There’s just something about pirate metal. While musically they couldn’t be further removed from actual historical pirates, there’s something in their dress/manner/attitude that makes you believe they “get it.” Blackbeard might have drunkenly sang the songs of the folk singer, but I’d bet gold dust that he’d rather party with the metal-heads. I myself have a special relationship with pirate metal – namely in that it’s the only genre of pirate music that I often need to evaluate/appreciate without ever actually understanding the lyrics. It’s a common trait amongst metal bands to yell and growl unintelligibly – and while it’s not my place to fault them for it, I do find it a bit hard to relate to at times. And this is why I’m particularly appreciative when a band such as Skull Branded Pirates comes along – metal that rocks, but lyrics I can follow.

The Legend of Salty Jim begins with the instrumental track Sail to War. Slow and epic, it takes on the spirit of a movie soundtrack; inviting images of warships before the battle to dance through your head. This track merges directly into Cross Skull Thieves, a song that brings us up to speed with what to expect for the bulk of the album – highly energized electric guitars and drums are joined by a Dio-esque lead singer as he weaves his piratey lyrics of our favorite things (plundering, pillaging, and other salty endeavors.) The pace is fast and aggressive, while also seeming (to this non-expert in metal) pleasantly retro. Cross Skull Thieves sets a tone that is largely echoed throughout the majority of the album’s tracks – all very fun and very good, although also somewhat sounding alike. The magic, however, is in the lyrics for those willing to listen closely. And even from a strictly instrumental perspective there are a couple of standouts. Far Beyond Forever, for example, takes on a slower opening with gently rolling guitars. These are soon joined by vocals that convey a slow strength in a tale that never quite defines itself, but rather cleverly skirts from drinking and dancing to battle and madness. As the subjects change, so does the pace as the music gradually grows faster and faster – by the song’s conclusion it’s classic Skull Branded Pirates through and through.

Throughout the album a number of piratey and pirate-friendly subjects are covered. Hempen Jig would seem self explanatory, while The Stormed & Cursed Seas advises the listener to buck up and face the storm (after all, going down with the ship is better than being stabbed in the back.) So far, pretty standard material. But the CD’s title track, The Legend of Salty Jim – The Lobster King, takes a marvelously surprising tack as it tells the tale of a man-sized lobster who’s battled, befriended, and then made into a battle steed by the singer. The visuals of a pirate riding a giant lobster through the town with cannons mounted to its face are indeed priceless (and make for a fun song as well.)

Perhaps the most noteworthy song of the album is Blackbeard’s Last Stand. Slow and methodical, it accurately recounts the tale of Teach’s defeat at the hands of Maynard and crew. This of course has been done before, although never – to my knowledge – in the form of a metal song. But what’s more, the song transforms itself from a mere narrative into a full-on musical dramatization, with Blackbeard and Maynard each singing their own lines. This, I believe, is a musical first.

The Legend of Salty Jim is a metal album from stem ta stern. Fans of metal and pirate-core alike will find much to love about this album. The Skull Branded Pirates have a truly unique sound amongst the pirate genres, and thus may add some fine variety to any collection.

Genre: Pirate Metal
Rating: PG
Target Audience: Pirate-Core fans, whether they’re metal fans or not

Alestorm’s Captain Morgan’s Revenge every bit appears the standard pirate metal album – the front cover features a skeletal demonic pirate screaming into the eye of a storm, while the back is emblazoned with an original jolly roger over a compass rose and crossed pistols. The packaging is definitely piratey. But as we know, the very nature of metal sometimes make for an album whose cover is the only thing that’s clearly piratey. All too often the typical thrasher growls and yells of “yarrr wahhhh grrrramoad!” could just as easily be “singing” of devil pigs as they might of pirates. This is the crux of pirate metal - but not so with Alestorm.

Captain Morgan’s Revenge begins with the track Over the Seas. It comes on strong and epic with drums, electric guitars and keyboards. This is immediately the music of adventure – full of flavor and glory. And then the lyrics join in, growly and rough – but what’s this? Rather than, “warrrbarrrr sckunnn” we hear a tale of lost treasure and deep sea voyages – clear as a bell (a piratey, rusty bell, perhaps, but still plenty easy to understand.) To my mind this immediately thrusts Alestorm to the head of the pirate metal pack – as a non-metal head I look for piratey lyrics to let me know that I’m not being tricked into listening to fluffy love songs, and Alestorm delivers.

Subsequent tracks delve into other piratey topics. The titular track tells a story of cursed pirates enjoying their last night on Earth. Again a song of adventure, it also boasts a swaggering sing-ability that I don’t often associate with metal – a group of pirates could easily sway their mugs to the music and join in. The Huntmaster takes a faster approach as it shares the story of a wronged hero taking vengeance on his oppressors – sword in one hand, tankard in another. With lyrics such as, “with the power of ale he could not fail,” it’s easy to anticipate this becoming a fast favorite at pirate parties. Nancy the Tavern Wench then takes a slower, more balladish approach as it pays somber tribute to the ladies that see to a sailor’s thirst at the end of the day.

