www.therebepirates.net

Drink & the Devil, by There Be Pirates, is an album that begins absolutely perfectly. Storm-brewed winds are met with a steadily growing drum beat, and then a shanty-styled introductory male voice begins the opening lyrics to High Barbary. But then the song quickly launches into a charged mix of energized instrumentals and vocals. This is still High Barbary as you know it, but reenvisioned in such a way as to remain true to its roots, but fresh and virile.

High Barbary sets the stage for an album that’s comprised of familiar shanties and sea songs, but performed in such a way as to make them truly stand out from anything else out there. There are no losers in the bunch – this CD is a gem from stem to stern – but several songs do merit some additional attention. Banshee’s Whale is a touching fiddle scratching against an ocean surf accompaniment – a transitional track to be sure, but also perfectly atmospheric and a quality addition to the album. South Australia has a nice, almost whimsical feel about it as it combines a didgeridoo with the more traditional shanty instruments, while the harmonica utilized in All for me Grog lends an additional (and appropriate) hobo flavor to the song.

The Bonnie Ship the Diamond is as close to “rockin” as you can get without departing the traditional style entirely. This song starts strong and does’t wait for anyone, so try and keep up. The Derelict, on the other hand, is slow, somber, and in no hurry whatsoever. It’s truly the crown jewel of this album, being a 10 minute 44 second rendering of the Robert Louis Stevenson classic, but done-so in a smokey lounge style. Dusky and gorgeous, with a mix of male and female vocals this is one of my favorite versions of this song.

I’ve not mentioned the albums other fine tracks, such as Haul Away Joe, Sugar in the Hold, Paddy Lay Back, New York Gals, and Fiddle Aire – each is fine, fine work, and easily worth a listen or two in themselves. The album then concludes with Banshee’s Whale (reprise), which is again a scratchy fiddle against an atmospheric background. It’s an appropriately gentle sendoff to an album that is certainly worthy of benchmark status in the Pirate-Core genre.

Genre: Faire music, nautical and otherwise
Rating: PG-13
Target Audience: Grown ups, mostly

Marooned is an album (and a band) that has a morbidly bizarre sense of humor. It’s (mostly) G-Rated, yet remains a CD largely about death, bastards, and booze. The oddness begins right away with Companion, an a cappella song (as is the entire album) that sounds gentle and friendly. The lead vocals are personable and very human, and the backup vocals are soft yet solid. As to the lyrics? Well, that’s when you start to realize that this seemingly harmless song is actually a bundle of peer-pressure, strongly indicating that the singers will only be your friend if you drink lots (and lots, and lots.)

And therein lies the unlikely beauty of it all – much of Marooned seems tame… until you look closer. Henry My Son makes similar strides as it too sounds like a fairly standard folk song. But again, the edge is found in the lyrics – this time about a real bastard on his deathbed (apparently due to no more than a headache) as he sings of his last will and testament. Whether it’s the debt he leaves his children or the noose he leaves his sweetheart, it’s clear that this is one bloke you’re happier having never met. Bloody Well Dead then continues with words of how grand it is to finally be dead, while When I Was Single is a maiden’s tale of why she sticks with her deadbeat husband.

Mixed in amongst all the morbidity are a few traditional shanties, such as Haul Away Joe, Rolling Down to Old Maui, and the Black Belvet Band. Competently performed, each of them, although I do feel the recording comes off a little on the flat side.

Concluding the album is a song that’s certainly not traditional, although it does have firm roots in scripture – Constipated Men illustrates how many firgures from Biblical lore had difficulties making number two (Noah, for example, passed only water for forty days and nights.) Not terribly piratey, and just a tad heretical. But disturbingly catchy, and I have caught myself singing it to myself in the shower.

Marooned isn’t exactly a must-have album for pirate-enthusiasts, as swashbuckling references are fairly few and far-between. But folks who adore faire music, and especially those who take grim delight in dark humor (you know who you are) would do well to give this album a spin.

Genre: Traditional and traditional inspired sea shanteys.
Rating: PG
Target Audience: Grown ups, mostly

Let’s be honest – when I reviewed Skip Henderson’s first pirate album, Billy Bones & Other Ditties, I wasn’t exactly charitable. Featuring about 3 decent pirate songs, 1 drop-dead brilliant one, and 13 or so ho-hum ditties, I actually expressed a level of frustration that the sheer genius of the title track, Billy Bones, wasn’t reflected throughout more of the album.

Well, I can assure you that it’s quite the load off my mind that I can this time write a much more enthusiastic review – and no charity needed. Poet & Pirate Overtures begins good and strong, ends somber and haunting, and makes for an enjoyable and varied journey between the two.

