Smokey Bastard

Smokey Bastard “Tales from the Wasteland” Bomber Music
Release date: 31 October 2011
Running time: 41:19, 13 tracks


Smokey Bastard defined themselves as the UK's answer to Flogging Molly and Dropckick Murphys. Their 12 track debut album ”Propping Up the Floor” was released in 2009 and I think that it made both PaddyRock and Shite’n’Onions top ten CD list of that year.

IMHO, “Propping Up the Floor” was an overrated album, as it was quite irregular. However, some tracks were excellent and they made me feel that, even if they have failed with their debut album, their future could be very interesting.

Their brand new album, “Tales from the Wasteland” is the evidence that actually they deserved more credit. The Flogging Molly and DKM influences are still there (FM on ”Wasteland" and DKM on “Eden Home” and “Cheer Up Love”) but they are open now to other sounds. for instance that of The Dreadnoughts (“Mongrel”, “Yuppie Dracula” and “Bad Reception”). Moreover, there are a couple of a capella songs (“My Song John” and “Boatepitaph”) and, fortunately, only one traditional number, The Morrison’s Jig on the track 6 tune set, “Mong Some Hoof”. I don’t know if the last track is a pisstake or a tribute, but I feel that the cover of Abba's “Mamma Mia” is great. Maybe the only weak point of the album, and I admit that it’s quite subjective, is track 11, “Dear Mol” (sorry, I don’t like the girl’s vocals)

Smokey Bastard’s second effort is far better than their debut album. Excellent mandolin and banjo sound backed by accordion and fiddle. Check out the following songs: “Wasteland”, “Eden Home”, “Mongrel” (The Dreadnoughts meet Talco),“Yuppie Dracula”, “Cheer Up Love” and “Aspirations I Have Some” (a well written song that starts as a pop-punk number and evolves into something different). Well done, boys!

Tracklist:

01 – Wasteland 3:43
02 – Token Folkin 0:42
03 – Eden Home (PT I) 3:35
04 – Mongrel 5:21
05 – My Son John 1:40
06 – Mong Some Hoof 3:33
07 – Yuppie Dracula 3:38
08 – Boatepitaph (Pt II) 0:44
09 – Cheer Up, Love (Worst Things Happen at Sea) (Pt III) 2:31
10 – Aspirations I Have Some 4:50
11 – Dear Mol 2:39
12 – Bad Reception 4:42
13 – Mamma Mia 3:12


http://smokeybastard.com
Linkhttp://www.reverbnation.com/smokeybastard
Linkhttp://www.facebook.com/smokeybastard

Lyrics:

http://smokeybastard.com/music/


Click to buy:

http://bombermusic.bigcartel.com/product/smokey-bastard-tales-from-the-wasteland

Review by Kinksmarkham

- Celtic - Folk - Punk

The first thing which may spring to mind when listening to the tracks on Smokey Bastard’s ‘Tales From The Wasteland’ anthology is their similarity to The Pogues in fusing the disparate worlds of punk and Celtic folk.

smokey_bastard


On further exploration, it’s wholly apparently they aren’t riding on the coat-tails of the afore-mentioned band – they are merely upholding the spirit of Shane MacGowan et al in their own style. Lead singer Macca’s voice is a perfect fit to the fast-paced bed of instrumentation which backs him – the voice of a guy with many a tall tale to tell. Many songs on the album are indeed story-based; the greatest example can be found on ‘Boatepitaph (Pt II)’, which eloquently sums up the song’s premise in one verse.



‘Aspirations, I Have Some’ is a five-minute reflection on past achievements and – mainly – failed conquests, with name checks to the likes of Custer (and McNulty of ‘The Wire’?); and ‘Dear Mol’ is a bittersweet parting note to a former lover – until, mid-song, she bites back with a delicious retort.



The tracks on ‘Tales From The Wasteland’ blend together with effortless dynamism, and see more genres contributed to the band’s melting pot. Ska undertones are evident in ‘Mongrel’, ‘My Son John’ is a tender acapella piece in a traditional Irish vein which the afore-mentioned ‘Dear Mol’ reprises, while their cover version of ABBA’s ‘Mamma Mia’ is a rousing conclusion to the thirteen-track LP.



In all, the ‘Tales Of The Wasteland’ told by Smokey Bastard showcases a band with a powerful capability to weld together a noise that moves the feet and the heart. This writer can only imagine how it translates on stage… maybe one day, lads?



rating-4



For more information, please visit the Smokey Bastard website. - Soundsphere Magazine

Pogue Mahone! Here’s a frantic slab of folk-punk that is as down ‘n’ dirty as you would hope, and manages to bring a slice of originality to a genre that isn’t exactly flooded, but certainly has its fair share of legends.

