Let's get one thing straight right off the bat; they're not the Pogues. The casual listener might be forgiven for making such a mistake, as Flogging Molly is clearly influenced by Shane McGowan's rabble-rousers, but beyond the combination of lyrical Irish folk with punky rock rhythms, Flogging Molly is a band with its own identity. As the accordion, fiddle and banjo toss off traditional sounds steeped in Irish musical history, the slamming drums, raging guitar, and of course vocalist/songwriter Dave King's colorful tales present a forceful rock outfit. "What's Left of the Flag" shows Flogging Molly's political acumen, while "The Sun Never Shines (On Closed Doors)" takes on larger, more metaphysical subjects. But whether the septet, who wield pennywhistles and pipes as easily as Telecasters and Stratocasters, are playing the role of rowdies or reinventing the folk ballad with rocker fury, their emotional commitment is palpable and total.- Web Reviewer
At least i finally got that straightened out. Youll be listening to Flogging Molly, and people say let me take a listen......The Pogues. Cool. Now I'm sure, that Flogging Molly may have had SOME influence from The Pogues, but they're not here to remind us of them. They're here to present themselves as a newer, more different style of irish folk with punk roots. Who would have thought. They bring new things to your mind with Drunken Lullabies, their most successful album. Released in 2002, right after their previous release, Swagger, Flogging Molly revisited some old issues, but also tried some new approaches to their music. With slow songs, lightning-fast songs, and combinations of both, this album is for everybody to enjoy and discover. If you can stand it, that is.
Flogging Molly- Drunken Lullabies
Lineup-
Dave King- Vocals, Acoustic Guitar
Bridget Regan- Violin, Tin Whistle
Dennis Casey- Electric Guitar
Matt Hensley- Accordion
Nathan Maxwell- Bass
Bob Schmidt- Mandolin, Banjo
George Schwindt- Drums
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This review brings me back to track-by-track. I thought it through, and it will be easier on me and most of you to compare and search for the scores of tracks. And for those who hate the format, I'm sorry, I had nowhere else to go, really. Enjoy.
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Drunken Lullabies-
The song starts off with a pounding bass drum and a fast-paced banjo. Bob Schmidt and Bridget Regan are my opinon the best musicians on the whole lineup. The duo continues until interrupted by a quick triplet roll on the snare and Dave's scream and the introductory explosion that we call the true Flogging Molly song starts off. The violin is a also a strong instrument on this track, as it leads the song through the verses and choruses. I love the chorus, and it's what makes the song one of the best on the album. Nearly the whole band joins in and sings along,
"Cause we find ourselves in the same old mess, singing drunken lullabies." Dave's vocals here are also at it's grade-A peak. He has one of the elements that give this music it's true feel. Without Dave's singing, it would just be random drunk music. The breakdown comes in and gets you ready for a repetition of the intro. The roll sets it off once again and in with a violin solo. Perfect song, and one of the many that Flogging Molly truly stands for.
5/5
Whats Left Of The Flag-
The song opens with Dave singing soflty, with great lyrics, may I add.
"Walk away, me boy, walk away me boy, and by mornin' youll be free." Until a slight change of tempo lets you know another sudden loud intro will come your way. Another roll sets it off once again, causing another one of the album's best melodies to flow quite well. This one is very driven by the accoridon, which drives the song right into the chorus, which includes the lyrics from the intro, but faster, and with more help. The highlight here is another violin solo! It's great and captures the song's melody while at the same time making it more interesting. The bridge slows things down and into one last chorus. Great stuff.
4.5/5
May The Living Be Dead (In Our Wake)-
This one invloves no more of surprising intros. Right to the point, the whistles make a statement and off with the vocals. The mandolin comes in hard in this song and gives us great rythmic material. The highlight here are the whistles' intro line. It gives this track it's feeling and always keeps it going. Dave's lyrics dont dissapoint here, both verse and chorus vocals are as satisfying. But the lyrics themselves on the chorus stand out more, making a great appearance with the matching whistling melody.
"Tell me why, no one listening, is there notin' at all left to say, in a world so unforgiving, you mean more to me each and every day, so may the living be dead in our wake."
If the song didnt give us the sudden intro, it gives us the sudden stop at the end.
4/5
If I Ever Leave This World Alive-
Most of this song is a ballad. Dave takes center-stage on the acoustic and on vocals. While light violin and mandolin make apperances in the backdrop of one of the most sentimental tunes on here. Dave goes through three verses and choruses of great vocals. After the third verse, the rim on George's set comes in for a little while. And you can tell more are coming. Dave starts to raise his voice, and for the bridge bass comes in, and then, a great loud fill on the set, and the song gets a better feel. After they all come in, theres no more vocals involved. But it closes it on a great note. This is one of the slower songs on the album, and one of the best.
5/5
The Kilburn High Road-
Distortion creeps up slowly, and Dave's "ONE, TWO THREE, FOUR" sets off one of the more heavier tracks on Drunken Lullabies. This one is finally a lot more, guitar-driven and makes one great appearance. Dave's vocals lead the song right through the melodies until the chorus with the band on backup vocals come in and on with more violin and mandolin lines. Something different to notice here, is drums. Throughout the first half of the album, George does nothing else. Same beat, but although this one has the same beat, it features great fills that keep the verses going. And my, my. A guitar solo. To close the song. Another fill on the toms, and one last chorus.
