quantity in Ireland. What do you attribute that to?

(LK) Oh, politics, undoubtedly. And also, we’ve never fitted in any genre and actually despise the fact that bands should be expected to fit. We’re a genre of one and proud of it. We, actually, did receive quite a lot of press in Ireland around 92 because we were getting such press and word of mouth in NYC. But, we always had a political agenda which was to keep the British problems in the North of Ireland on the front burner. Now, to the politically correct Southern Irish, this was a heresy. They wanted their politics to be the airy U2 type of conviction – that the earth must be saved, and that everyone be kind to each other (views that I share and I think that U2 are a tremendous live band); but ours were much more specific – that habeas corpus be restored to the 6 counties, that the rights of the minority be restored and respected, and that eventually the British should cede security of the “province” to an EU or UN force.

Now, on top of all this, we’ve had two major record deals – one with EMI and the other with Mercury. The Irish representatives of both companies seemed frightened and a bit ashamed of the band’s views – there was a war going on in the North at the time and each company felt very uncomfortable having a band such as Black 47 on their label. They felt that it didn’t make them look good when they would have to go over to London. The British companies weren’t too keen on us either. So, they would release the cds, let them gradually sell out and then not print any more. There you have it. It’s a shame but what were we to do. Drop the politics and become an ugly looking Coors? As Yeats put it, “Was there another Troy for us to burn?” We were and continue to be political. It’s cost a great deal but such is life.

(S’n’O) Larry, would you consider compromising your lyrics/ politics/ activism for the big record label push to success? How important are the politics/ activism to the Black 47 sound?

(LK) I didn’t see this question before answering the last one. I think we’ve already demonstrated that we would never compromise. In fact, I’m not even sure I’d know how to. We are political and activist too. But, for those who are not familiar with the band, it’s important to point out that there are also many other sides to our music. Black 47 is a great rollicking rock band who play and live life to the fullest. About 30 to 50% of the songs are political. Many of the other songs deal with life in general. There’s a lot of romance, humor and loss in the songs. Some are about emigrants, many are about New York City and they all deal with redemption (not the established church type) but the feeling that life is important. You may have a rough day or week or year but you still have to get up the next morning and do it again. Black 47 has written a soundtrack for the people who rise to the occasion, day after day.

(S’n’O) Along the same lines what’s the most important, commercial or critical success (or success at all)? Do you feel that you’ve musically achieved what you wanted when you started Black 47?

(LK) I’ve never thought about critics (professional or otherwise). I know when the song is good and when the audience is with you. I don’t need to be told – for better or worse. I’m a professional musician and a professional writer. We’ve had commercial success and, perhaps, will have more of it. But it never affected how I wrote, perform or feel. I’m immensely proud of the band, what it achieves every night, and of the songs I’ve written for Black 47. In the long run, we have a body or work that is top shelf and stands up to anything out there – both musically and lyrically. But then, I don’t tend to look back. That’s for other people to do. The band is vital and goes on making new music. As soon as we stop doing that, then it will be time to call it a day. But, for now, the new songs sound great. We’re always looking to break new ground. And, I’ve always gone along with Jim Morrison’s words as regards creation – “the future’s uncertain and the end is always near.” I felt that 12 years ago when we formed and it’s still in my mind today. We never set out to do anything except make great music and be original. As long as we continue to do that, we’ll stay together. If we don’t…..there are other easier ways to make a living.

(S’n’O) What are your long term goals/ambitions/dreams for Black 47?

(LK) I think that’s summed up in the last question. Tonight’s show in Boston is the most important we’ve ever done. Then Saturday’s show in Connolly’s will supplant that and so on…

(S’n’O) After songs about Connelly, Collins, Sands, RFK and Joyce (well his grave at least). Is there any other historical figure that you’d like to write about?

(LK) Oh, there are many. You just have to find the right setting for them. I took my background as a playwright and wrote about Connolly, Sands, Collins, Countess Markievicz, etc by delving into their personalities (rather like a method actor) and becoming the subject onstage. It was a relatively new concept in rock writing and performing. But each one was treated differently. Finding the way into the heads of these people and then defining them in a different setting is not easy and takes time. I’m presently working on one about James Larkin (Connolly’s superior in the Labor Movement in Ireland) and I’m having a hard time. Two steps forward, one step back. On the solo cd, Kilroy Was Here, I’ve also worked with (in a more elliptical form) James Joyce’s releationship with Norah/Molly and the Spanish poet Garcia Lorca. So, it goes on. I’ve thought of doing a new solo project where I’ll just take a dozen important poltical figures (to me) and deal with their lives. But time is tight.

