Posts
Coming from the predominantly Irish neighborhoods of South-Side Chicago, the Tossers have been expanding the boundaries of contemporary Irish music since the early '90s. The band chose their name for its derogatory meaning of ?throw away. The term dates back to Shakespeare and depending on who you ask it also means commode, drunk or the bunk British currency the Irish rejected after their independence in the 1920s.
Although their name may be irreverent, their music certainly is not. The heart of their distinct sound is derived through the melding of traditional Irish and Punk Rock roots. Combining traditional instrumentation of mandolin, fiddle, tin whistle and banjo with amphetamine fueled guitar, bass and drums, the Tossers play with a furious edge that teeters between rage and raucousness.
With over 15 years of the music grind behind them, the Tossers are a staple in the Celtic Punk and Folk scenes. Currently the band has five full length albums, the newest of which is "Agony" their second release on Victory Records.
While their live shows are fueled with a little bit of blood and sweat and a whole lot of whiskey and beer, their albums are dedicated to musical elegance and provocation. Possessing the ability to masterfully employ stark tempo changes from the brink of the insane to the solemness of an Irish ballad, the Tossers are an act that does not disappoint in print or in person.
Never afraid to take on new challenges at any venue for any audience the Tossers have had an eclectic past playing with acts such as the legendary Pogues, Spider Stacy (solo), the Popes, the Dropkick Murphy's, Stiff Little Fingers, Black 47 and Flogging Molly. In addition to this Irish menagerie they've also toured with hardcore favorites like Clutch and Murphy's Law; rockabilly icons Reverend Horton Heat and the Horror Pops; SKA classics like the Pie Tasters, Reel Big Fish and Catch 22; and moody rock n' rollers Murder By Death. The list goes on, as does the band.
"The Tossers are slowly getting their props as an American treasure. Too often lumped into the Celtic-rock scene as just another Pogues or Flogging Molly ripoff, actually they have been around for over 12 years, and are only now getting the press they deserve. Singer/Mandolin player Tony Dugginss songwriting has improved with each record (and on his intense solo release last year) and the songs here are some of the best in their canon. Perhaps because a lot of these tunes were played live for months before recording, the band is tight and raw, each member contributing to the tunes with subtle touches that could only have come from having lived with the songs for awhile. Ballads of love lost and shame encountered; stomping punk jigs that celebrate fall-down drunkenness as an act of glory; from the South Side of Chicago, The Tossers reach to the gutters and churches of Dublin and back again with another classic. Love them now, then have some whiskey and love them forever."
Mike Wood
01. Never Enough
02. Pub and Culture
03. Shade
04. Did it All For You
05. The Sheep in the Boots
06. Not Forgotten
07. Siobhan
08. Traps and Ultimatums
09. Leopardstown Races
10. Claddagh
11. Where Ya Been Johhny?
12. Not Alone
13. Political Scum
14. Romany
15. Movin' On
16. The Nut House
17. Be
Mike Pawula: Guitar
T. Duggins: Voice/Mandolin
Aaron Duggins: Tin Whistle
Danny Shaw: Bass/Backing Vocals
Bones: Drums
Rebecca: Violin
Clay: Banjo
Link
pass: bluesmen-worldmusic.blogspot.com
Hetric Free Folk - world music. A fusion of different Celtic music traditions: Irish, Scottish, and Manx with Balkan music: Moldavian, Transylvanian, Hungarian!
The group Hétrét is based in South-western Hungary. This corner of the country has always been a melting pot of different cultures and traditions. A meeting point of three countries: Hungary, Austria and Slovenia, the region is home to various nationalities and thus to a unique variety of musical traditions.
Originally a traditional Irish music group, Hétrét expanded their repertoire to combine folk traditions from the local regions: Hungary, the Balkans as well as Transylvania and Moldavia. The music is basically acoustic and one can hear a variety of instruments from the Celtic harp and tin whistles to the South-American charango.
