Pub Songs on Palafox is a four song, lo-fi EP recorded in the raw as a live-air production that captures the energy and sound of a Lojah solo performance while busking downtown Pensacola, Florida in competition with the various sounds of a bustling city street.
Lojah begins with a rowdy Irish pub tune, Dicey Reilly, about a lush of a woman who spends her life crawling from pub to pub; a sailor’s favorite. The Black Velvet Band is another classic Irish ballad about infatuation, deceit and injustice which takes us out of the pub and away from the Emerald Isle to a penal colony in Australia. Following up is Looks Like Jesus, a rockabilly-blues styled piece and a Lojah original tells the story illustrating the conflict between despair and ambition, shroud with esoteric imagery, set in the Southern atmosphere he calls home. Miss Constance concludes the record, a naughty Caribbean-styled tune about the perils of younger women.
Lojah’s Creolized Roots Music is a style deeply influenced by Caribbean rhythms, Celtic melodies, and blues.
Death is a popular theme in Irish Music. Emblematic of this is the Irish Wake, an often rowdy gathering of mourners around the body of the departed, traditionally held in a family member’s home. McGuire’s Irish Pub and Rich McDuff have drawn upon this theme in the production of The Irish Wake, CD of popular Irish tunes.
Proclaimed as “music for and about an Irish Wake that includes solemn to lighthearted and humorous tunes,” the Irish Wake delivers upon its promise. These are high-quality musical arrangements making use of traditional Irish instruments, and with a few tunes characterized by layers of vocal harmonies. This is most noticeably heard on “Amazing Grace,” sung by Molly McGuire, making for a creatively unique and interesting rendition of the song. Some of the other highlights include “Rosin the Beau,” and “Isn’t it Grand Boys” (featuring the Boston Boys, a group of young McGuire’s patrons), and the title track – a Rich McDuff original.
This is a somber disk containing 14 tracks, each one another variation on the theme of death, and in some cases resurrection. Packaged in the standard CD jewel case, the cover photo is quite fitting for the music on this disk; an old Irish cemetery marked by generations-old Celtic crosses enduring the turn of the centuries, reaching grimly toward a grey sky.
Produced by Rich McDuff, and featuring Molly McGuire, the McGuire’s Pipe Band, and many local singers and musicians who frequent the pub, The Irish Wake is a great choice for fans of Irish music looking for a mellower listening experience. Entitled to compliment the Irish Wake, a green, rum-based drink popularized by McGuire’s Irish Pub, this CD is a clever bit of marketing as well as a pleasant journey through Irish music. A patron can enjoy an Irish Wake at the bar or in the restaurant, and before exiting the pub, stop in the gift shop and pick up a copy of this disk to remember his experience at McGuire’s.
It can also be ordered here.
The Irish have produced some of the best drinking songs ever written. Characterized by their catchy melodies, comical lyrics, and their tendency toward tragic endings; a good night of pub-singing is a communal activity with much crowd interaction and participation. The following is a list of my top nine Irish Drinking Songs, in no particular order. Why nine? If you must ask, perhaps you need to learn more about the Irish.
1- Beer, Beer, Beer
This is a straight forward song in praise of the fictionalized inventor of beer, Charlie Mopps. The name is meant to rhyme with barley and hops. The lyrics mostly describe how beer is made, where it is sold and how much better life is now that it has been invented. As far as creativity is concerned, lyrically this song is not the best. But it’s a great sing along tune the best thing about this song is its catchiness for group singing.
2- Waxies Dargle
The singer tells us of his woman and his friend’s woman going about
trying to get money in order to go to the “Waxies Dargle,” a popular vacation spot on the bank of the River Dargle. Like so many other Irish drinking songs, the two women go about selling personal possessions, even some belonging to the singer himself in order to afford drinking money. The catchy hooks ends each round with the words “”What’ll ye have? Will ye have a pint? I’ll have a pint with you, sir. And if one of us doesn’t order soon we’ll be thrown out of the boozer.”
