|
Post by will on May 20, 2008 22:41:16 GMT -5
Subtitled: These are the roots of rhythm and the roots of rhythm remain.
Now, seeing as that our venerable Administrator has (quite rightly) put the kybosh of the semantic debate, I just want to throw in these scattered points:
* For my own part, I do believe I've been playing 'Rustic Stomp' this whole time! I've always been drawn to American traditional song styles and I (half) jokingly put this down to my American descent (Old Virginians, through my direct paternal line, half western Irish as well. The Swans fought on the American side in the Revolutionary War). Something bloody hard-wired about that response, I just go with the Force (and have been over to the Dark Side, but I'm back now).
* The well-documented Ulster Scots-American - I believe you guys say 'Scotch Irish' - can never be underestimated. I've got Barnacle Brian's podcast on now and I've got a particularly good example clanging out (that podcast 16 is the fucken best). I reckon that even those with a cursory understanding acknowledge the mountain music influence in bluegrass (obviously), rockabilly and rock'n'roll.
* Likewise, the acknowledgement of the universality of folk songs never hurts. I think of The Dubliners doing songs like 'Lifeboat Mona' and 'Lord Of The Dance' and recall these are English songs. And the Anglo/American sea shanty tradition goes without saying. I love that stuff so much and rarely find people who are as keen on that stuff. And for that matter, when I return to the world, I'm going to do a version of 'General Taylor' (my next band will feature Curly O'Hooligan from The O'Hooligans and rockabilly players, so there!!)
Now, thanks for indulging me on all that. My own brooding, reasonably patient persona sometimes tries to educate the drunken punter who enthuses over "that mad Irish shit" (without being a pompous prick.) You know how it is. When I was briefly a member of Mutiny I was impressed by the fact that their scene just accepted what they did as punk and left it at that without obsessing over a 'novelty' factor. Mutiny were a very straightforward unit.
And while I'm here, I'd also like to plug Australian trad which has it's own distinct sound again but is a bit hard to describe. Mutiny, Jack Flash and The Currency have a sort of staccato vocal delivery but that's just their own style. For a tune that sounds ONE HUNDRED PERCENT Australian, you can't go past 'The Battle Of Brisbane'. And that was written by MacGowan! Which goes to show his understanding of the greater musical diaspora.
Righto, I'm sure I've pissed enough people off by now with this pseudo-scholarly blathering. But if we can't raise some hackles now and again, why bother?
Carpe Nocturne, Good Men and True
Will
|
|
|
Post by pubcrawler13 on May 21, 2008 7:11:40 GMT -5
Excellent points all, Will.
|
|
|
Post by Professor Gommel on May 23, 2008 20:34:28 GMT -5
Will, Big fan of the Australian Folk Punk sound, my-damned-self, (and of course, let us not forget the sharp staccato vocals and short angular notes of the venerable Roaring Jack!), although I only became aware of these particular elements in this sub-genre from the (highly recommended,) Jack Flash EP, Take Notice.
Strangely enough, the biggest noise currently coming from down yonder, The GO Set, didn't immediately strike me as possessing the elements that I heard in the aforementioned bands; Mutiny, Roaring Jack, The Currency and your own former crew, Catgut Mary.
Okay, granted, upon further scrutiny, some of the instrumentation in their CDs did have those acute, jarring corners, (apologies for my lack of knowledge of the correct musical terminology,) that appealed to me from these bands, but in a far less obvious manner. Less entrenched in this idiosyncratic definition, to me, they seemed to be in a classification outside of the typical Australian tradition folk.
As a practitioner and songwriter of this subcategory yourself, I am interested in your take.
Whatcha think?
|
|
|
Post by will on May 25, 2008 11:19:53 GMT -5
Venerable Gommel,
Righto, a chance for me to stroll about me own back paddock, as it were.
* And to any Australian types reading this, if you want to pick a fight then you've come to the chap who'll oblige you, but email me rather than slog it out here * (anyway, considering that most of you are mates, I don't think it will come to that).
Well, the broad background of Australian folk takes in the early convict sort of stuff, the pioneering and gold rush songs, outright Irish and Scottish dance tunes and twentieth century social songs, and this general combination is what a lot of us are coming from. Not necessarily everyone in the bands, not by a long shot, but more the ones who start the bands and a couple of gun players here and there.
The Go Set: The real Go Set experience is very much a live one. I believe that the first record conveys the energy best but the great scope of Justin Keenan's inspiration is covered on three solid albums. For outright punk/paddypunk fans, the first one probably stands out but a lot of the stuff on the others really comes into its own live. For my own money, the song 'Scarlet Snow' on The Hungry Mile is an unheralded classic, one of the great songs written in this country, end of story. There is something of a Mick Thomas/Weddings, Parties, Anything. influence on the latest record as Mick Thomas was heavily involved in the recording.
