Voodoo Loons

"If you were to Google the phrase "great rock storytellers" you'd get... well, a list of useless garbage. But, if you were to ask me, I would probably give you a list of names like Pete Townshend, Shane MacGowan, Bob Dylan, Roger Waters, Neil Young... and I would then find some way to include the names of Woody Guthrie, Pete Seeger and Willie Nelson because, although they are not rock storytellers, they are probably the greatest American musical storytellers of all time - and their influence of those listed previously is undeniable.

"When it comes to local musicians, there aren't many who can match the enticingly dark, edgy and wonderfully engaging musical storytelling of Voodoo Loons in their new album The Criminal Ear.

"At the heart of Voodoo Loons is Chris Hooks (bass), Bill McCarthy (drums) and Dennis O'Hagan (guitar & vocals) who lay claim to both Cincinnati and Wexford, Ireland as their home towns. It is that delightful synergy of American moxie and Irish wit that makes their songs so attractive and intriguing.

"Musically, Hooks, McCarty and O'Hagan are equally adept at intense multi-dimensional psychedelic explorations as they are at simple, folksy tunes that harken to O'Hagan's Celtic roots. I was simultaneously reminded of latter-day Pink Floyd (Learning to Fly) and Harvest Moon-era Neil Young. Throughout The Criminal Ear, the Loons are joined by their friends Mark Daly on mandolin, Brad Wehlitz on guitar, Mike Sokolowski on piano and Rob Mulhauser on horns. These additional layers of sound lend a polish and shine to the near-stream-of-consciousness approach to songwriting that O'Hagan utilizes.

"Lyrically, the storytelling aspect of the Loons' material is most evident in tracks like "Nothing Happens in Wexford," the deliciously macabre "In a Locket" and "Jesus Cut His Hair" - a song that speaks to the artist and dreamer inside all of us - and that is the magic of the songwriting. The themes are deeply insightful yet universal. Even if we haven't experienced some of these events personally, the language is so precisely chosen that we can't help but find a little piece of ourselves in the story.

"The Voodoo Loons are known for their unconventional live shows - often choosing to play festivals and events (on both sides of the Atlantic) as opposed to bar and small club gigs. However, one should always expect the unexpected. They may play a largely acoustic set or they may start ofF the show with an amplifier that bursts into flames (i.e. the 2006 MidPoint Music Festival). Either way, please seek out The Voodoo Loons as they support their new album The Criminal Ear and experience great musical storytelling for yourself - 91.7 WNXU (Cincinnati NPR affiliate, Jim Nolan)

"Perhaps it's the dichotomy presented by the band's dual citizenship (Cincinnati, OH and Donegal, Ireland), or maybe it's the Grand Canyon range of influences which include the PIxies, Grateful Dead and World Party, the latest offering from Voodoo Loons (The Criminal Ear, MPG) sucks you in at the opening snarl of Dennis O’Hagan’s guitar from “Loving The Monster”.

"After coming back to earth with the acoustic power ballad “In A Locket”, O’Hagan pays homage to Zeppelin’s “The Battle of Evermore” with a beautifully crafted mystic-folk number that needs to be heard on headphones. The Criminal Ear plays like a concept album and needs to be heard from start to finish in a single session to be fully appreciated. Who knew such a concept album could emerge from the dust bins of indie record labels? I know I didn’t and I’m thankful for the epiphany.

"Chris Hooks (bass) and Bill McCarthy (percussion) maintain an understated rhythm section as an alter-ego to the rich melodies of O’Hagan’s guitar and vocals. Fans of Frank Black, Lou Barlow and Jeff Tweedy need to buy this record. Now. A remarkable album from a remarkably talented band. - Mark Lefebvre, Scurvy Dog Radio, WSCA 106.1 Portsmouth, NH

"Voodoo Loons’ debut album, 2008’s Euphobia, was lauded for its solid blend of diverse influences and The Criminal Ear shows how that mix, the songwriting and the overall performances and production have been sharpened and refined over the intervening years. It’s not just the diversity that makes The Criminal Ear a thoroughly entertaining start-to-finish listen; the material is also top notch.

