Cover Lay Down

Now with added Pogues goodness!

Here’s a tiny St. Paddy’s Day subgenre for you: Celtic punk, a genre arguably invented by The Pogues, though surely influenced by both the “British” folkrock invasion and the early punk music of The Clash.

To truly explore the broader implications of this musical form requires deep understanding of many factors: the Irish diaspora, the evolution of fusion forms in music, the confluence of post-punk folk and the adolescent mindset, the modern commercialism of St. Patrick’s Day. Such scope is beyond the purview of any blog. But considering the genre as a form of folk sheds new light on what is increasingly a sound recognizable from Galway to Graceland.

Though genre originators The Pogues came at Celtic punk from the streetpunk movement of our parents’ generation, Celtic punk is also legitimately a subset of folk punk, a category which also includes folk rockers The Weakerthans and the early work of Billy Bragg, and is characterized by a sneering, often politicized attitude, high-energy performance, and electrified speed, even in unplugged mode. To this, Celtic punk adds the traditional instruments of Celtic rock music — guitar, pipes, fiddle, bodhran, and the occasional squeezebox — and the song structure and lyrical trope of the traditional Irish folk form.

The result is as diverse as it is distinctive. The definable sonic sector that is Celtic punk includes everything from slightly lilted folk rock ballads to traditional jigs at moshpit speed. Yet despite the differences, the realm is still definable for its lyrical ground in the plight of the working class, and — perhaps more obvious to the layperson — its worldbeat sound, full of high pipes and the unmistakable trope of the Irish pubsong.

As a fusion of multiple small-scale subgenres itself, it is no surprise that it is hard to find pure examples of the form. But the small number of pure Celtic punk bands is balanced by the large number of musicians who combine the basic elements of the subgenre. These essential elements are, after all, indigenous to everywhere from Halifax to Boston to the Emerald Isle herself. Where you find political dissatisfaction, post-rock young folks, venues that serve Guinness, and a critical mass of Irish musicians, inevitably, you’re going to get something a lot like Celtic punk.

Today, a short set of tunes from a few bands who define the genre cluster, capture the Celtic punk style, and display a folkpunk political sensibility. Those expecting thrashpunk may be surprised — though some Celtic punk retains the hard edge of its forefathers, it is sensibility, not hardcore sound, that ultimately lends the punk moniker to the majority of the musical form in a post-Pogues world. Nonetheless, those who come to Cover Lay Down for mellow tradfolk might prefer to skip down to today’s bonus song section, which includes a few sparser, slower covers of songs originally written and performed by The Pogues.

• Dropkick Murphys, Amazing Grace (trad.)
  (from The Gang’s All Here)

• Black 47, For What It’s Worth (orig. Steven Stills)
  (from Bittersweet Sixteen)

• Larry Kirwan (Black 47), I Ain’t Marchin’ Anymore (orig. Phil Ochs)
  (from Bleecker Street: Greenwich Village in the 1960′s)

• Young Dubliners, If I Should Fall From Grace With God (orig. The Pogues)
  (from With All Due Respect: The Irish Sessions)

• Great Big Sea, Mari-Mac (trad.)
  (from Up)

• The Pogues, Honkytonk Woman (orig. Rolling Stones)
  (from The Rest of the Best)

• The Pogues, Jesse James (trad.)
  (from Rum, Sodomy, and The Lash)

Today’s bonus coversongs, for the more mellow among us:

• The Tami Show‘s lo-fi living room cover of The Pogues’ The Fairy Tale of New York
• Stars cover Fairytale of New York a bit more indie-pop
• June Tabor and The Oysterband do a zydeco-celtic cover of The Pogues’ Lullaby of London
• Nick Cave and Shane MacGowan of The Pogues cover What A Wonderful World

We’ll be back Sunday with more music appropriate for a folk coverblog on St. Patrick’s Day. In the meanwhile, click on links above to purchase the works of these artists direct from the source.

Folkfans looking for more Irish drinking songs should also head on over to the always-excellent Setting the Woods on Fire for more from The Pogues, The Dubliners, and The Clancy Brothers, plus some great tradfolk from the Emerald Isle!

