The Journey So Far (The Best of Loreena McKennitt) might initially make you think that it is another compilation album. It is indeed a collection of her best songs spanning a career which started in the mid-80s. I listened to the double CD and there are tracks that have been altered. There are songs that get shortened. For example, the Lady of Shallot which is originally more than ten minutes has been trimmed to just above four minutes.
There are also new arrangements of album tracks like in the case of The Old Ways. The sound of drums and other instruments have been removed while others are thrown in front of the mix. Still, there are more songs in The Journey So Far that are different from what you originally heard in the album versions. I am glad for the inclusion of The Mummer’s Dance(radio edit) and other singles.
My personal favorite is a different take on Full Circle( from The Mask and the Mirror) in which though maintaining her powerful singing, the CODA has a rhythmic, almost reggae feel. Though there are those who might find contentment in their old McKennitt collections, new as well as die-hard fans will definitely enjoy this album.
The selling point in all her releases is always her amazing voice. Check out her live songs and you will know that she can carry a tune with exquisite technique inside and outside of the studio. There are many musicians who can reach her vocal range but to have an amazing technique within an already fascinating voice is a rare gift.
You can buy the album in different formats including the delicious vinyl through her Quinlan Road store:
I think that the decision for the placement of Salsa O’Keefe by Black 47 as the opening track of The new album Last Call( and perhaps their final one before disbanding later this year) celebrates their years in the music world as the one and only band that fuses Irish and Reggae while maintaining that Punk Rock energy. Wow the last one? You mean to say that perhaps we will never get to hear them together again? But knowing how passionate these guys are, I am sure we will hear them in various incarnations. I guess it is not easy to carry a huge band like this especially in this changing landscape of the music industry. Maybe these questions will be answered once I hear from the main guy Larry Kirwan.
Last Call could be the unapologetic tongue in cheek take on what it means to be Irish in New York city. But when I read the press release it says here that : , (Last Call)explores the life and psyche of Irish playwright, Brendan Behan, model for Shane McGowan and a host of Celtic rockers. No wonder I feel that poetic passion all over the songs. Culchie Prince features a fantastic uilleann pipe, tin whistle and a whole bunch of traditional Irish instruments on top of what could be one for the greatest modern rock song in history.
Let the People In celebrates diversity and explores themes covering immigration. You check out the lyrics because I know this will stir up that patriotic string in your heart and reminds us the reasons why America is called the land of the free. There are thirteen songs and every song has its ‘style’ to show. It closes with an interesting cover of Stephen Foster’s Hard Times. Like I said this could be the last album you will hear from this legendary band so better grab your copies. We fans keep the music alive!
Press release:
‘LAST CALL’ for BLACK 47
“On ‘Last Call’, Black 47 serves a 200 proof cocktail made with a shot of funk and two fingers of Irish malarkey thrown in for good measure. Larry Kirwan saves the best for last, using roots, rock, and reggae to bring the final curtain down on the most influential Irish American band in history.”
Mike Farragher, The Irish Voice
In November 1989, Ed Koch was serving out the last days of his mayoralty and an earthquake had recently hit the World Series in San Francisco when Black 47 set out for its first gig in the Bronx. After 2500 shows and 14 CDs the “house band of New York City” will disband in November 2014 exactly 25 years later. Rather than resting on any laurels, Black 47 will release its final album, Last Call on Feb. 25th.
“We decided to go out when we’re ahead and, as always, on our own terms,” said leader, Larry Kirwan. “The band has never sounded better so why not record some songs and explore new ground.”
That they do, the lead track Salsa O’Keefe rips into a Rock-Salsa groove while describing the sassy daughter of an inter-racial couple from Bayamón, Puerto Rico and Cultimagh, Co. Mayo. Always interested in filling the dance floor, Black 47 explores the world of EDM in Dublin Days, a hymn to lost love and international student exchange.
On The Night The Showbands Died Kirwan looks back at a hero, Fran O’Toole, killed in the 1975 Miami Showband massacre in Northern Ireland. While the band takes no prisoners in US of A 2014, a state of the union Rap-Rock anthem, and Let The People In – a demand for more logical & humane immigration laws.