Poet & Pirate Overtures features many noteworthy tracks – some piratey, some not. But it begins entirely in a piratey manner… well, sort of. Port of Holy Peter doesn’t directly address pirates, but it does feature a dark tone and dark subject matter regarding slit throats, sea slime, criminals, and all sorts of other unpleasant business. Pirates will surely feel right at home. And what’s more, despite being based on a poem from 1918, it’s somehow eluded other pirate bands, and therefore isn’t a song that seasoned pirate music fans will have already heard a dozen times – old yet new, and a joy to hear.

Also a joy to hear are the album’s many other piratey tracks. Drake’s Drum begins with a march-like guitar strum while Skip’s distinctive salty voice supplies lyrics that provide a snapshot glimpse into Sir Francis Drake’s psychy. As was Holy Peter, this is based on an old poem, but one that’s been somehow overlooked by the scores of other piratically-inclined musicians out there, thus leaving it ripe for Skip Henderson to claim as his own. Drake’s Drum is slow and measured, with lyrics that require some deciphering to properly follow. But understandable or not, it conveys an enjoyably piratey demeanor throughout.

Henry Martin is again a song that’s been around for many a year, although unlike Holy Peter and Drake’s Drum, this one has been well covered by many a pirate band. But for all the times I’ve heard it, it’s never really grabbed my attention. Skip Henderson’s crew, however, has managed to add a unique quality. Through rustic, creepified, and slightly – but effectively – “off” sounding instrumentals, this rendition is something I could only describe as Burtonesqe – it’s easy to envision claymation skeletons playing this song (and yes, that is a compliment in this case.)

A Ballad of John Silver carries forward in this same instrumental quality as it tells the tale of shameless debauchery – splattered brains share center stage with hornpipes and dancing. It’s an odd song of sadistic humor in true pirate fashion.

Return of Billy Bones is the final pirate song of the album and – as one may expect – is something of a sequel to Billy Bones from the previous album. But where the orignal song was wry and sinister, this one is somewhat more worn and nostalgic. It’s the story of a pirate that’s outlived his time, with his mates and enemies long gone. Sad and somber, it’s also beautiful and likely to bring a tear to the eye of even the most jaded of brutes.

While the Poet & Pirate Overtures’ above mentioned pirate offerings are – to me – the album highlights, it also features many non-pirate – albeit certainly nautical – songs as well. Some even feature pirate-friendly subject matter, as in Will Watch the Bold Smuggler and Fineen O’Driscoll, the Rover. While the personalites of each seem a bit up-beat and friendly for pirate music, Will Watch does nicely feature booming cannons in accompaniment, while the distinctly non-piratey Cruise of the Calabar in contrast sings of disaster at sea. It’s enjoyably performed, and piratey or no, it has a nicely calloused sense of humor that makes it good company amongst the more overtly swashbuckling ilk.

However, there are some songs on the album that just don’t make for pirate tunes, no matter how you cut them. Capitol Ship is spunky and folky, while The Water is Wide is just too poetic and heart-felt. A beautiful, lovely listen, certainly – but I doubt Blackbeard would take notice. Paddy Doyle’s Boots, however, sounds as though the entire band was smashed when they sang the thing – and nothing meshes better with pirates than drunken singing.

The Poet & Pirate Overtures is a fine album – much of it is decent shanties and folk songs, but it also features a fine offering of several truly unique pirate songs. That so many of them are derived from seldom visited pirate poems from the past hundred or so years only makes them all the more intriguing.

Genre: Traditional styled “tavern” music
Rating: G
Target Audience: Fans of folk-oriented pirate music

In a world full of festival pirate music, pirate-core music, and pirate parody music (and we love you all), it does seem it’s sometimes hard to find “real” pirate music. These would be tunes performed in the traditional style of dockside taverns, complete with old-fashioned instruments and vocals supplied by voices that were likely yelling “heave the jib to” or “I’ll gut ya like a Spaniard” earlier that same afternoon. But with their new album, affectionately titled “Pirate Scum”, this is exactly what The Brigands brings to the table.

Pirate Scum features a mix of instrumental and vocalized tracks – 8 of the first, and 6 of the second. This alone makes The Brigands stand out, as true piratey intstrumentals are sometimes hard to come by outside of movie soundtracks. On this album, the majority of the instrumentals would qualify as “peppy jigs” – energetic and suitable to bar room dancing or fighting alike. The Little Gale, however, stands out as a more dramatic achievement. It begins like a battle march, with slow drums and a repeating single, deep guitar strum. But then the fiddles join in to add an element of energy – but in this case the energy has a clear danger about it. All the instrumental pieces on Pirate Scum are good, but The Little Gale is on a level of its own – its deeper tones create a sense of forboding even as the fiddles make it clear the pot is already boiling over.