"For we're the kings of it all, for the day we were born, now we're the kings of the Kilburn High." 4/5
Rebels Of The Sacred Heart-
The first half of a great album leaves us off with also the longest. "Now im aiming for heaven, but probably wind up in hell." Dave provides great vocals on a slow, light intro, and yea. Another creeping-intro. But this one is more enjoyable. You would actually think that judging by the title, it would be a long ballad. But it actually features the best whistle-line on the album. The highlight for me here are the lyrics on the chorus and the awesome accordion solo. This is one of the best-flowing songs on the album. The breakdown is basically the intro with different lyrics, and on with the highest-powered chorus on the song. More great stuff.
"Well, no ball nor chain, nor prison shall keep, we`re the rebels of the sacred heart " 4/5
Swagger-
The second-half starts us off with one of the very few instrumentals that Flogging Molly have ever put out there. Like I said, without the vocals, it just sounds like very weak, drunk irish fold with no point or plot for that matter. Swagger starts off with a flowing sound of all the intruments very slow, anbd then the guitar makes a pretty noticeable lick that sets the song off into a faster tempo. The highlight here, (there barely is any), is the guitar. Its what makes the song. And thats not saying much. It gets way too repetitive, as it ends on the same godamn riff as it started on. It gets very annoying and only worth listening to about once, twice tops.
2/5
Cuel Mistress-
"Next time out to sea, bring enough soul to bury me, for I don't want me final jig, in the belly of a squid" These are the words coming out of bassist Nathen Maxwell's mouth in a very sinister tone that starts off the song. The accordion keeps this song going. And if youve ever heard 'Salty Dog', then youll see.....Resemblance.Pirate-talk owns. The highlight here have to easily be the very well-arranged vocals. Nathen's tone gives this track the best excuse for it being a pleasure of listening. The pounding steady bass also keeps the song on it's toes, supplying us with some of the more faster material on the album. The song ends with the same exact vocals it starts out with, which is astounding, as the chapter has closed to open once again later.
4/5
Death Valley Queen-
Another of the slower tracks on the album, this song has more stuff to focus as far as the verses go. The great thing about this song, is that the material really doesnt have anything that special going for it. Its simple melodies. And it sounds wonderful. Other than the violin solo, of course. The highlight for me is the bridge, as it slows down to just acoustic and vocals, and Dave screams the lightly-repetitive line, and a soft roll comes in and folds in the song for the rest of us. Not the best, but with enough material to make it enjoyable for a long time.
"So death valley queen, go marry your king , or an old maid you'll end up for certain." 3.5/5
Another Bag Of Bricks-
I love this song. It has a brand-new feeling. The strange arabic-like accordion is one of the best features this album has. The verses are joined by many back-up vocalists. As the accordion does it for me, the heart-pounding bass also hangs in there, although simple, keeping the song in place, and the mandolin follows the accordion through every measure. The bridge includes a little solo session for all the instruments, and Dave echoes the beginning lyrics, and makes you go, what a great song. But no, its not over. The drums get more motivation and it follows through the same addictive line until you reach the bottom of this fine knot of melody. Great, great tune. A must-listen.
"So when you get to heaven, may the devil be your judge." 5/5
The Rare Ould Times-
This title just screams ballad, right? Wrong. Another creeper-upper, as I have found a term for the process now. Although some people would consider this filler, I agree partly on that. Its clear that the melodies werent well-thought-out. But what really makes the song worthwhile are the vocals. I guess I dont stress enough what Dave exactly brings to the band. Maybe this song will set it straight. Not much else to say, if more people liked Flogging Molly's first album, "Swagger", then this track will remind you and wont dissapoint you. As for myself, I can still listen once in a while. Dave's work shines.
3.5/5
The Son Never Shines (On Closed Doors)-
A ballad. What we've been waiting on. And damn, do they do a great job. Slow, steady vocals make it the perfect track for the perfect Flogging Molly album. Bridget Regan, joins in on vocals, and gives it more of a ballad feeling, as Dave cant exactly do that with his sort of menacing voice. All their albums end on this note, and I think thats important, to show this side of their thoughts and ideas as well. Not the best slower song on here, but take it for a test-drive why dont you.
3.5/5
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Pros
+Vocals and Lyrics
+Bob Schmidt (Mandolin, Banjo)
+Bridget Regan (Violin, Tin Whistles) + :naughty:
+FM's best
Cons
- No "great" drum material
- The creeper-upper intros get repetitive
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Flogging Molly I think has to be one of my favorites. Gentlemen, I've tried The Pogues, and I'm sorry, but for me, it just doesnt compare. You could say the Pogues invented the syle, but I guess Flogging Molly perfected it. What we're looking at here is the best the band has to offer at the moment, and got them where they are now. If you want something different, to change from your every-day playlist, then look forward to Drunken Lullabies and give it a try. Its not exactly The Pogues, its not exactly every-day punk. Its just perfect.
4.5/5