"The 10 tracks on The Criminal Ear are split between acoustic songs that show elements of Irish and American Roots music and big, distorted, multifaceted Alternative Rock. The album kicks off with the seven-minute “Loving the Monster,” which sparkles with jangly guitar and rhythmic tricks that recall The Police before erupting into a hard, intense chorus, with varied psychedelic noise sprinkled throughout. On “In a Locket,” the Loons’ acoustic and electric sonic personas come together on one track, opening with acoustic guitar and O’Hagan’s creeping, distorted melodies swelling alongside somber string sounds and building into full-Rock mode, with the vocals likewise rising in intensity.

"Elsewhere, the gorgeous “The Winter Trail” shows the Loons can be just as powerful with acoustic guitars and mandolin, while “Nothing Happens in Wexford” sounds like an aural gene splice of Roy Orbison, The Waterboys and The Ass Ponys.

"Another highlight is “Delicate Flower,” a swaying, swaggering track with a spooky vibe reminiscent of some of Greg Dulli’s best work with Twilight Singers. Before closing the album out with “Reprise,” an acoustic instrumental that most reveals the traditional Irish music influence on the band, the Loons offer up the punkish “The Restraining Order Song,” which is loaded with big riffs, raw soloing, a stinging harmonica interlude and compelling lyrics of confused heartbreak." - CityBeat Magazine (Cincinnati, Mike Breen)

""We then saw the tail-end of local trio Voodoo Loons, who were a lot of fun and excellent musicians, jamming out funky, head-bob-worthy Pop/Rock tunes (like the psychodots crossed with a less manic Chili Peppers)." - Mike Breen, CityBeat music critic, on our 2006 MPMF set.

Also from CityBeat:
Working two fronts, one here in the Queen City and the other in Donegal, Ireland, Voodoo Loons have managed to attract a fervent audience on two continents. With an appealing mix of visceral Punk energy and cerebral psychedelia, they find the right balance between frenetic chaos and studied control.

Dig It: The Grateful Dead teach the Pogues how to jam, who teach World Party how to drink, who teach The Stones how to relax, and everyone gets their degrees from Professors Zappa, Waits and Dylan. - CityBeat Magazine (Cincinnati)

My introduction to the Voodoo Loons came via an email from a trusted pal that tipped me off to an upcoming “underground” show that they were headlining. I was sworn to secrecy regarding the venue due to what I assume are issues regarding it’s legality (or lack thereof), so suffice it to say it was described as a show in a rather unconventional setting. Having missed out on the whole rave scene, I was intrigued by the concept, and after checking out the Loons’ music online and seeing that this appeared to be their first show to a UK audience, I decided it was a trip worth taking.
I arrived just as the Loons set was getting underway. The only light in the cavernous room was the stage swirling with the twisting and melting effects of digital projections reflected off mirrors through a thin layer of fog, while a synth bass pulsated from the speakers and the band silently tuned. Then without warning (BAM!) the room exploded as the band burst into “Hello”, the greeting that also opens their new album “Euphobia”.
For a trio, these guys make an enormous sound. The drumming is forceful and tasty, and the bass often funky, sometimes driving a pulse, but always hitting right in the ass. Early in the set the guitar is aggressive and raw, as the set unfolds more subtle and sometimes psychedelic. The Voodoo Loons rock too hard to be considered a jamband, but improvisational segues and jams do sometimes tie a couple or even several songs together in extended passages.
Prior to the show I wondered if it would be a tad too political for my tastes (their “Unabashedly Political Song” was stuck in my head) but no worries… outside of that one tune, which was rather great live and included a portion of “Sympathy For the Devil” worked in, I didn’t notice any preaching or overt campaigning. The visual projections included an engaging collection of images that complimented the music w/out being too distracting.
Roughly two-thirds into their set the band slipped gradually out of their frantic “Acting Suspicious” jam and into a pseudo-acoustic configuration, with an upright bass and 12 string acoustic. Starting with an instrumental where the 12 string was teased with a beautiful echoing effect, they then took it into “Play In the Rain”, a standout from the new album, and then back to electrics. At this point the music took on an almost trance-like feel, with a throbbing bass, eclectically random bursts of drums, sound beds of pre-recorded chattering, and a sort of wailing guitar sequence somewhat reminiscent of Pink Floyd’s “Echoes”.
It was during this time that the band was joined onstage by a series of female visual and performance artists… one painting to the music on some sort of 3D canvas in day-glow, a couple of others arranging different objects around the stage (at one point juggling them to the beat), another performing what seemed like Yoga while occasionally showering the band with confetti. The set ended with the same frantic pace with which it opened, with the artists now dancing on the edge of the stage as the band cranked through 3 or 4 rockers (including the epic “Downhill”) to wrap up the night.
This band has a refreshing approach in both sound and presentation, and it should be interesting to see where they take things from here.