Black 47, a pioneer of rock biography songs, explores the life and psyche of Irish playwright, Brendan Behan, model for Shane McGowan and a host of Celtic rockers. Oona Roche, niece of The Roches, makes a vital debut on Johnny Comes a’Courtin a Reggae account of a young woman exiled by Oliver Cromwell to the sugar plantations of the Caribbean. But overall Last Call is a testament to the band’s belief in Rock ‘n Roll redemption as they swagger along on Culchie Prince, Queen of Coney Island, and Shanty Irish Baby until they round off the album with an uplifting version of Stephen Foster’s Hard Times – fitting enough given Kirwan’s recent success with his musical about the father of American music.
Formed by Chris Byrne an NYPD detective and Kirwan, a playwright, Black 47 – who took their name from the worst year of the Irish Potato Famine – caused an immediate stir by introducing original music and political context into the Irish bar scene. “It was a bracing sound, we were setting Irish jigs and reels to Hip-Hop beats, singing about James Connolly and Michael Collins, while creating pub anthems like Livin’ in America and 40 Shades of Green.” Soon Black 47 was signed to EMI Records, Funky Ceili lit up FM Radio and MTV, and the band became a feature on Leno, Letterman and O’Brien.
Geoff Blythe (saxophones), Fred Parcells (trombone/whistle) & Thomas Hamlin (drums) are the other three original members. Joseph Mulvanerty (uilleann pipes/bodhran) joined when Chris Byrne left in 2000, and Joseph “Bearclaw” Burcaw (bass) came aboard in 2007. All members add their own spin to the arrangements of the songs from Last Call, described by Kirwan as “a very up, horn driven, celebration of American and Irish life.” Then again, that’s what Black 47 has always been about. It should be a great final year for “the only band that matters,” as their friend Joe Strummer once described them.
When I write a post about an album I am usually stuck in my bedroom relishing every divine note that comes out of each speaker. Today I did something different. I took the album with me as I made my way across the city, relishing the atmosphere of productivity and randomness. Guess what. It made a big difference. There are two types of music: Private and public. Celtic rock is always the ‘out there’ kind of music. Such energy has to be unleashed and I think that’s what all the guys in the band want. They want listeners to enjoy themselves while listening to the music.
There is no slowing the down the creative guys behind the Barleyjuice. I like the sound of the new album This is Why We Can’t Have Nice Things.I know what to expect and so much more. Yes there are differences as well as evolution of their music but it is still them: energetic, catchy and utterly exciting.
The album has ten original songs. Most of them are rock oriented. With the exception of Lost On a Foggy Afternoon which I think is their finest instrumental track. It’s magical and very visual. Parish Jig is also fantastic.
Sheets to the Wind (part1)”Let’s go down to Whiskey Town”… is my favorite because of the vocals and the fiddle. I can listen to it the whole week and I can’t imagine getting tired of it. This is my ‘mainstream top 40’ kind of tune. I am not surprise if this song makes it to college radio one of these days.
This is not to say that the rest aren’t as good as this song. It really depends upon your mood. And this one happens to be played while I was out and about. So it captures that spirit. This album has elements of punk, ska, pop and folk. It has things that you will love. It’s like Bailey’s on a cool Friday night.
Barleyjuice performs St. Patrick’s Day from their latest CD “THIS IS WHY WE CAN’T HAVE NICE THINGS”
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Press release from Barleyjuice:
BARLEYJUICE
Officially Releases Seventh Album
“THIS IS WHY WE CAN’T HAVE NICE THINGS”
To tour US and Ireland
While on the road for three years performing their critically acclaimed album, ‘Skulduggery Street’, Barleyjuice managed to record a new collection of music along the way. They are now officially releasing their seventh album ‘THIS IS WHY WE CAN’T HAVE NICE THINGS’. With the start of the New Year they are ready to bring their brand of excitement back to the stage.
In an article for the Irish Voice, writer Mike Farragher noted “The band’s shows are the stuff of fiery, sweaty folklore, with beer splashing, glasses clinking and arms flailing. These new songs will be more fodder for the proverbial musical cannon, right from the opening number.”