Mutiny: I'd often hear about Mutiny from Sydney but they were very much an underground Melbourne thing. I don't believe Greg (Stainsby, songwriter and leader) every looked too much to outside scenes and this was a great strength to their own musical landscape. The members of Mutiny don't have trad backgrounds, at least not as I would define it, but, again, that gave them this really heartfelt approach with the whole punk-sea shanty thing. For a real example of their staccato thing, 'Bag of Oats', title track to the record, is a case of Rancid-style structure over acoustic chugging punk. Greg once told me this was the idea. I think their crowning glory is the Co-Op Brewery record, the EP.
The Currency: Not a Mutiny spin-off but a whole new deal, The Currency are probably best described as an Australian Flogging Molly. But Greg's lyrics are more concrete than Dave King's pretty abstract stuff. In keeping with his Mutiny writing, Greg charts an historical landscape, very much Melbourne-based. There is a cultural distinction between Sydney and Melbourne, on account of all sorts of things. The Currency songs, which you'll all be hearing whenever that album comes out, cover everything from the tried and true seafaring stuff to Melbourne drug scenes. 'Through The Gates Of Hell' is a great one that brings it all together, really ties it up; Van Diemen's Land and the Melbourne heroin limbo. TOP SONG. Alice Green is my favourite bassist going, full-fucken-stop.
CATGUT MARY: When I cobbled it together I didn't really have a particular (musical) plan. As it happens, Catgut Mary ended up a large band with only half the players having trad backgrounds and also went through three singers in my time with them. The third singer, Tim, has an outright hardcore growl sort of thing going on and while that didn't necessarily suit a lot of the stuff, it makes for this sort of Dropkick Murphys sound on a couple of things I scratched out which I don't believe have been posted online yet. I'm not even sure if they are still up and going but, speaking as the bloke who ended up trying to co-ordinate the whole thing, Catgut Mary were/are a band more overtly influenced by other bands than what I had in mind. (I really dig countrybilly sort of stuff - I'd consider 'Paddy's Lantern' a countrybilly song, not necessarily a very good one.) By and large, Catgut Mary are more about show and sound than songs or any sense of traditional music-based exposition or exploration. Which is funny, because Dave Wolfe is easily one of the best whistle players I've ever come across, and I'm the son of a gun tin whistle player and piper and have seen my share.
JACK FLASH: I was so impressed by Jack Flash when I finally got to play with them up in Queensland. They REALLY know their stuff, you can hear the solid understanding of traditional idioms, and they don't rest on the bloody cliches of showboating and dragging out the tired same ol' bullshit, ie., they don't do the whole cartoon routine. They are a very musical band and that comes across best when they play live. I reckon they will really keep on with this whole thing and I know I'll be seeing them down the line for a very long time to come.
Now, the Great Grandaddies ... ROARING JACK: I used to go and see them at least once a week in raggamuffin/bohemian/old school working class (at least then) Newtown, Sydney. I'd been well and truly branded (or perhaps, re-branded) for life with The Pogues but Roaring Jack gave me the live thing on tap. Obviously, they need no introduction here, etc. As far as Australian music goes, they did incorporate a lot of characters and musical twists, but that was just as much in keeping with the broader Celtic music world that I'm always banging on about. I'm surprised their stuff hasn't been covered more. I know the McGillicuddies do 'Buy Us A Drink' off their EP 'Street Celtability'. Their best songs they never recorded as Roaring Jack, ie. 'Days of '49' and 'Proddy Dogs and Papes'. Might petition to do one in my next band! I always really liked Steph Miller's (accord. and mando) singing voice, too, it was a real contrast to Alistair Hulett's. Alistair, of course, is still kicking around the place. Roaring Jack were great and they were also probably one of very few folk punk bands doing it at the time.
Now ......... for some pretty 'pure' (no such thing) Australian folk rock, the band I've recently joined are recording an album soon, and there will be some mighty fine historical tales and trad songs you might not have heard on it, so I'll keep you posted. Not a staccato affair that one, but big sky music and belting melodies. And I'm not just saying that. Hey, I just joined and am enjoying just being a player for a change!!
Veritas Vincit,
Will Swan Ratman of The Gullies New South Wales
;D
|
|
|
Post by kinksmarkham on May 26, 2008 10:13:54 GMT -5
|
|
|
Post by Professor Gommel on May 26, 2008 17:21:55 GMT -5
Also, Wellington Kiwi-funksters, Jacky Tar, did an lyrically augmented and heavily modified version of Uisge Beatha on their 2002 CD, 'Defenestration'.
|
|
|
Post by will on Jun 11, 2008 22:36:31 GMT -5
Well, there should be some more Roaring Jack covers soon enough - the bush band I've joined in Sydney (but haven't played with for a while, on account of my malady) are teaming u with Steph Miller next weekend and we'll be doing 'Go, Leave' and a coupla things.
Cheers, all. I'm on a slot machine deal now, the telegram machine died.
|
|