3- Whiskey You’re the Devil
A bit of a counterpart to “Whisky in the Jar,” this song is about the hazards of drinking heavy spirits. “Whiskey You’re the Devil” contains one of the wittiest verses in Irish drinking music; “Said the mother ‘Do not wrong me. Don’t take me daughter from me. For if you do I will torment you and after death, me ghost will haunt you.’” The chorus of this tune is the kind that just urges one to sing along.
Tim Finnegan was a construction worker who had a bit of a drinking problem. He had a drink every morning before going to work. One day he had a bit too much and fell off a ladder and broke his skull. After everyone arrived at his wake, Finnegan’s widow served lunch followed by whisky punch. In short order some one said the wrong thing to another and a fight breaks out. Bottles of whisky are hurled through the air until the liquor platters over Tim’s corps. The whiskey magically revives him. Tim Finnegan stands up from the bed cursing the waste of good liquor and asking if they really thought he was dead.
5- All For Me Grog
Grog is a combination of liquors popular especially amongst sailors in the 18th and 19th centuries. Essentially it was a mixture of whatever was left over. The lyrics of this song tell us of what appears to be a pirate coming ashore with his plunder. He spends all his money on wild nights with gin drinking women. The poor fellow parties his way through several days until he is “sick in the head” and “full of pains and aches.” He eventually sells everything from his boots to his shirt for money to buy beer and tobacco and decides to head back out to sea in order to get away from all the trouble he has caused for himself in port.
6- Jug of Punch
Whiskey Punch is made with sugar, lemon, and water … and of course whiskey. This song begins with a man sitting peacefully in his room. Before long he is overcome with the desire to go out and have a drink. We next meet him in the pub with a “pretty wench” on his knee, but before long he finds himself in a bad way. The song traditionally ends with the singer proclaiming that upon his death; “just lay me down in my native peat with a jug of punch at my head and feet.”
7- Dicey Riley
One of the catchiest tunes in the Irish Drinking repertoire; Dicey Riley is about one hard drinking woman. She starts each day with a few drinks and continues on throughout the rest of the day. Each night she closes down the pubs, trashed and if she doesn’t have a friend to see her safely home she’ll sleep off her drink on a local park bench, only to do it all again the next day.
8- Whiskey in the Jar
Perhaps one of the most over played Irish drinking tunes, this one is a standard that has even been performed by the heavy metal band Metallica. The song is really about a robbery. The singer tells how he encounters one Captain Farrell in the mountains and demands his money at the point of pistol and rapier. He is eventually betrayed by his beloved Jenny, arrested and taken away by the very same Captain Farrell.
9- The Wild Rover
Actually a song written for the Temperance Movement, it is ironic that this song has been so lovingly embraced as a drinking tune. Simply put, the song is about a roving man who has decided to repent of his rambling and drinking ways. Along with “Whiskey in the Jar,” “The Wild Rover” is one of the most well known Irish drinking songs, so when it is played it is sure to get some crowd interaction.
The tavern is an intrinsic feature of Western society. Contrary to the reputation commonly associated with drinking establishments as dens of debauchery, locations inappropriate to delve into subjects of religion or politics, the whole of Western civilization in fact owes much of it existence to the local pub. The roots of this tradition run back through the centuries and helped bring Europe out of the dark ages toward the Age of Enlightenment.
The historic progenitor of the bar or nightclub in the West is the Germanic and Nordic mead hall, popular especially during the European Dark Ages. Originating in the Germanic and European longhouses, from around the fifth century onward the mead hall was the primary residence of the king or chief and his theigns or other retainers. Often the most well fortified structure in the Anglo-Saxon village, the mead hall served a similar purpose as did the keep in later medieval cities. As the preeminent building of the Dark Age kingdom, the mead hall hosted the stately ceremonies and celebrations of the community.
As Western Europe became steadily more Christianized, amongst the aristocratic classes the Germanic mead hall along with its social and ceremonial focus was transformed into the banquet hall. But amongst the working classes and the poor, the social and ceremonial significance of the mead hall was transferred to the taverns and workhouses. In fact the word tavern is derived from the Latin taberna which was a workhouse or retail center for craftsmen as well as an apartment style lodging, housing freedmen and travelers. This is the origin of the public house or pub that is so common in Western Europe and her colonial nations.