http://www.voodooloons.com/VLUKreview.pdf - Associated Northcliffe Digital, (UK)

Holy Phil Spector! The Voodoo Loons may have submitted the only “wall of sound” recording featuring a mandolin that we can remember. Mixes like this one are some of the most difficult to dissect because, with the exception of the drums, it’s often hard to tell what sound source is responsible for what sound.

Things start out with some definition, acoustic guitar (12-string?) and mando (panned at approximately 2:00 opposite each other), along with the lead vocal and some nice percussion. Rather quickly an electric guitar appears right on top of the mandolin and either replaces or masks it. Next in are the bass and drums, and off to the races we go.

As we said earlier, from this point on, it becomes tough to tell exactly who’s doing what, and that was through studio monitors. What we would be able to tell via a car radio at 65 mph with the windows rolled down is anyone’s guess, but somehow we can’t help but get the feeling that Chris and the guys are far too skilled for that to have been an accident. Which leads us to the matter of intent—a slippery slope if there ever was one.

Countless hours of debate have been logged through the years as to the method and the madness (skip the pun) of Mr. Spector’s “Wall of Sound”. Would it have really mattered if there were only five guitar players and two bassists on the recordings? Were four pianos really required? And let’s not even get started on the reverb chambers! The answer is, only Phil knows for sure, and he’s not talkin’. What is clear is, that for at least a brief shining moment, the concept was hugely successful and influential—just ask Brian Wilson if you don’t believe us.

My point is, no novice was involved in the making of “Downhill”. We’ve heard enough accidental masking in our day to know the difference. No, what we have here is a conscious plan to create an agitated state of sound that fits the band’s lyrical message, and Chris and the fellows have pulled it off with precision, energy and conviction.

Will it be everyone’s cup of tea? Who knows. What we can say with some relative certainty is that the Voodoo Loons obviously had a plan with their mix, and it was executed and brought home safely.

Summary: This ain’t your granddad’s mandolin! - Recording Magazine, (US)

The strength of Voodoo Loons new album, Euphobia, comes from the variety that lies within.

The first track on the album, entitled Hello is a tour de force of hard rock, but just as many other times throughout this album, the following song is a complete curveball. This 'curveball' that I speak of, happens to be one of my favorite tracks on the album. As stated in the titled, The Unabashedly Political Song is both obviously political and satirical, but the spoken aspect of the song is extremely effective and well written. Voodoo Loons clearly had an strong opinion and felt the need to get it off of their chest. I'm all for this idea, but only if it is well done and tasteful; thankfully it is. The interesting part about this song is that it is really the only politically charged track on the album; at least the only obviously political track on the album. The song ends quite well too, with a plethora of drums and percussion creating a dense wall of rhythmic sound.