The album’s first vocal track is The Mariner’s Compass is Grog – a title which I must wholeheartedly embrace. The song itself if quite good – slow and affectionate, the singer clarifies just how important grog is to the average swab. Grand Pubs of Yorkshire is also a tributary song, but in this case about the – well, the title sort of makes that clear. Essentially an extended toast in in song form, it strongly embodies the destinctive “real tavern” sound of The Brigands – not polished, but rather crusty and authentic.

On most of this album, the earthiness of The Brigands is an asset to the music. But on Shiver My Timbers, it just doesn’t hold up. Disjointed and awkward, this track is rather hard on the ears. The rushed pace of the performance doesn’t help either. Hanging Johnny, on the other hand, takes its time and makes the most of its rustic appeal. Multiple instruments join a strong yet scratchy voice to make a song that carries an authenticity about it while also remaining an enjoyable listen.

Topman and the Afterguard is easily the most unusual track of the album. The vocals are intentionally distant, and accompanied only by one, single note held steadily throughout. These elements combine for an almost otherworldly effect, and make this both an enjoyable and strangely intriguing song.

The Juice of the Barley closes out the album. More of a silly performance than others on the track, it contains several ad-lib jokes and tangential comments between the lead singer and other performers. It’s likely very amusing live, but on a CD I find this sort of thing distracting.

Summed up, Pirate Scum is a well composed album for anyone seeking “real” tavern music – instrumental or otherwise. Most of it is quite good, and while there are a couple of duds in the mix, there are also a couple stars to help keep the balance.

Genre: Traditional and traditional-styled origninal pirate tunes.
Rating: PG
Target Audience: Late teens to early retirement

Down Among the Dead Men – the first album by Pirates of New Providence – hits the ground running with its initial track, Fire Maringo. Being a traditional song, I’ve heard it performed before, and have never really given it much thought. But the Pirates of New Providence make it a tough song to dismiss. Strong, clear vocals are complimented by solid drums to immediately command attention. Soon the backup vocals and what I believe to be a tamborine also join in to play with the softer and higher notes. All told, it’s a commanding opener, and one that illustrates the truth that sometimes an old song can be made new again through sheer strength of the performance.

The “newness” of old songs has weighed on my mind of late. As the availabilty to competently performed traditional sea songs expands at a seeming exponential rate, I find that it’s becoming increasingly rare to hear a rendition of any traditional tune that truly stands out from the herd. This is why, upon first finding a CD such as “Down Among the Dead Men”, where every song is traditional, I’m at once curious and fearful. A strong first track, such as is Fire Maringo, is a comforting start, but can the entire album hold up?

Dead Man’s Chest – the album’s second track – lays the groundwork for the rest of the album. The various elements remain clear, with vocals (this time female) and drums ringing loud and true. On their own, its a formula that would lead to an album of decent pirate tunes, but not exactly memorable or groundbreaking. But the Pirates of New Providence are trickier than I’d have expected, and throw in a factor that to my knowledge is entirely unheard of in the world of pirate music: a harp.

When first I heard the plucking of harp strings to the tune of Dead Man’s Chest, my eyes nearly popped from my skull – and I don’t exaggerate. Harps would seem well placed in a king’s court, but when I think of the grungy world of pirates, a harp seems as out of place as would Frasier and Niles Crane on Barbossa’s Crew. So how does it fit in musically? At this point, I wasn’t sure.

Hills of Connemara lacks the new harp element, but has no shortage of instruments. Guitar, harmonica, and I can’t even say what else all join in to make for an energized song with an excellent sound about it. Down Among the Dead Men – the album’s title track – brings that harp right back, though. Again, strong female vocals, drums, and yes – a harp – all combine to do a traditional song in a traditional manner that feels anything but traditional. At this point, I was starting to suspect that the inclusion of the harp just might be an unlikely stroke of genius.

The next several tracks, Haul Away Joe, Rosen the Beau, and Sam’s Gone Away, don’t prominently feature harp work, and therefore feel more akin to the traditional songs one would expect. Strength and clarity remain defining features throughout, though, and the consistently high quality of the recording make each song a delight to hear. Captain Kidd, sees the harp’s return, and this time even includes the strumming scales that would seem more at home in a fairy tale movie than a pirate song. And yet, as a package it works surprisingly well, and makes for one of the most unique Captain Kidd versions I’ve experienced.