(S’n’O) Have you found younger fans digging for information about people like Connelly or Collins that they my not have heard of previously? What’s the feedback from the fans like on these people?

(LK) Oh, yeah, that happens all the time. You see, we don’t lecture people on stage. The songs are written in an allegorical manner. They set out the facts and delve into the personalities. Then it’s up to people to take what they want from those ideas. But we’re not like, say, The Clash (whom I adore). We don’t tell people what they should think. Rather, we introduce them to ideas and hope some of the ideas lead them to investigate topics and people in their own way. And that happens all the time. The emails I receive are extraordinary. People come home from a show and write asking a few extra questions; you reply to them. And then you might hear back a year later. The person has done extensive research and now may inform me of things I didn’t know. And so on, like a ball being batted back & forth. It’s a wonderful experience. The songs are also used in hundreds of college and high school courses around the country. And from time to time, I go out and speak in front of classes at the request of professors and teachers. Which can be fun. But there is nothing quite like the high of becoming James Connolly on stage in front of an appreciative crowd, who no doubt, are experiencing the same transformation.

(S’n’O) Finally, after “10 Bloody Years” how much do you think B47 have had a hand in modernizing Irish-America and Irish-American culture?

(LK) Of course. But I don’t think of it as modernizing. Rather we reintroduce Irish-Americans and anyone else who cares to their roots, many heroes, and to a way of seeing the world around them. We get people to think and that’s about the best gift we can give anyone.

Good luck with the site. Anyone who wants to write to me can do so at blk47@aol.com or visit http://www.black47.com

Interview

Celtus: John McManus talk about the past (Mama’s Boys) and present (Celtus)

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July 2001

Brother’s Pat, John & Tommy McManus grew up playing Traditional Irish in rural Ireland almost unaware of rock music. That changed one night when they went to check out a Horselips gig. Horselips were the first band to combine traditional Irish music and rock into one powerful sound. So impressed were the brothers that they formed their own power trio rock band Mama’s Boys. The brothers released eight albums as Mama’s Boys and toured the world over their fourteen years together with varying levels of success. Sadly youngest brother Tommy died in 1994 from leukemia and Pat and John called it a day. On the first anniversary of Tommy’s death, John picked up the low whistle and composed the instrumental track ‘Brother’s Lament’ in memory of Tommy. He played it to Pat who loved it and they started to play some Irish music purely for fun. Out of this Celtus was born. Celtus infuse folk, rock and roots styles to create some of the most uplifting original music heard in the last few years. Their latest CD ‘What Goes Around’ has just been released in the UK. Thanks to Lindy Benson for getting these questions to John (and John for taking the time to answer’em).

(S’n’O) The Celtus sound has been a radical departure from the hard rock of Mamas Boys how did this style come about ?

(John McManus) “When Tommy (our youngest brother) died, and Mama’s Boys folded, we weren’t sure if we’d ever do another album. Things could never be the same without Tommy.. After a year, Pat & I got back together and we wanted to do something different. Because we grew up playing Irish music, we wanted to return to the instruments we had neglected, like the low whistle and fiddle – and try to fuse together the Celtic ‘feel’ and also draw on our rock background. It really came quite easily.”

(S’n’O) What type of reaction have you had from the hardcore Mamas Boys fans to the changes and were you able to convert them?

(John McManus) “It’s only by chance that old Mama’s Boys fans know we have a new band called Celtus as it’s been on several websites. So far, no complaints! It’s amazing how many turn up to our shows!”

(S’n’O) Being base in the UK have you noticed a more favorable acceptance of music with Irish overtone then say 15 years ago and if so what do you attribute this to? (I remember criticism of Mamas Boys for using a fiddle by the music press).

(John McManus) “Riverdance, and the Corrs, I suppose.”

(S’n’O) What are you memories of the Mamas Boys days if you could re-live the last 20 years would there have been a Mamas Boys or would you have just gone and formed Celtus?

(John McManus) “Memories? They were all good – especially our tours in America that were so exciting! I think Mama’s Boys, being the 3 brothers, and being so in love with rock music, I would do the Mama’s Boys thing all over again.”

(S’n’O) Of all the song you’ve written over the last 20 years what’s your personal favorite?

(John McManus) “From Mama’s Boys it would have to be ‘Needle In The Groove.’ From the Celtus collection, I’d have to say ‘Cathedral’ from the ‘Portrait’ album”.

(S’n’O) I notice you have left Sony UK to go to an independent label. How is the new label working out?