The album continues on with further songs of standard pirate subjects – battle, treasure, wenches, and drinking. The songs are diverse enough to stand apart from one another, while always maintaining a distinctively Alestorm quality. Some of the songs (The Huntmaster, Wenches & Mead) have a slight, tongue-in-cheek humor to them, and many of them also boast a surprising catchiness – “catchy” is rarely a word I would apply to metal, pirate or otherwise, but much of Alestorm is indeed catchy, which makes for an album that’s a joy to listen to again and again.

Captain Morgan’s Revent is a brilliant CD. Where most pirate metal is an acquired taste, Alestorm is a band I can heartily recommend to all pirate-core fans without condition or hesitation.

– Volume 1

– Volume 2
Genre: Various. Ranges from traditional to metal to lounge. Seriously.
Rating: PG
Target Audience: This is perhaps the most universal collection of pirate music ever. If you love any aspect of the genre, these albums are for you.

A short while back I was asked (and I paraphrase,) “I think I’m interested in learning more about pirate music, but I don’t know where to begin. Any suggestions?”

It’s a big question, and the answer may wildly vary depending on who’s asking. Someone with a background in sea shanties would likely enjoy the traditional styled pirate music of Marooned or Bounding Main, while someone with more contemporary tastes might prefer Pirate-Core, as could be found with Pirates R Us or the Jolly Garogers. Of course, both options sound deceptively brief, as Pirate-Core and Pirate Traditional alike feature a gargantuan variety of styles and flavors. Traditional can be found somber or quirky, historical or original, piratey or more generalized nautical, and so on. Pirate-Core of course can range from punk to metal to rap, and so very much more. So where to begin? It’s tough to say.

Actually, with the release of Lafitte’s Return Volumes One and Two, maybe it’s not so tough after all.

The Laftitte’s Return albums are produced by the Pirates for the Preservation of New Orleans Music (PPNOM) – a non-profit organization dedicated to aiding school music programs in New Orleans in the wake of Hurricane Katrina. It’s a fine cause in itself, but it’s also an excellent charitable focus for music-loving pirate fans. All proceeds from the sales of Lafitte’s Return go directly to PPNOM, which means more kids living in swamp land can learn to hum and play instruments and make pirate music of their very own, and thus the circle of life continues.

So now that we’ve addressed the feel-goodery of these albums, let’s address whether they’re actually worth buying, or if it’s just a charitable donation with a CD attached to it – and I’m quite pleased to say that these albums are worth every penny!

Between albums 1 and 2 (each sold seperately) we’re talking 41 songs. Some of them would qualify as general sea shanties (Spanish Ladies, Jack Tar, Farewell to Nova Scotia) but the vast, vast majority are distinctly pirate in subject matter. The style ranges all over the place – lovers of traditional pirate tunes will find Skip Henderson, Rusty Cutlass, Skeleton Crew Pirate Band, Salt Sea Pirates, The Pyrates Royale, Rant&Roar, and many others, while fans of Pirate-Core will be treated to Sforzando, Billy Knight, The Pirates Charles, There Be Pirates, Scuurvy, Sunken Chest – and this list too goes on. All told, it’s a delightfully diverse mix of pirate music, with something – many things – to please pirate fans of all tastes.

If you’re new to the world of pirate music, Lafitte’s Return can serve as an entry point without equal. If you’re already a seasoned fan of pirate music, you’ll likely find Lafitte’s Return to be a wonderful mix of your old favorites, your new favorites, and – more likely than not – several new discoveries.

A must have for all pirate music lovers.

Genre: Heavy Metal and traditional
Rating: PG-13
Target Audience: Late teens to early retirement

Pirate metal isn’t a new thing – several bands, in fact, have tackled this concept before. But in many cases the only real way you know the music is piratey is by the album cover artwork, and maybe the names of the songs. This is because the untrained ear is unlikely to understand the growls and yells, let alone determine if the lyrics are composed of anything remotely relating to pirates.

No such problem with Swashbuckle. Their music is metal, true enough, but the lyrics – while still throaty growls – remain clear enough that anyone should have no problem understanding the “yo hos” and “bring on the wenches.” But Swashbuckle goes one step further and mixes some traditional spanish guitar and other period sounds into their otherwise tough metal style.

With some deviation, Swashbuckle’s album Crewed by the Damned alternates style between each song, offering one metal, the next traditional, and the next metal once again (and so on.) The metal songs are full of energized guitars and drums, while angry growls yell out all sorts of piratey lyrics (avast ye, drink up me maties, and scalliwagg are all words and phrases heard in some abundance.) The music is fast-paced and kick ass. The non-metal songs spliced between the metal offerings are primarily instumental, and much less aggressive in tone. They nonetheless offer their own range of styles, with some being quick and peppy, and others slow and contemplative.