01. Harvest Home (Traditional Irish and Hungarian)
02. Se kertembe (Traditional Moldavian)
03. Come by the Hills (Traditional Irish)
04. Szerelmese
05. Banks of Claudy (Traditional Irish)
06. Abbie
07. Tha Mi Sgith (Traditional Scottish)
08. I'm a Man (Traditional Irish)
09. Az ördög tánca
10. Ushag Veg Ruy (Traditional Manx and Transylvanian)
11. Bajdal (Traditional Moldavian and Irish)
12. Oidipusz bolyongása (Traditional Irish)
Boa Veronika Setanta - voice
Kimberly Coleman - fiddle, voice
Jon Hanson - fiddle, voice
Hochrein Judit - tin whistles, voice
Ityko - guitars, banjo, double bass, mandolin, keyboards, voice, percussion
Kardos Endre Bozi - flute, tin whistls, bagpipes, voice
Toth Istvan - guitars, charngo, bodhran, drums, double bass, voice
Guests:
Soós Tamas Attila - soprano sax
Szarka Gyula - voice
Szervatiusz Lilla - voice
Morvay Krisztina - voice
Szabó Perpetua - voice
Tóth Anita - voice
Link
pass: bluesmen-worldmusic.blogspot.com
One of my largest favourites: Shane MacGowan...:)
The Pogues are a band of mixed Irish and English background, playing traditional Irish music with influences from punk rock, formed in 1982 and fronted by Shane MacGowan. They reached international prominence in the 1980s and early 1990s, until MacGowan left the band in 1991 due to drinking problems. They continued with first Joe Strummer and then Spider Stacy on vocals before breaking up in 1996. The band began performing together again in 2001, though they have yet to record new music.
Their politically-tinged music was influenced by The Clash, yet used traditional Irish instruments such as the tin whistle, banjo, cittern, mandolin, accordion, and others. In the later incarnations of the band, after the departure of Shane MacGowan, rock instruments such as the electric guitar would become more prominent. The first of The Pogues' albums, Red Roses for Me, borrows much from the punk tradition of MacGowan's previous band The Nipple Erectors (later dubbed "The Nips").
The Pogues were founded in King's Cross, a district of North London, in 1982 as Pogue Mahone—pogue mahone being the Anglicisation of the Irish póg mo thóin, meaning "kiss my arse".
The band specialised in Irish folk music, often playing with the energy of the punk rock scene in which several of the members had their roots.
"The Irish Clash? A punk Dubliners? The fact is that The Pogues - or Pogue Mahone as they were initially known until Radio 1 had a hot flush on discovering that it was Irish for "Kiss my Arse" - were far better than both and only suffered the comparisons because the mid-80's music scene didn't know what the f**k else to make of or say about them.
To be fair though nobody had really clattered a tea tray against their head before to help keep time or tooted on the tin whistle like the devil himself had hold of their crotch in his fist. And certainly nobody had EVER written about the boozed and bruised experience of the Irish diaspora with the broken, fired-up eloquence that Shane MacGowan poured out in such large measure.
Many of the songs collected again here are now held in the same high regard as the standards which Shane grew up listening to and later covered - note the definitively crushed reading of Eric Bogle's 'The Band Played Waltzing Matilda'.
'A Pair of Brown Eyes', 'Rainy Night in Soho', the Christmas-isn't-Christmas 'Fairytale of New York'... the term poetic genius might now be devalued through lazy overuse but no other epithet does the crazy, bewildered bloke full justice.
The Pogues stand alongside The Smiths, New Order and The Jesus and Mary Chain as one of the truly important bands of the last 20 years but their songs will easily outlast the lot. Long after Shane's finally supped his last and tumbled off his barstool for the very last time, we'll still be boozily linking arms and shouting "you scumbag, you maggot..." in each other's faces with genuine affection. God bless you, Shane. You're not the first to have p**sed away your talent."
01. Dirty Old Town
02. Irish Rover - Pogues & The Dubliners
03. Sally MacLennane
04. Fiesta
05. Pair Of Brown Eyes
06. Fairytale Of New York - Pogues & Kirsty MacColl
07. Body Of An American
08. Stream Of Whiskey
09. Sick Bed Of Cuchulainn
10. If I Should Fall From The Grace Of God
11. Misty Morning Albert Bridge
12. Rain Street
13. White City
14. Rainy Night In Soho
15. London Girl
16. Boys From The County Hell
17. Sunnyside Of The Street
18. Summer In Siam
19. Hell's Ditch
20. Old Main Drag
21. The Band Played Waltzing Matilda
Accordion, Piano - James Fearnley
Citern, Vocals - Terry Woods
Guitar, Vocals - Philip Chevron
Tin Whistle, Vocals - Spider Stacey
Banjo, Saxophone - Jem Finer
Drums, Vocals - Andrew Ranken
Lead Vocals, Guitar - Shane MacGowan
Bass, Vocals - Darryl Hunt
Link
pass: bluesmen-worldmusic.blogspot.com