Another aspect of the Voodoo Loons that I really enjoyed, is their knack for hearing out the specific sound of a song, and correctly complementing that feeling with specifically chosen instruments. The musicianship and craftsmanship of a band is looked at very positively when close attention to detail is paid, as it is here. Each song seems to be represented using a different collection of instruments; some songs have the typical electric guitar, electric bass and drums, but this lineup is the minority on Euphobia. For the most part, each song has a different arrangement of instruments including upright and fretless bass, keyboards, percussions, harmonica, and mandolin (the mandolin playing on track 4, entitled Downhill, is quite tasteful). There is even a track that has more of an electronica/ techno feel to it than anything else (track 5, entitled Paranoid), meanwhile another curveball appears when the very next song starts; an entirely acoustic reprise of Downhill.

The variety within Euphobia gives the feeling that each song has been meticulously crafted as opposed to just thrown together so that the band can rock out. This is an artist's rock n' roll band.


http://miccontrol.com/#/blog/2009/04/30/album-review-euphobia-by-voodoo-loons/ - MicControl blog (Boston)

Full page profile and review. Here are a few of our favorite excerpts:

The album, titled Euphobia (which is an actual, albeit obscure, medical condition in which the afflicted have “a persistent, abnormal, and unwarranted fear of hearing good news"… seriously) is a fascinating piece of work. Launching straight out of the gate with the edgy and herky-jerky “Hello”… it seems at first like a punkish rocker, then evolves into a technodelic landscape. By the end of the tune it is clear that this is a band with a different slant....

....The next few tracks are equally aggressive, with each song introducing yet another element of the Voodoo Loons equation. The uber-tight rhythm section of bassist Chris Hooks and drummer Bill McCarthy quickly establish themselves as a muscular force to be reckoned with, creating intricate yet dense foundations that are sometimes funky, sometimes turbulent, occasionally sparse, but always tasteful and intriguing....

O'Hagan takes advantage of the strength of the rhythm section in his arrangements, using his guitars to create textures that range from Pixies-like impenetrable barrages of sound to airy psychedelic pillows that float around lyrics and Hooks' melodic bass lines. The result is simply a fantastic soundscape that you can really only describe via odd comparisons. Think early Pink Floyd with Flea. XTC with balls. U2 if you they dropped acid and really rocked out.

And that's only the first 5 of 15 tracks on this nearly hour-long album.

The rest of the album embarks on a journey that wanders through O'Hagan's Irish and American influences, both musically and through the occasionally politically pointed lyrics. The epic “Emerald” is clearly Celtic, while the instrumental “Downhill (Reprise)” is one of several tracks that feature top notch mandolin and hints at bluegrass inspiration. Several others are just solid alt/pop rockers, and another has an almost Beck-like aura about it… yet the Loons cover all this ground while maintaining their own sound.

“Play In the Rain” is a delicate number that, like several of Euphobia's songs, could easily be wildly popular… if only radio still played good music. Which brings us back to how and why the Loons do what they do. - IMI/RCS (US + EU)

Favorite part:
"As for Euphobia itself, O'Hagan is infinitely proud of the work that he, McCarthy and Hooks have invested in the album, which bears the mark of their musical and writing influences (Pixies, Jane's Addiction, Ray Davies, Bob Dylan, Paul Westerberg) focused through a soaring, careening Afghan Whigs-like Indie Rock sonic filter, resulting in the expansive sound of a major label album."
****************************
Entire piece:
Voodoo Loons couldn't be considered a Celtic band by any stretch of the imagination. But they are very nearly a band of Celts. Loons frontman Dennis O'Hagan holds dual American and Irish citizenship and has a home on the Emerald Isle, while drummer Bill McCarthy has deep family roots in County Cork (bassist/keyboardist Chris Hooks is Irish only by proximity to his bandmates).