Crewed by the Damned could be viewed one of two ways. For the purist metal fan, or the purist traditional afficianado, this is a case of Jekyl and Hyde, mixing the saint and the sinner (which is which depends on your particular taste.) But for the more universally inclined, this album offers a fine taste of two vastly different (while dually piratey) genres. It’s an interesting experiment, and one that I think pays off. While some of the metal is a bit abbrasive, and some of the instrumental a bit tame, the album overall is well crafted, and certainly worth a spin or two.

Genre: Pirate Metal
Rating: PG
Target Audience: Ages 15 and up

Making instrumental music sound piratey is commonly done with squeeze boxes and banjos, as is demonstrated by a whole range of traditional sea-shanty artists. It is also commonly done with orchestras, as can be seen in an assortment of swashbuckling movie soundtracks. But to make music piratey utilizing rock band-era electric guitars and drums, and to do so before a single “I’m a pirate” type lyric is even uttered, is another trick entirely. Few bands try, let alone succeed.

In their first full-lenght CD, Aurum Piraticus Aetus (Gold makes Pirates Happy, according to my sub-par latin skills), the pirate band Verbal Deception brings on a full broadside of aggressive metal music ripe with lyrics of villainy at sea, and with instrumentals seething of fantasy and distant lands. And on occasion, they even strike those brilliant but illusive pirate instrumentals. And when keyboards and electric guitars manage to sound piratey, it’s a beautiful thing indeed!

The album opens with surf and seagulls, quickly overpowered by gently creepy keyboards and drums. The pace picks up as guitars and vocals – with occasional insertions of more seagulls, and cannonfire – come in to sing of bloodlust and piracy. The vocals are the deep growls – more spoken than sung – that one often associates with metal music, and something I freely admit being largely unaccustomeed to. If you are also amongst the unintiated when it comes to headbanging, then be warned that there is a learning curve. But I found this curve to be surprisingly brief, and I was developing an appreciation for the angry pirate lyrics much sooner than I would have expected. This first song, “Pirate Attack,” contains elements of dockside tavern music hidden beneath the more modern metal elements, albeit translated through electric instruments. Very fun, and surprisingly piratey.

The next three tracks, “Jewels of the Dead,” “Halls of Illusion,” and “Northern Shores,” continue a tale of piracy, dementia, and war – a tale that’s supplemented by journal entries in the CD liner. The lyrics contain many pirate elements, although the music itself lends more towards fantasy. Frequent use of metal guitar and keyboards makes for an ongoing “rock epic” soundtrack of a story that doesn’t fully exist (perhaps that’s the job of the listener.)

“Pieces of Eight” is the album’s lone instrumental piece. Highly energized, it suppliments its metal foundations with fantasy and just a hint of piracy.

“The Scarab” is my least favorite on the album, mainly in that the lyrics leave me scratching my head. Something about a beetle. But then, the lyrics also claim the singer is drinking rum, so maybe I understand after all. The music is one of the more straight-metal sounding on the album, without much fantasy or piracy in the mix. Lots of guitars.

“High Seas” returns us to more familiar content. A brief taste of traditional-sounding (as opposed to electric) guitars provides a nice change of pace before the lyrics chime in with imagery of galleons, beaches, and death. The music speaks of danger and adventure. “The Watcher” then takes over and speaks of a great beast beneath the waves. Again an adventurous song, although the subject matter might have called for something a little slower and more powerful. Still, the second half of the song chimes in with some fun instrumentals.

“The Temptress,” clocking in at a full eight and a half minutes, is a tale of feminine guile. The music focuses extra heavily on speedy guitar work, although it’s nicely accompanied by middle-eastern inspired keyboards.

“Voyage” brings us the most piratey song yet, overflowing with “yo ho hos” and “yarrrs.” The instrumentals aren’t overtly piratey, but combined with the lyrics they become terribly catchy. A very fun song for those who want to endulge in that “bursting with piracy” feeling.

“Under the Black Flag” opens with a delightful return to the pirate-tavern tunes we heard at the album opening – not the same tunes, but a new piratey batch. This nine-minute epic then continues on with more aggressive guitars and fantasy-inspired keyboards. It is also nicely complimented by a few chords of traditional piano, cannonfire, and wonderfully piratey lyrics. The album then concludes with thunder and raindrops.

Aurum Piraticus Aetus is a terribly exciting listen. Fans of piracy and metal music would do well to buy it without hesitation. Fans of pirate music, however, should consider more carfully. If you’re all about the sea shanties, this album isn’t for you. But if you’re like me, and are excited to explore pirate music of all genres, then Verbal Deception can make for a rewarding change of pace. I’ve never been a fan of metal, but I find myself listening to this album more and more. And while the lyrics still take some getting used to, they work well with emotionally-charged, epic instrumentals overflowing with adventure and mystery.