The album’s final three songs, Nancy Whiskey, One for the Morning Glory, and Parting Glass, all follow in the tradition set by the previous tracks. Very well done, and with a variety of instrumentals from penny whistles and guitars to flutes (another not-quite-piratey instrument) and ukuleles.One for the Morning Glory is a little sing-songy for my taste, but otherwise these three songs work well to conclude a fine album.

Down Among the Dead Men was my first introduction to the work of Pirates of New Providence, and listening to this album was indeed a small adventure in its own right. Generally speaking, the strong clarity of the vocals and instrumental make this the sort of album that can be experienced as well as merely listened to – a good stereo system or set of high-end headphones make this the sort of music into which you can literally immerse yourself. This alone would make for a worthwhile album, but it’s their daring use of such non-piratey, not-exactly-masculine instruments such as the harp (and to a lesser degree the flute) that make for a truly original CD.

Genre: Traditional and traditional-styled origninal pirate tunes.
Rating: PG-13
Target Audience: Late teens to early retirement

The Seadogs are very likely the largest pirate band in existence. “Everyone Loves Singing Pirates”, being their second shanty album, and their first actually dedicated to the noble subject of piracy, features the combined efforts of no fewer than 14 artists. Not many pirate bands boast enough manpower to crew a small galleon, but the Seadogs certainly come close.

“Everyone Loves Singing Pirates” is a (mostly) family-friendly CD featuring 16 tracks of traditional and original material – all of it piratey, and of varied quality. With a few exceptions, the Seadogs come across as lackluster when performing traditional or cover songs, but then rise to an entirely new level when playing their own original material. It’s these Seadogs originals that are truly attention-grabbing, and they’re the reason you’ll want to own this CD.

The album begins with Dead Man’s Chest from the novel Treasure Island. Perhaps it’s due to this song’s literary (rather than musical) origins, but I’ve never heard it performed in a way that’s truly bowled me over. The Seadogs’ version is particularly rough, being something of a slow, funerial march. Between the ominous vocals and slow heavy drumbeat it should come across as dark and forboding – and it does. But it’s also a rather flat, and is amongst the bottom three songs on the album, the other two being Bold Princess Royal (way too sing-songy) and Pump Shanty (good lead vocals and drum, but painfully flat backup vocals.)

The Seadogs achieve better results in many of the album’s other covers, although they occasionally miss the mark with regards to tone, as High Barbary and Demon of the Sea seem too friendly and upbeat for their subject matter. Maid on the Shore and Henry Martin are pleasantly more grounded, and quite easy on the ears with crisp vocals and easy-going melodies. Dark Lady and Man o’ War take it up another notch and are more interestingly performed, but sadly suffer from apparent limitations in the recording equipment – elements of the vocals seem slightly garbled in both, while Dark Lady also features a flute that comes across far too prominently for comfort.

By and large, the Seadogs’ versions of traditional and cover songs aren’t entirely noteworthy, but there are a couple stars in the mix. Shiver My Timbers is a fine rendition of a Muppet Treasure Island favorite. They do a great job of making this song their own – no small task considering it was written to be sung by frogs, bugs, easter-island heads, and other various puppets. Rollickin’ Randy Dandy O also stands tall, with prominent lead female vocals sung with a will. The singer has some pipes on her, and she’s not afraid to use them. Drums and backup vocals do an excellent job of rounding this song out to a definite thing of beauty.

So we’ve addressed what’s been good and what’s been not-so-good – now let’s talk about what’s exceptional. I’m sure it’s no coincidence, but the Seadogs’ truly shine when performing their own original content. Not only is it a treat to hear something unique, but the band as a whole seems to rise to the occasion in a way that’s largely absent during most of the traditional pieces. What Care We? is the first of these songs, and is a jolly folk-style bit about how much life would suck not being a pirate, and how other careers are so lacking. A surprisingly friendly sounding song featuring lyrics of the delights of pain and bloodshed. This contrast between tone and content isn’t quite utilized to its full comedic potential (a shortcoming that’s likely remedied when performed live – this song begs for physical embellishment,) but it remains an enjoyable tune with amusing lyrics. Letter O’ Marque propels us to the next level though, being an enthusiastic tribute to Sir Francis Drake that’s both energizing and catchy. The lead vocals are strong and salty, and the backup vocals and instruments measure up perfectly to make for a consistently good piece. Whip or Stroke and Crew of Jones share this same quality and energy, but add an extra dose of sinister, just to keep it interesting.