Because of the band's Irish connections, Voodoo Loons' debut album, Euphobia, is generating equal interest at home and abroad ... which is sort of home, too.

"We're talking to two (distribution) groups over there, as well as a label in Spain that wants to put some of our stuff on 7-inch," O'Hagan says. "Online, the CDs have been selling well, both in Europe and here, probably a 50/50 split."

Voodoo Loons began three years ago when O'Hagan, a veteran of several local bands, began writing and demoing songs on his own. He eventually thought about putting a band together, but envisioned a rotating collective rather than a fixed membership.
Share

SHARE PRINT COMMENT FONT SIZE RATE

"I was interested in putting a band together but not knowing if one night would be just me, another night it could be a three-piece, on another night it might be a five-piece." O'Hagan says. "Kind of like the World Party model."

After posting tracks on his Web site, O'Hagan was contacted by an Irish DVD arts magazine about including one of his songs -- a spontaneous screed about the state of the union called "The Unabashedly Political Song" -- in an upcoming edition.

"The original version was, swear to God, a stream-of-consciousness rant," O'Hagan says. "It was just a home recording and it worked pretty well. That take ended up on the magazine. The version on the album is completely different."

With the groundwork laid, O'Hagan wanted to formally record the material and contacted old chum McCarthy (a partner in local audio production house Mind Ignition), who brought in local session handyman Hooks (owner of Middleground Studio). When an attempt to implement a second guitarist failed, O'Hagan stuck with the core trio and Voodoo Loons -- a name inspired by O'Hagan's post-Katrina rehab work in Louisiana -- was officially launched in early 2006.

The Loons immediately began re-recording O'Hagan's songs with McCarthy and Hooks bringing fresh perspectives to the arrangements and ideas for new songs. Sadly, McCarthy's mother's cancer diagnosis and eventual passing forced them into an understandable hiatus, but they reunited for a memorable gig at 2006's MidPoint festival.

"My guitar amp caught fire on our first song," O'Hagan says. "We recovered nicely. That gave us a boost of confidence."

By last spring, the Loons returned to the studio to finish Euphobia, which was officially released in January. Although Voodoo Loons have not been active in the live scene as yet (their two MidPoint sets are the extent of their local appearances), they're working toward more area bookings as well as some European dates, which will definitely include some Irish gigs.

As for Euphobia itself, O'Hagan is infinitely proud of the work that he, McCarthy and Hooks have invested in the album, which bears the mark of their musical and writing influences (Pixies, Jane's Addiction, Ray Davies, Bob Dylan, Paul Westerberg) focused through a soaring, careening Afghan Whigs-like Indie Rock sonic filter, resulting in the expansive sound of a major label album.

"We had a mindset going in that there was not a particular sound we were shooting for," O'Hagan says. "We had some ground rules rather than a stated goal for how we were going to sound. We weren't going to direct each other -- whatever sound the three of us created together was the sound -- and we weren't aiming for any band sound. Each particular song, we tried to be true to that song without regard for how that would fit with the other songs we'd recorded. We approached it from this mindset, we stuck to it throughout and we're happy with the resulting sound." - CityBeat Magazine (Cincinnati, Brian Baker)

Voodoo Loons have blended a multitude of influences across genres to capture a unique sound of their own. The Loons borrow sounds from traditional folk roots, psychedelic rock, funk, and strong overtones of early REM-style college rock. Their willingness to contort classical conventions, whether musical or political, transcends the audio of the disc, and bleeds into the text on the cd case itself, where they infiltrate the copyright protection warning. On the case, it reads “Warning: Unauthorized duplication of this recording is a violation of applicable laws and could result in extremely bad karma.”