This doesn’t feel like a punk album with the odd fiddle or desperate attempts at Irishness from a bunch of born ‘n’ bred Americans; neither does it seem to be the work of folkies who’ve decided to go for the punk dollar. Instead, it’s got a more original – I won’t say authentic – feel to it. Willing to mix it up – Mongrel throws a spot of Russian folk into the mix just for the hell of it, and then pauses for a bass-driven rest – and continually lively, Smokey Bastard inevitably feel like a band you’d rather be watching live than listening to on CD. But slap this on at a party, and you’ll probably have to hide the breakables as your guests leap about with abandon.

At times – and they’ll probably hate to hear this – the album seems to owe as much to prog-folk as punk; My Son John could be a Steeleye Span outtake, a traditional folk track played a capella. This is followed by the instrumental Mong Some Hoof, which is a ferocious fiddle and mandolin battle that is irresistible.

Elsewhere, the album takes on snippets of gypsy punk (Yuppie Dracula), US-style pop punk (Aspirations, I Have Some) and whiskey-soaked drunken balladry (Bad Reception). It ends with a lively cover of Abba’s Mamma Mia – and while ‘ironic’ punk covers are a dime a dozen, this one’s better than most.

In the end, this is a bunch of first-rate musicians belting out some first rate English roots music, liberally smeared with a foul mouthed punk attitude. Who are you to resist?

DAVID FLINT - Strange Things Are Happening

Imagine if you will a Venn diagram, three circles, one is for Punk and contains band names such as the Sex Pistols, another circle is for Folk and contains band names such as The Dubliners, whilst the final circle is for Sea Shanties and contains the names such as the Port Isaac’s Fisherman’s Friends – where all three circles meet the name of Smokey Bastard is written. This isn’t some comment on a particularly difficult Scottish Puffer boat, but the name of what is best classed as a Reading based seven piece folk-punk band.

31 October sees the release of Smokey Bastard’s second album entitled Tales From the Wasteland and for a band who list members as Macca (Vocals, Guitars, Mandolin), Mike Wood (Vocals, Bass), Matt (Guitars, Banjo), Nick (Accordian, Mandolin), Andy (Tin Whistle, Guitars, Banjo), Aled (Banjo, Mandolin) and Buttons (Drums); there are certainly more banjo and mandolin players than you would expect from your average punk band, but there is nothing average about Smokey Bastard.

Opening track Wasteland begins all folky with the mandolin, banjo et al in place, but the chord burn of guitar are then accompanied by Macca’s gruff vocal style and in less than a minute Macca retorts “sweet fucking home” and the whole pace disappears off. Vocals and musical accompaniment are extreme high octane that no doubt metamorphoses into a mental mosh pit of frenzied activity in a live setting. There is nothing subtle here and Wasteland is a glorious introduction to what Smokey Bastard have to offer.

If you thought the whole album was going to be aggressively launched folk-punk then Token Folkin’ lives up to its name of being a token folk track by throwing in a short instrumental, before Eden Holme looms into view, with Macca and Mike sounding particularly aggressive before the choral chant of “woah we’re heading home” hammers into view, it is perfect song to be crying out when imbibed with plenty of the ‘black stuff’. With the banjo also backed with simple kick-drum being perfect for interlinked arm dancing – so make sure you have plenty of space when listening to Eden Holme.

If you feel slightly worn by the time Mongrel leaps into view, that’s fine as Smokey Bastard throw in a mellow mid point and guitar riff before returning to the original theme. Ok, you’re ready for a rest and My Son John provides that relief. Based on a traditional sea shanty, Smokey Bastard quite simply use the traditional vocal call and response style and it works incredibly effectively – possibly as the subject matter is in keeping with the punk vibe of a sailor having no legs as a result of a cannonball.

Mong Some Hoof is almost entirely instrumental in nature and puts in mind the equally excellent Wildcats of Kilkenny. Yuppie Dracula is the first single release from Tales From the Wasteland and effectively showcases that folk-punk juxtaposition, with even the opportunity for a moment that feels suspiciously Greek in nature starting up slow and epically running away by its conclusion.

For those thinking Smokey Bastard are taking this all seriously, take one listen to Aspirations, I Have Some. At first there is a realisation that all folk has been ditched for the punk orientated elements of Smokey Bastard, but there is so much fun to have in these lyrics. With dreams of wearing vest top and shooting out of spinning cars, a la Bruce Willis, a presumably The Wire’s McNulty reference, Jesse Custer and a recommendation of the music by The Gaslight Anthem, before segueing into not only the lyrics “I wish that when I sang, it sounded like Springsteen”, but musically something that could have been the E Street Band.

