Susan Frances
07/17/08, 01:16 AM
The Mighty Regis - Co. Sligo
Record Label: Molly Malones Music
Release Date: May 22, 2008
County Sligo is a northern district of Ireland widely known for holding the tomb of Queen Maeve from Irish Mythology, and for nurturing traditional Irish music. It is also the native lands of the Celtic-rock band, The Mighty Regis whose latest record, Co. Sligo is a reflection of their homeland’s music. The photo on the band’s album cover is of lead singer, Franky McNorman's family emigrating to America in the turn of the century, although the band's name on the lifesaver is the work Photoshop. The image unintentionally alludes to the band's album being music that you could imagine was made at the time that this photo was taken, or it could be music made today in 2008. Celtic-rock has a certain perseverance that allows its music to go through time without sounding old or outdated.
The Mighty Regis have the kind of fists-in-the-air angst relatable to Black 47 and the spirited folksy bluegrass stomping of The Chieftains. It’s apparent that the music of The Mighty Regis comes from their heart, and its ethnic tint has made its way into punk music’s spheres with the likes of its principle players, The Sex Pistols and The Dead Kennedy’s taking some cues from Celtic music like the cranking beats and rebellious voice. In some ways, Co. Sligo is a homecoming for the band who return to their roots, and for punk music which returns to its principle players.
The album’s intro and exodus are delivered with the lithesome instrumentation and soft caroling of “The Parting Glass,” which opens and closes the album. After a quick prologue of “The Parting Glass,” the album dives right into a series of jug-stomping rotations wicking “Real Deal Irish.” The song’s pulverizing rhythms orchestrated by drummer George Glooney, who has been recently replaced by Gabby Byrne, and bassist/mandolin player/backup vocalist Gavin McLoud bluster boldly as the tussling coils of accordionist Paddy McRib twine around them. The Might Regis have recently added bassist Darby, so McLoud can concentrate on playing the mandolin. The vocals of Francis McNorman vaunt with the velocity of a rambunctious kangaroo and the frothy guitar chords of Ryan O’Neill and Ronnie McDunnald accentuate the gallop in the rhythms and synchronize a square-dancing tempo in “Reilly’s Daughter,” while culling a warm simmering shuffle along “Black Shamrock.” The cranking pedals of “21 Patty Finn” and “The Brothers Rafferty” put the listener in the heart of the storm, while the cozy rhythmic cobbling of “Me Mother Became A Werewolf” is thatched with folksy bluegrass stalks. The oscillating rhythmic swells of “Take Me Home” seesaw between soothing and rushing fervently harboring an unstable sternum in the melody.
McNorman is heard saying in the intro of “Murphy’s Broken Heart,” that the song “is an Irish love song, but I decided let’s make this an Irish drinking song.” That is true for most of the album. These songs are tales influenced by the events in one’s life, or events in other peoples lives. The verses in “Murphy’s Broken Heart” reflect, “No spring in his step / No lovin’ in his gaze / Murphy’s set adrift / Murphy’s in a haze / She’s gone away like the ride / Murphy’s feeling robbed / (He) sits alone with his thoughts / All Murphy does is sob.”
Produced by Brett Pearsons, Co. Sligo offers a pint of traditional Irish prose joined by tankards of Celtic-rock. The music is typical of Ireland and of old school punk, so where does one draw the line? The Mighty Regis weave songs grounded in an ethnic Irish lilt, and add elements of folk, bluegrass, and punk rock into an album that harbors drinking songs. And every country likes a good drinking song.
Black 47, The Sex Pistols, The Dead Kennedy’s
www.myspace.com/themightyregis (http://www.myspace.com/themightyregis)
Record Label: Molly Malones Music
Release Date: May 22, 2008
County Sligo is a northern district of Ireland widely known for holding the tomb of Queen Maeve from Irish Mythology, and for nurturing traditional Irish music. It is also the native lands of the Celtic-rock band, The Mighty Regis whose latest record, Co. Sligo is a reflection of their homeland’s music. The photo on the band’s album cover is of lead singer, Franky McNorman's family emigrating to America in the turn of the century, although the band's name on the lifesaver is the work Photoshop. The image unintentionally alludes to the band's album being music that you could imagine was made at the time that this photo was taken, or it could be music made today in 2008. Celtic-rock has a certain perseverance that allows its music to go through time without sounding old or outdated.
The Mighty Regis have the kind of fists-in-the-air angst relatable to Black 47 and the spirited folksy bluegrass stomping of The Chieftains. It’s apparent that the music of The Mighty Regis comes from their heart, and its ethnic tint has made its way into punk music’s spheres with the likes of its principle players, The Sex Pistols and The Dead Kennedy’s taking some cues from Celtic music like the cranking beats and rebellious voice. In some ways, Co. Sligo is a homecoming for the band who return to their roots, and for punk music which returns to its principle players.
The album’s intro and exodus are delivered with the lithesome instrumentation and soft caroling of “The Parting Glass,” which opens and closes the album. After a quick prologue of “The Parting Glass,” the album dives right into a series of jug-stomping rotations wicking “Real Deal Irish.” The song’s pulverizing rhythms orchestrated by drummer George Glooney, who has been recently replaced by Gabby Byrne, and bassist/mandolin player/backup vocalist Gavin McLoud bluster boldly as the tussling coils of accordionist Paddy McRib twine around them. The Might Regis have recently added bassist Darby, so McLoud can concentrate on playing the mandolin. The vocals of Francis McNorman vaunt with the velocity of a rambunctious kangaroo and the frothy guitar chords of Ryan O’Neill and Ronnie McDunnald accentuate the gallop in the rhythms and synchronize a square-dancing tempo in “Reilly’s Daughter,” while culling a warm simmering shuffle along “Black Shamrock.” The cranking pedals of “21 Patty Finn” and “The Brothers Rafferty” put the listener in the heart of the storm, while the cozy rhythmic cobbling of “Me Mother Became A Werewolf” is thatched with folksy bluegrass stalks. The oscillating rhythmic swells of “Take Me Home” seesaw between soothing and rushing fervently harboring an unstable sternum in the melody.
McNorman is heard saying in the intro of “Murphy’s Broken Heart,” that the song “is an Irish love song, but I decided let’s make this an Irish drinking song.” That is true for most of the album. These songs are tales influenced by the events in one’s life, or events in other peoples lives. The verses in “Murphy’s Broken Heart” reflect, “No spring in his step / No lovin’ in his gaze / Murphy’s set adrift / Murphy’s in a haze / She’s gone away like the ride / Murphy’s feeling robbed / (He) sits alone with his thoughts / All Murphy does is sob.”
Produced by Brett Pearsons, Co. Sligo offers a pint of traditional Irish prose joined by tankards of Celtic-rock. The music is typical of Ireland and of old school punk, so where does one draw the line? The Mighty Regis weave songs grounded in an ethnic Irish lilt, and add elements of folk, bluegrass, and punk rock into an album that harbors drinking songs. And every country likes a good drinking song.
Black 47, The Sex Pistols, The Dead Kennedy’s
www.myspace.com/themightyregis (http://www.myspace.com/themightyregis)