Previous Subgenre Coverfolk Features:

It’s been some week here at Cover Lay Down. Features on popular singer-songwriters Billy Bragg and Paul Simon brought us to the top of the charts at musicblog aggregator The Hype Machine and a linkback from New York magazine’s Vulture blog. On Friday, almost 900 of you visited the site, a new record; download tracking shows that many of you came in for one song, but stuck around to try something new. Welcome, kudos, and thanks for validating our goals here at Cover Lay Down.

Today, we return to our roots for the fourth in our very popular Single Song Sunday series with a feature on Child Ballad #243 in the canonical collection of British folk ballads, a song more commonly known as House Carpenter.

They’re building one of those Habitat for Humanity houses in our town, just along the main road, out past the edge of what counts for downtown in these rural one-bar parts. A few weeks ago our local church helped make lunch for the crew — chili and cornbread, the kind of early winter comfort food that can be soaked up quickly, and keeps the fires going for hours. I wasn’t there, but the story goes that they had plenty of leftovers, primarily due to the fact that the workforce that day was a group of local college girls, doing their community service. The girls ate all the clementines, though. I guess we made the food with heartier carpenters in mind.

The 18th Century folk ballad House Carpenter, officially titled either James Harris or Demon Lover, isn’t about hope, or new beginnings. Quite the opposite. It’s a morality play, in which a woman is tempted by a finer life with an old flame, gives in, leaves her new little babe in the care of her carpenter husband, regrets it too late, and drowns for her sins. It’s about the perils of choosing style over substance; it’s about the consequences of valuing speed and beauty over community and commitment. Like our Habitat for Humanity project, it’s not about house carpenters: it’s about the girls who showed up to be house carpenters, and the church making lunch; a reminder of the value of all who help make a house, a home, a community.

That authenticity is hard to come by in the world today is an oft-repeated trope in folk music; it is the universality of the sentiment, as much as the plaintive beauty of House Carpenter’s simple tune, which explains why the song continues to find voice in each new generation of folksinger. In some ways, it’s frustrating to find that the message is still needed, hundreds of years after it was first found necessary. But the house goes up, nonetheless. Looks like it’s going to be a cosy place, too.

Work on our local Habitat house seems to have been put on pause for the winter. The girls who came that day to help have gone back to their lives with a new entry for their graduate school applications and, hopefully, a true sense of having participated in something selfless and pride-worthy. May their lots and ours be better than the lot of our alternate-verse narrator, who sinks and goes to hell for one bad decision. If their work on the house is any indication, they’re already headed for a better life.

Unlike Rain and Snow, the emotion of this oft-covered song is set in the lyrics; as such, most interpretations aim for a melancholic delivery. But as today’s featured artists demonstrate, there’s a wide potential for instrumentation and tone, even within a limited emotional range.

The fast-paced storyteller’s banjo on Pete Seeger and Clarence Ashley’s ancient versions creates a tension which serves the piece equally, if differently, from the languid brushstrokes, etherial harmonies and skeletal bass of The Tami Show’s haunted cover, the sweet, rich mysticism of Mick McAuley’s celtic ballad, or the fuller instrumentation and nuanced tonal ebb and flow of Tim O’Brien’s moody, celtic-flavored bluegrass.

The sparse, cracked doublevoiced tones of Roger McGuinn are a world away from the mournful, driving blues Natalie Merchant brings to the piece. And interpretations by folkfave youngsters The Mammals and Nickel Creek provide a study in contrast, two new-folkgrass bands taking the song through vastly distinct but equally powerful paces.

Try ‘em all. Find your favorite. It is, after all, the personal connection that makes us folk.

• Clarence Ashley, House Carpenter
  (1930 field recording, from the Folkways Anthology of American Folk Music, available at Folktunes)

• Tim O’Brien, Demon Lover
  (from Two Journeys)

• Natalie Merchant, House Carpenter
  (from The House Carpenter’s Daughter)

• Nickel Creek, House Carpenter
  (from This Side)

• Mick McAuley, The House Carpenter
  (from Putumayo’s Celtic Crossroads collection)

• Pete Seeger, The House Carpenter
  (from A Pete Seeger Concert; originally recorded 1953)

• Roger McGuinn, House Carpenter
  (via McGuinn blog Folk Den)

• The Tami Show, House Carpenter
  (from Hinah’s ongoing, web-based Tribute To The Anthology of American Folk Music)

• The Mammals, House Carpenter/Pipeline
  (from Evolver)

As always, all album and label links above take you direct to the source for your musical purchase. Buy local, support community: it’s that simple.