Without wishing to make too many comparisons Dear Mol is the Smokey Bastard’s Fairytale of New York with the girl and boy retorts, although Mol’s use of the word “wanker” would certainly give Radio 1 a problem. If there is one fly in the ointment then it is Mamma Mia – no your eyes aren’t deceiving you Smokey Bastards have decided to cover ABBA’s Mamma Mia, it really doesn’t work, but they no doubt don’t care!

Tales From the Wasteland is an album worth shaking those cobwebs off for, yes there are elements of the Dropkick Murphys in the music offered up by Smokey Bastard, as well as nods towards the more recognisable Pogues at their most riotous, however, it is fair to say that for anyone who wants some aggressively, lively folk-punk to pick you up as you enter the darkening autumn months, then Tales From the Wasteland comes highly recommended, just tread cautiously if you are moving on from the Dubliners as it might come as a shock to the system!!

Reviewed by Jimbo Walsh. - Grumpy Rocker

With more fun, energy and deliriously addictive punked up melodies than should be legally allowed comes the new album from UK punk folksters Smokey Bastard. The seven piece from Reading unleash Tales From The Wasteland via Bomber Music on October 31st bringing 13 tracks of essential raucousness from their tavern of intoxicating mix of traditional folk, real punk, and deeply infectious enthusiasm.

Since forming in early 2007 the band has whipped up a strong reputation and following for no holds live shows and a sound that brings the bands influences into a frenzied and irresistible sound of their own creating music that teases and plays upon the instinctive rebel within us all. Tales From The Wasteland the follow up to their debut album Propping Up The Floor last year, is further evidence and impressive proof that the combination of Macca (Vocals, Guitars, Mandolin), Mike Wood (Vocals, Bass), Matt (Guitars, Banjo), Nick (Accordion, Mandolin), Andy (Tin Whistle, Guitars, Banjo), Aled (Banjo, Mandolin) and Buttons (Drums), make music that excites the ear and deeper.

Smokey Bastard takes flavourings from the likes of Dropkick Murphys and Flogging Molly, though their sound is more removed from the celtic punk sound towards the earlier beginnings of folk punk. They come from a rogue punk base as brought forth in the 80’s by the likes of The Pogues, the use of mandolins, banjos and tin whistles alongside the electrified aggressive energy a mesmeric blend. The brilliant ‘Wasteland’ opens up the album and instantly tells you all you need to know about the band to want more and more of their boisterous and rousing sound. Starting with a slow and firm crawl as the gruff vocals of Macca declares this wasteland my “sweet fucking home” the track erupts into a rowdy and beckoning invite to join its anthemic charms.

Showing their skills and varied influences the melodic folk instrumental ‘Token Folkin’’ skips into view next before unleashing more infectious folk punk frenzy with ‘Eden Holme’ as rasping vocals and group shouts add to the engaging melodic play. The interplay between the mandolins and bass towards the end has the foot tapping even harder than before and as with every song on the album brings the feeling of defiant celebration, ‘Mongrel’ coming up next the perfect proof with its proud, irrepressible and urgent dynamism. There is a slight ska lining to the song that brings more effortless and eager response from the senses.

Four tracks in and the album already had stated its claim for essential listening classification and album of the year nomination. Songs like ‘My Son John’ a wonderful and humorous folk acapella piece that reminded of 80’s band The Dancing Did, the exhilarating ride of instrumental ‘Mong Some Hoof’, and the mesmeric storytelling of ‘Cheer Up, Love (Worse Things Happen At Sea)’ a breathtaking tale that galvanises the senses, all continue and increase the carefree but wonderfully inspiring atmosphere. One gets the feeling the band would like to be seen as being a bunch that just turn up and play or throw things together for a laugh but their musicianship and stirring songwriting reveals all.

The single from the album ‘Yuppie Dracula’ is another excitable and appealing track though not the best on the album but with the immensely grin inducing ‘Dear Mol’ a bittersweet leaving note to an ex- lover which twists things up when she comes back with her own snarl mid song via a great female vocal, and the reflective report on past failures in the splendid punk edged ‘‘Aspirations, I Have Some‘, keeps the album at its great and impressive level.

Tales From The Wasteland is a fully satisfying release of great incessant joy, its lively and rip-roaring sounds guaranteed to brighten up any day and most of all the album again shows Smokey Bastard as one of the best and strongest rock bands in the UK.

RingMaster 11/10/2011 - The Ringmaster Review