The Voodoo Loons musical appeal is as far stretching as their apparent influences. The opening track Hello could easily be heard over lubricated conversation at a dorm room party, while the mandolin driven Emerald could satisfy a bluegrass/folk fan. The Loons most polarizing quality lies with their often in-your-face political views. As the opening to the aptly titled The Unabashedly Political Song states, “If you watch Fox News, you might as well just turn this shit off right now.” What follows is a funk driven spoken word tirade in which the Loons sound off on topics ranging from the war in Iraq, to the war on drugs. The only track that stands out as lacking in originality is Trouble to Come, in which the bass and guitar parts often sound like a cover of the Beatles classic, Taxman.
Consisting of Bill McCarthy on percussion and backing vocals, Chris Hooks on bass and keyboards, and Dennis O’Hagan on guitar, harmonica and lead vocals, Voodoo Loons are a tight-knit trio, hailing from Cincinnati, OH. All members play their respective instruments well, and the recording quality allows this to show. The bass tone specifically stands out on every track (possibly due to bassist Hooks also engineering the album.)

http://www.music-reviewer.com/june-2008/rock-pop-alternative/voodoo-loons-::-euphobia/#itemdescription - Music Reviewer (NYC)

When folk singers dropped the ball – or, you could say, when listeners dropped folk singers – it was the rockers who picked it up. Now everyone from U2 to Sublime has a political song in their arsenal.

Voodoo Loons takes that to a new level with their album Euphobia. Though only one song on the album is listed as “the unabashedly political song” most of the songs have political overtones. And, unafraid to rock, the band mostly succeeds in disguising their intentions long enough to get your head banging – and thinking about their message.

Take “Paranoia,” for example. Without ever losing track of the hook that catches their listener fishes – the powerful chords (but not power chords), rough beat and fierce energy of the song –Voodoo Loons reaches down and unwraps the part of the brain where you keep your fear. Not those strange fears of spiders or men’s ties, but the perfectly normal fear of government, of conspiracy, of being in the dark. “They were tapping my phones...reading my emails...I stepped outside my house and noticed that everybody was wearing the same shoes. They were wearing the same shoes,” moans lead singer Dennis O’Hagan, while the music rumbles and sputters, perfectly capturing the lurking terror of a society of Nike-inspired automatons.

(Uh...these views do not necessarily reflect the views of OnlineRock.com.)

Whether you’re on board with their message or not, Voodoo Loons’ grungy hard rock will surely hook you. Be afraid of the government, by all means. But do not fear the rock. - OnlineRock.com (San Francisco)

........
10/20/09 - SiriusXM's 2009 Listener Poll ranks "Emerald" as #56 on the Top 100 Celtic Songs list. We're humbled, and offer our thanks to everyone who voted for us!

Cheers!

The Top 60 from the list will be aired tonight at 11pm ET on the Spectrum on Sirius (18), XM (45), DISH Network (6018), and DirecTV (832).

Sirius XM 2009 Listener Poll
Top Celtic Songs

Top 30...
30 The Rocky Road To Dublin - The Dubliners
29 Fairy Tale of New York - Christy Moore
28 Ocean and a Rock - Lisa Hannigan
27 Scarlet Begonias - Wake The Dead
26 Travelling People - Turner & Kirwan of Wexford
25 Dirty Old Town - The Pogues
25 Buile Mo Chroi - John Spillane and Louis De Paor
24 Beeswing - Richard Thompson
23 Arthur McBride & The Sergeant - Paul Brady
22 Fairy Tale of New York - The Pogues
21 Funky Ceili - Black 47
20 Fields of Athenry - Paddy Reilly
19 Whiskey in the Jar - Thin Lizzy
18 Whistles The Wind - Flogging Molly
17 Wedding Reel - Lunasa
16 Menez - Alan Stivell
15 Life's Like That, Isn't It - Larry Kirwan
14 The Band Played Waltzing Matilda - Liam Clancy
13 Ora Se Do Bheath Abhaile - Sinead O'Connor
12 Birches - Bill Morrissey
11 Green Fields of France - The Furey Brothers & Davy Arthur
10 Empty Glens - Runrig
9 The Big Fellah - Black 47
8 Wacko King Hacko - Peatbog Faeries
7 Sing All Our Cares Away - Damien Dempsey
6 Say You Love Me - Sharon Shannon/Dessie O'Halloran
5 Raglan Road - Van Morrison & The Chieftains
4 The Galway Girl - Steve Earle
3 Kilkelly - Moloney/Keane/O'Connell
2 Lisdoonvarna - Christy Moore
1 Northwest Passage - Stan Rogers