(John McManus) “We licensed both ‘Live 2000’ and ‘What Goes Around’ to Evangeline – so they basically act as a distributor. Sony only ever released ‘Moonchild’ and ‘Portrait’ in the UK and Ireland. Evangeline have released world-wide which is much better as our music can be obtained by a lot more fans.”

(S’n’O) Finally do Celtus have any plans to tour/play in the USA in the near future (or have their CDs released here)?

(John McManus) “No plans yet to tour in the US. Any promoters out there that want us over? We’d be there like a shot! The ‘Live 2000’ CD and the new studio album ‘What Goes Around’ was released in the US at the end of February 2001. I know both can be bought from CD Warehouse (Media Valley/DNA distribution) and also over the internet on: CDNow, CDconnection, and CDquest. Please DO check out our website: http://www.folking.com/celtus as we love reading the messages from our fans – especially the ones from America.”

Interview

Catgut Mary: Ahoy Matey – Will Swan Interview

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October 2007

CATGUT MARY: The greatest band to come outta Australia since some guy in a schoolboy uniform strapped on a Gibson SG. Brighid from Celtic lounge sets the questions

Far away in Australia, the Goodship Catgut Mary has set sail. Onboard are Commodore Jason Block on drums, lead vocalist “Fighting” Tim Bradtke, Warren “The Admiral” Fraser on twelve-string guitar, mandolin and electric guitar player Jules “Mad Dog” McMullen, accordion player Captain Will Swan, Owen “Bacchus Aquinas” Thomas on bass, and “Blackjack “ Dave Mackenzie on whistle. Since befriending them on MySpace (www.myspace.com/catgutmary), I have spent copious amounts of time playing through the list of songs on their profile. They are loud, energetic, and fun and you should be listening to them, too. To persuade you, I interviewed with Captain Will Swan about being part of this amazing crew. Keep a weathered eye out for Catgut Mary weighing anchor in the US!!

Brighid: Okay…let’s start with the background. How did you come up with the name Catgut Mary?

Will: I came up with it one night on a roadtrip with a mate, watching a Zydeco rock band in a country town pub.

B: Where are you from?

W: The bulk of the band is comprised of Melbourne boys. Melbourne is considered Australia’s ‘second city’ in some ways, after Sydney which is slightly bigger and is well-known for it’s harbour and beaches and all. Melbourne is a grid city that is overwhelmingly Victorian in its design. It was built on the back of a mid-19th Century gold rush. I’m from Sydney and ‘The Admiral’ (12-string guitar) is originally from Northern Ireland.

B: How did the band form?

W: I came to Melbourne for its extremely vigorous live music scene after mucking around in various bands in Sydney. Melbourne has long held the crown for pub rock in this country. I placed various ads in music shops and tattooists but eventually found the original members through a musicians’ classifieds site. How we found our drummer Block I honestly do not know … I was living in a blur at that time. But now I can’t imagine life before him. We found our singer Tim Bradtke a few weeks before we played a really big St Patrick’s Day event here in Melbourne.

B: How long have you been together?

W: This incarnation of the band is eight months old. Catgut Mary first came together about a year before that. We didn’t start taking it seriously until early this year.

B: What are the major influences on your music?

W: The major influences on this band are the ballad tradition and the punk ethos of do-it-yourself. The Pogues are a lifelong influence for many of us. And of course we love the Dropkick Murphys and loads of bands doing so-called Celtic Punk. The thing about almost all of these bands, as I see it, is that they would all be doing their thing regardless of each other but also really dig each other. Those of us who grew up on British, Irish and Australian folk music have that in us and everyone in this band has ingrained rock’n’roll spirit anyway so it’s natural that we play what we do. I don’t see what we’re doing as fusion music at all. I just see it as amping up what could just as easily be played with one acoustic guitar and a tin whistle or whatever. We’re into high energy music and story songs. Our drummer Block will kick back with Sepultura for instance and our guitarist/mandolinist Jules has a background in bluesy Australian pubrock, AC/DC and Rose Tattoo, among other things. I’ve always thought that there is a bit of a hillbilly influence going on in Catgut as well. I’m into songwriters who have a story and setting going on in their stuff and I’ve always been really inspired by the positive ‘one in, all in’ sound and ethos of bands like Rancid and the Dropkick Murphys.

B: What are some of your favorite bands (that you haven’t played with) that have influenced you?

W: The Pogues showed the world what can be done by going somewhere really high-powered with the innate energy and emotion of Irish music. I’d grown up on The Dubliners so what MacGowan and The Pogues were doing was the most exciting thing I’d ever come across. I never saw it as novelty at all.

The great Australian band Weddings, Parties, Anything are an influence as well. They had a very rootsy sound and cranked it out around the country all the time. Colonial folk music meets country meets pub rock with legendary atmospheric songs.