Throughout the medieval period the public houses or taverns became centers for lodging travelers and merchants. They became the central gathering points of craftsmen seeking safety from bandits and highwaymen and thereby became the focus of trade meetings. It was within these taverns that the medieval guilds were established whereby craftsmen and artisans could share and protect the secrets of their trade such as architecture, glassmaking and other crafts. For this reason taverns and lodges became the few places in the intellectually oppressive medieval European society where freedom of speech, especially of a religious, philosophical and political nature could be exercised and protected, if only clandestinely.
There should be no wonder that during the Enlightenment era of European society that the tavern or lodge is where Freemasonry and other secretive societies emerged from the shadows. Freemasonry is the inheritor of the European architectural guilds transformed into a philosophical society complete with ancient rituals and respect for religious and political diversity. The four primary lodges upon which modern Freemasonry is established originally met at four respective taverns; the Goose and Gridiron Alehouse in London in St. Paul’s Churchyard, the Apple Tree Tavern, the Crown Alehouse, and the Rummer and Grapes Tavern.
In 1716 these four lodges gathered at London’s Apple-Tree Tavern where the first pro Tempore Grand Lodge was established, the eldest Master Mason was instituted as Grandmaster and an agreement was made to hold annual meetings amongst themselves to formalize and regularize the Craft. The following year; June 24, 1717 the four lodges met at London’s Goose and Gridiron Alehouse where the Grand Master was elected and the founding of the first regular Grand Lodge of Freemasonry was finalized.
Like Freemasonry briefly before it representatives from all over England, Scotland, Ireland, Wales and Brittany met at the Apple Tree Tavern on September 22, 1717 to form the Revivalist Druid order An Druidh Uileach Braithreachas (The British Circle of the Universal Bond).
The ancient tradition of the Tavern acting as meeting house for gathering warriors, the discussion of philosophy and politics continued in the American colonies. In the absence of a national media the Tavern was the primary place where early Americans heard the news and discussed their political opinions. The Tun Tavern in Philadelphia, Pennsylvania, like the Apple Tree Tavern before it was used by multiple groups and organizations. The St. Georges Society, a charitable organization devoted to assisting newly arriving poor Englishmen to the colonies was established here in 1720.
Hailed as the birthplace of American Freemasonry, in 1732 St. John’s Lodge No. 1 of the Grand Lodge of the Masonic Temple was established in the Tun Tavern. And like the St. George Society before, in 1747 the St. Andrew’s Society was founded here as another charitable organization, this time assisting newly arriving Scottish immigrants.
In 1756 Benjamin Franklin used the Tun Tavern as a recruiting station for the Pennsylvania Militia. In 1768 the New York Chamber of Commerce was founded in the Tun Tavern’s Long Room where its officers continued to meet until 1770. This same Tun Tavern Long Room was also used by George Washington and Thomas Jefferson for the meeting house of the Continental Congress and as the recruiting station for the Continental Marines, now known as the United States Marine Corps.
Fraunces Tavern in New York played a central role in the organizing of the American Revolutionary War. The Son’s of Liberty used this tavern as a meeting place to discuss their revolutionary activities. In 1774 Fraunces Tavern hosted a tea party much like the Boston Tea Party before it, in which the patriots dressed as Indians and dumped British tea into New York harbor. And in 1776 the New York Provincial Congress met at Fraunces Tavern.
According to the Memoirs of Colonel Benjamin Tallmadge; at the end of the Revolutionary War on December 4, 1783, Fraunces Tavern hosted George Washington’s victory banquet in the Long Room where this iconic general said farewell to his officers as he resigned his post in order to insure that the newly established United States did not become a military dictatorship. After the ratification of the United States Constitution, Fraunces Tavern was used to house the departments of the Treasury, War and Foreign Affairs.
Bars, pubs and taverns are the traditional establishments where the freedom to speak one’s mind and offer challenging and revolutionary ideas has been protected. Concepts like liberty, republicanism, democracy and rebellion emerged from these establishments throughout the centuries. The United States’ First Amendment freedoms owe their existence to freethinkers exercising their philosophical muscles over a pint of beer or a glass of wine. From its roots as a tribal ceremonial house to its later adaptations as a place of revolutionary thought and activism, the tavern has been the lifeblood of Western civilization.