REMAINDER OF TOP 100
33 One Starry Night - Davy Spillane
34 Into The Mystic - Van Morrison
35 First Light of the Day - Paddy A Go Go
36 James Connolly - Black 47
37 Matty Groves - Fairport Convention
38 Fishermen's Blues - The Waterboys
39 Thousands Are Sailing - The Pogues
40 Shipping Up To Boston - Dropkick Murphys
41 Star of the County Down - Van Morrison & The Chieftains
42 Fanatic Heart - Black 47
43 N 17 - The Saw Doctors
44 Home For a Rest - Spirit of the West
45 Johnny, I Hardly Knew You
46 One - Johnny Cash
47 Patriot Game - The Clancy Brothers & Tommy Makem
48 Black Velvet Band - Dropkick Murphys
49 Laid - James
50 Delirium Tremens - Christy Moore
51 Aisling Gheal - Seamus Heaney/Liam Og O'Flynn
52 Never Any Good With Money - Martin Simpson
53 Sweet Sixteen - The Furey Brothers/Davy Arthur
54 Here Comes The Night - Them
55 Wild Rover - Dropkick Murphys
56 Emerald - Voodoo Loons
57 Amazing Grace - Flatfoot 56
58 Kilroy Was Here - Larry Kirwan
59 I Was Watching You - Rosanne Cash
60 Rainy Night in Soho - The Pogues
61 Halelujiah - Jeff Buckley
62 Sunshine Serenade - The Mighty Stef
63 Downtown Baghdad Blues - Black 47
64 Tobacco Island - Flogging Molly
65 Release - Afro-Celt
66 Hard Times in Old England - Billy Bragg
67 The Parting Glass - The Clancy Brothers & Tommy Makem
68 Her Father Didn't Like Me Anyway - Finbar & Eddie Furey
69 If I Should Fall From Grace - The Pogues
70 Welcome To The Cabaret
71 Nobody's Baby Now - Nick Cave & The Bad Seeds
72 All Around My Hat - Steeleye Span
73 Wexford - Pecker Dunne
74 1952 Vincent Black Lightning - Richard Thompson
75 Rocky Takes a Lover - Bell X1
76 Baisteach - John Spillane & Louis De Paor
77 Muirsheen Durkin - Johnny McEvoy
78 Man You Don't Meet Every Day - Sharon Kaye
79 Livin' in America - Black 47
80 Lord Offaly - David McWilliams
81 Rock on Rockall - The Wolfe Tones
82 Si Do Mhamo - Hothouse Flowers
83 Zombie - Dolores Riordan
84 Street of Dreams - The Oysterband
85 Ride On - Christy Moore
86 Love Is Teasing - The Chieftains
87 It Makes No Difference - The Band
88 Leaving of Liverpool - Gaelic Storm
89 The West Coast of Clare - Planxty
90 Pipe Solo - The Bothy Band
91 The Musical Priest - Cora Smyth
92 Sleepy Maggie - Ashley MacIsaacs
93 Mingulay Boat Song - The Makem and Spain Brothers
94 The Battle of Aughrim - The Chieftains
95 Wicklow Hills - Pierce Turner
96 Caledonia - Dougie Maclean
97 Carrickfergus - Van Morrison & The Chieftains
98 The Blue Idol - Altan
99 On a Sea of Fleur De Lis - Solas
100 Who's Gonna Ride Your Wild Horses - U2
- Sirius XM Satellite Radio