B: Do you think your Australian roots influence your music?

W: Yeah, big time. Most of us know the Australian traditional ballad catalogue, on one hand. Pioneer songs, convict songs, all that sort of thing. On another level, Australia has a very proud rock and punk history and we’re definitely coming out of that. Traditionally, there hasn’t been much room for poncing about in Australian rock. The bands that have really made their mark were no-nonsense, sweaty, hard-rocking outlaws who came out of the cities, suburban beer barns and country towns and just lived for live music. Melbourne is absolutely crammed with live venues. Sydney used to be, too.

B: Which of your songs stands out to you the most, and why?

W: At this stage, two live (original) favourites seem to be ‘Jacky Butler’ and ‘Melbourne Tram Song’. Jacky Butler is an historical song about an English migrant who flees to Sydney after being involved in some sort of killing, it’s all pretty shady. He lies low and remains a defiant hard man, albeit a romantic one. Although a violent man, he finds some sort of redemption by refusing to get involved in the Boer War. It’s a song about flying the finger but keeping to yourself in a world that will kill you if it can. I suppose people like it for the chorus. Melbourne Tram Song is basically a love song I wrote for the city. It blurs the line between the love for a person and the love for a place.

B: What do you try to accomplish with your lyrics?

W: Without trying to, I’ve found myself writing using traditional ballad cliches. Jacky Butler has a basic introduction line early on in the song; “Well me name is Jacky Butler …”. That’s just an old folk thing, you present a character and they tell their story. Like the Paul Simon song ‘Duncan’; “Lincoln Duncan is my name and here’s my song …”. Likewise, Melbourne Tram Song starts off with “As I roved into the city …”, another textbook folk intro. When I look at old black and white and sepia photos I am fascinated by the fact that people from 1895 or whenever are the same as us, that they had more or less the same concerns and weaknesses and delights. And so with our thing, the music can accompany stories or imagery from the past – even a fantastical, stylized sort of past – or we can draw on old idioms and incorporate them into present day songs.

We’ve got a song we’ve just recorded called ‘Bourbon and Black Porter’ which is about the cycle of drunken madness and alcohol withdrawal and the final decision to give it all away. I quit drinking a year ago and I wrote this one on Christmas Day after being clean for two months. The thing is, I’ve always REALLY loved full-tilt drinking songs so I wanted to do a ‘farewell to booze’ thing that wasn’t some forlorn, self-pitying thing like that Nine Inch Nails song ‘Hurt’. I’ve always been bored to tears by the sight of a pack of drunkards singing the bloody ‘Wild Rover’ … “no nay never, no more” and all that. You either get straight or you don’t, you don’t bloody TALK about it. So this was written as a reaction to that, and from the point of transition as opposed to just talking crap. And I wanted it loud and brash and energetic, so Tim is the perfect voice for this song.

B: So, you guys are touring right now, how’s it going so far?

W: First time we’ve been out and about together and it’s been wicked. We’ve gone through a lot together so it’s been really bloody good to knock the dust off the sails and get her out there. B: You’ve played with a lot of well-known bands – any favorites?

W: It was great to play with Mutiny who are an institution down here in Melbourne and that was really nice of them to ask us along for some shows.

B: If you could play with any one band or artist, who would it be and why?

W: Personally, I would love this band to one day share a stage with The Real McKenzies because they are pure energy. And my old man is a piper.

B: What do you like most about gigs?

W: Other than playing, which is what we live for (clichéd as that might sound) I love getting to talk music with people and make new friends. And it provides us with a chance to try new interestingly scented but masculine deodorant spray cans. I can’t believe how many of those things I go through.

B: When you’re playing, how do you cater to the crowd?

W: We ‘channel’ the songs, not just ‘recite’ them. And I consider that it’s our job to put music under the feet of those who want to dance. Tim’s a natural showman so he’s the man for the banter.

B: Any interesting anecdote about touring, or a show in particular? Maybe your first, or one where somebody ended up in the hospital, or one with an amazing crowd?

W: All of the above. There was one show when one band member was in M.I.A in some hospital somewhere and where I took out Block’s drumkit but that’s all in the messy amateurish past and we don’t talk about it anmore. The fact that I’ve even mentioned it will have earned me six lashes.

So … the latest story here is that we had a member of Rose Tattoo at one of our recent shows; Rock’n’Roll Royalty, so we got a kick out of that.

B: Thanks very much! Slainte!

W: You are very welcome, Brighid, me hearty!

Potato-eating, Whiskey-drinking, Bog-trotting, CELTIC PUNK ROCK since 2001