On how the album, got its name and the direction they chose, Band lead singer Kyf Brewer says, “We were in the van on the road to somewhere, where a multitude of apt and clever sayings were being bandied back and forth. When it [the title] got a chuckle from [band mate] Swanny, we knew it was meant to be. There’s no conceptual thread to these songs. Really just more of what we do best, done better. We’re at the point with the band where the only challenge left is to write a new song that’s as good as the last favorite without sounding too much like it! Same with the covers. Just keep the creative edge sharp.”
This Is Why We Can’t Have Nice Things is Barleyjuice’s contains ten new songs from band members Kyf Brewer, Keith Swanson, and Eric Worthington and two covers from Gillian Welch, Mike Nesmith, Carole King and Jerry Goffin.
Martin Tourish is back with an album that promises to enchant and enrich the soul with historical content in twelve artfully crafted tracks.
I compare the experience to watching a UFO land. The beautiful album cover alone ( orange, red , black and a bird silhouette ) is telling. Under a Red Night Sky also presents the involvement of Tim Edey and the technical talent of Alexis Nealon who engineered and mastered this superb recording. I checked out the list of artists in the liner notes and I give it a two thumbs up. Or even three.
It’s an eclectic mix of traditional melodies, classical influences and samples from music archives that showcase the stories behind the tunes. In my dark bedroom, it seems as if the ceiling opens up to reveal a wild, fantastic and beautifully scary world that is inhabited by primal emotions. This album is very visual.
It is easy to get lost in the beautiful music of Martin Tourish whom I wrote about more than a year ago, highlighting his achievements (being able to perform with legendary personalities including NASA astronaut Cady Coleman). Under a Red Night Sky is a testament to his sophisticated command of technique and composition.
It is hard to choose my favorite tracks out of the twelve because, each tune has its story to tell. Variation on a Theme from a James Tourish Collection (track 6)is a favorite due to its emphasis on nuance and atmosphere. I also love Imagined Communities because it features John Doherty’s voice which enhances the ambience. The other stand out track for me is Horseman, Pass By. It is the last track in the album. Being alone in the dark and listening to this gives me goosebumps. You know what they say about the curtain between the physical world and the unseen becomes thin- it’s exactly the feeling I have.
Under a Red Night Sky plays like a good fantasy/historical/sci-fi novel. You don’t want to miss a chapter. All the meticulous love for detail of talents involved in the making of this album are evident as you listen again and again. It is something you can listen to ten years from now and realize how timeless and beautiful it is.
After almost two years, French band The Maggie Whackers are back with a new EP called Naoned Whisky. And yes they are from Nantes France. A great place of music! Drunken Sailor is timely because it’s a decade of the mainstream’s fascination with Pirate movies and tunes. There are strong Breton elements in their songs especially in Sans Regrets Sans Remords which is my favorite track due to its beautiful use of the bombarde. Fucking Goblins show their punk side. I’m A Man You Don’t Meet Everyday is shocking with its tenderness and melancholic melody. Burn in Hell showcases the joint forces of traditional Breton instrument and Clash-inspired guitar playing.
Naoned Whisky is the testament to the band’s continuing energy. Their songwriting has evolved since the release of their self-titled EP. They have great sense of musical and visual style. I am sure their live shows are really entertaining. Listen below and go to http://themaggiewhackers.bandcamp.com/album/naoned-whisky to buy the album.
For bookings and any question:
The Maggie Whackers
06 33 72 49 44
themaggiewhackers@gmail.com
Sharon Corr-We Could Be Lovers
Brishen-Live at the Victoria International JazzFest 2013_ “Coquette”
Bachue-Rumble Thy Bellyful
Jacob McCauley-December 2010 Concert Part 6_ Bodhrán Solo
Moya Brennan-Sailing (radio edit)
Jack Raven’s whores-Bad Trip
The High Kings-Gucci
Arctic Monkeys-Arabella
Beth Orton-Something More Beautiful
J.P. Kallio-Too Late to Say
Fiona Joy Hawkins-The Journey (600 Years in a Moment)
Rebecca Brandt-The Moment
Fleet Foxes-English House
Celtic Music Fan 