Lojah is a Native American-Irish folksinger from Pensacola, Florida. He describes his eclectic sound as Creolized Roots Music, influenced by Caribbean rhythms, Celtic melodies, and Southern American blues. His music is immersed in social realism, and arcane insight woven together with tongue-in-cheek witticism and a festive vibe. He is currently performing acoustic sets along the Gulf Coast.
“Pub Songs on Palafox” is a four song, lo-fi, EP recorded in the raw as a live-air production that captures the energy and sound of a Lojah solo performance as executed while busking downtown in competition with the various sounds of a bustling city street.
Lojah begins with a rowdy Irish pub tune, “Dicey Reilly“, about a lush of a woman who spends her life crawling from pub to pub; a sailor’s favorite. “The Black Velvet Band” is another classic Irish ballad about infatuation, deceit and injustice which takes us out of the pub and away from the Emerald Isle to a penal colony in Australia. Following up is “Looks Like Jesus“, a rockabilly-blues styled piece and a Lojah original that tells the story illustrating the conflict between despair and ambition, shroud with esoteric imagery, set in the Southern atmosphere he calls home. “Miss Constance” concludes the record, a naughty Caribbean-styled tune about the perils of younger women.
I naturally met JJ Smith at McGuire’s Irish Pub in Pensacola a couple years back. Kilted in the tartan of the Lamont clan, JJ runs a show that is not just a folk music performance but a bit comedic shtick as well. His crowd-interactions make for some of the evening’s high points.
JJ’s style stands out from the majority of the singers I’ve met on the Irish pub tour in several ways. To begin with, his personalized renditions of the classics reveal significant blues, and American country music influences, which bring the Celtic style home to the American South. Live, JJ makes use of a lot of bass runs on his guitar which often helps to add a subtlety and a sense of motion outside of the songs’ basic chord structures.
JJ hails from Stonehaven, near Aberdeen, Scotland, but has resided in St. Petersburg, Florida for the past several years. While in the States, he has steadily toured the southeast and managed to produce two album releases: Druid Roots Going Home, and his solo album JJ The Balladeer. They’re both great and very distinct from each other.
Druid Roots was a trio JJ was a part of, a rather eclectic mix of folksy styles. The album projects a heavy Celtic theme with very noticeable elements of East-Indian drumming, country-western music, and a hint of rock and roll. My favorite track is Stonehaven Waltz, a traditional sounding Celtic ballad, but the whole album is worth the listen.
The Balladeer contains 15 tracks of excellently produced Celtic ballads. JJ’s resounding baritone voice coupled with the full and sometimes booming open strings of his guitar create layers of richness within each song. The songs are mostly mellow, somewhat nostalgic pieces. The highlights include Galway Shawl (my personal favorite); a cover of the classic U2 hit I Still Haven’t Found what I’m looking For; and Whiskey on a Sunday.
Larry Kernagis is distinguished as the Chief Leprechaun of the Nashville based Celtic band cleverly named Def Leprechaun. With a full repertoire of classic Irish folk and drinking songs, Larry also tours as a solo act. I was fortunate enough to meet Larry at McGuire’s Irish Pub in Pensacola, Florida during this summer.
As a skilled performer, Larry’s rich personality shines through his stage show. He’s friendly and personable, and interacts with the crowd brilliantly, accepting requests or limericks from the audience, bringing them into the show rather than keeping them as simple observers. I’ve even been fortunate enough to sit in with him on a couple different occasions.
Since many newcomers to the Irish music scene may not be familiar with the well known or regionally adapted responses to the classic ballads, Larry often takes a moment to bring them up to speed, making the evening a truly interactive experience. He also brings with him a set of “The Viking Pirate Captain’s DL Songbooks,” with the lyrics to over 100 of the world’s favorite Irish pub songs for use by the audience.
Larry is fluent on both banjo and guitar, switching between the two instruments frequently throughout the night, adding to the diversity of his style. He plays to his crowd, and as the night progresses Larry might incorporate other well known American classics in the spirit of Jimmy Buffet and Elvis Presley, but he otherwise keeps the set tight with Irish tunes.
Larry Kernagis is originally from Chicago, but relocated to Nashville, Tennessee where he formed his band Def Leprechaun. His performances make for an evening of ruckus and revelry. Over the past few weeks, I’ve come to think of him not only as a great performer, but as a friend.
Don’t miss Larry Kernagis, whether he is in Pensacola, Nashville, or Las Vegas. If you’re a little Irish or even just a fan, you’ll love Larry’s show.
Rich McDuff is Northwest Florida’s most popular Irish folk music performer. With a loyal and regular fan base, Rich helped build and define the music scene at McGuire’s Irish Pub while performing there for more than twenty years.
Although the moose-kissing tradition at McGuire’s predates Rich’s arrival on scene, he is responsible for writing the accompanying, and now entrenched “Kiss the Moose” song. He explains “When I began playing here, asking a first-time patron of McGuire’s to kiss the moose might be met with a bit of confusion and resistance. The traditional aspect was lost on them. I figured if there was a song to go along with it, it would give the tradition a bit more validity for first-time visitors to the pub. And it has worked out pretty well.” Now every act that performs at McGuire’s plays this song, and the moose-kissing tradition has expanded to include not only the moose but a couple other McGuire’s fixtures as well.
Rich is also known or pushing the bounds of the debauchery which is naturally as part of McGuire’s slogan. His “Dirty Limerick” song, played to the classic mariachi tune of “Cielito Lindo” contains rhymes that could even surprise a hip-hop fan. Many of Rich’s regulars eagerly look forward to this point in the evening, awaiting their opportunity to share the stage with him and recite their own limerick specially prepared just for this song. The best and most classic limericks are written on a scroll and tucked away in the secret archives, only to be taken out upon the performance of this tune.
Even more entertaining, energetic, and amusing is Rich’s version of “Seven Drunken Nights,” with extended responses – a wee bit too naughty to be written down here. This point of the night is when you are likely to see the most crowd participation. This rendition of the classic Irish song is memorable, if not for the increasingly lengthy responses, but the reactions and looks on the faces of new comers to the McGuire’s scene.
Crowd interaction is a major part of Rich’s act. You never know just where the night will lead or how ridiculous the antics are likely to become.
Rich’s set also contains a set of American country, and acoustically played classic rock songs familiar to everyone. As a classically trained guitarist, Rich McDuff’s musical talent becomes most apparent when he plays a traditional jig or reel or the occasional classical guitar piece.
Rich’s revolving schedule alternates between the pubs in both Pensacola and Destin, Florida. While he is away, his regulars in Pensacola always look forward to his return. Some will even make the drive to Destin to see him when he is performing there.
The first time I ran into the Irish music duo Dun Aengus was at McGuire’s Irish Pub in Pensacola, Florida in March 2010. It was the last night of the Renaissance Faire and a handful of us met up at the pub for a drink. They were a great band that night, playing a lot of the classic Irish drinking songs I’ve known and loved. I would have gone up to the pub to see them again but they were on tour and leaving for south Florida the next day.
I caught up with them again the following St. Patrick’s Day, once again at McGuire’s. They were rocking the house with popular Irish and Scottish tunes and a few popular American classics for good measure. Just like last year, Dun Aengus had the crowd enraptured, gathered on the floor in front of the stage dancing with wild abandon to these classic sing-alongs. The Irish was certainly high that night.
Hailing from Sweden, Dun Aengus consists of Peter Andersson on banjo and vocals, and Martin Rahmberg on acoustic guitar and vocals. Martin’s gruff singing style contributes a real rootsy “beer and tobacco” quality while Peter’s smoother harmonies and verses compliment and broaden the sound. Peter’s banjo leads also carry the melodies that distinctly bring out the Celtic quality of the music. Their repertoire includes such classics as “Whiskey in the Jar,” “The Wild Rover,” and “All For Me Grog,” and a full night’s compliment of others.
Dun Aengus is an excellent Irish music duo worthy of some support. I’ll be keeping track of them so I can catch them again next time they‘re in town.