While we’re on the subject of sinister, Lured to the Depths is the queen beast of such. This song features a trio of mermaids singing out of both sides of their mouths as verses flip between friendly and devilish – some to welcome, entice, and seduce, others to ensnare and consume. Sailors be warned, these ‘maids will delight in your destruction, and the playful wiles in their “come hither” lyrics contrast wonderfully with the shameless glee they exhibit when singing of sailors’ destruction. It does feature some adult innuendo that might offend the puritans in the audience, but nothing so blatant as to rouse the curiosity of the young’ns.

“Everyone Loves Singing Pirates” is a worthy addition to any pirate music collection. The album can be underwhelming when it comes to traditional sea shanties, but when the Seadogs belt out their original material they more than compensate. During such songs, they truly come into their own to make for a genuinely piratey and worthwhile experience.

Genre: Traditional
Rating: XXX
Target Audience: Adults with deviant minds

The album is titled “Salty Dick’s Uncensored Sailor Songs”, and never was a product more truly labeled. This CD is packed with 21 of the most offensive songs you’ll ever hear.

If you read that previous sentence and thought, “oh please, how bad can it be?”, then read no further – it’s that bad and worse. It’s so bad, in fact, that I can’t truly review it, because were I to do so then I would use all sorts of words that I’d rather not, and then Google would see those words and start sending droves of perverts to this site. These words include the F-word, the C-word, the other C-word, the T-word, the J-word, the P-word, and the W-word, all used in great abundance. So let me try to tiptoe around this…

Salty Dick’s Uncensored Sailor Songs is both spirited and raunchy – and it’s also a lot of fun. From songs about Christopher Columbus bung-holing his shipmate to sailor’s having naughty dreams and priests “playing doctor” with nuns – this album lives up to its promise in every sense of the word.

None of these songs were written for this album – they’re each culled from decades of legend and tradition. Fans of sea shanties will likely be familiar with the likes of Friggin’ in the Riggin’, The Crabfish, Bellbottom Trousers, and others. But others are less common, such as A-Hole Rules the Navy, Eff Them All, and the hilariously innappropriate Christopher Columbo. Throughout it all, Salty Dick’s voice is friendly and chipper, which makes the lyrics seem all the naughtier. The liner notes briefly, but clearly, cite the sources of these songs, which hail from the British, Canadian, and US navies, ranging from the 1700s to today.

This album is a treat of the naughtiest kind. Send the kids away, send away the easily offended, send away the not-so-easily offended, and then give it a spin. While listening to this tribute to a – generally ignored – piece of maritime history, you’ll almost certainly find yourself happily tapping your toes to the most explicit folk music imaginable. Which is just fine, until you come to the realization that your seagoing great-grandaddy likely sang these very songs. Then you’ll feel strange and disturbed.

Genre: Traditional-styled sea and pirate shanteys, but with some deviation and unique character
Rating: PG
Target Audience: All Ages

The problem with period music is it sometimes leans towards the dry side. And while non-period music is often more fun, it generally clashes with any sort of authenticity (a problem at times, certainly.) But with their new album “Kings of the Sea,” The Skeleton Crew Pirate Band manages to straddle that difficult line and create an album that’s fun to listen to, while still lending itself to a period feel. I use the words “period feel” carefully, as not all of these songs are actually authentic. Many, in fact, are culled from a wide variety of movie favorites – Muppet Treasure Island, The Pirates of Penzance, Treasure Island, and Pirates of the Caribbean all lend tunes and lyrics to this album. But while the sources may be modern, the vocals and instruments throughout carry a traditional piratey air, only deviating a bit with some non-traditional vocal styles now and again. And indeed, many of the other songs truly are period (William Kidd, Pirate’s Love Song, and Henry Martin, for example) although they too feature some artistic liscence with styling (and more power to them!)

“Kings of the Sea” is a packed CD, boasting a full 72 minutes of pirate music. And between the aforementioned tracks and sources, coupled with Fishy Mermaid and Bold Fighting Pirates, the lion’s share of the songs are certainly familiar territory for many fans of pirate music. In some cases this might lead to an album of “been there, heard that” types of songs, but The Skeleton Crew has a distinctive character which they inject into each and every song. The vocal styles are fun to the point of being nearly comical (I could easily picture Mallory and Janna McCall doing voices for cartoons or puppets – fitting when you consider that two of this album’s tracks were originally sung by Muppets.) And as to the instrumentals, the band puts to use a brilliant mix of vintage pump organs, accordians, harpsichords, and recorders and whistles that not only work well with the lyrics, but could practically carry an album by themselves.

Regarding the featured tracks, as with most any album there’s a share of winners, a few losers, and even a couple of oddities. Amongst the very best songs are Shiver Me Timbers and Professional Pirate (both from Muppet Treasure Island). They’re each fine interpretations (and complete with a few new lyrics), although Shiver Me Timbers in particular has a little outlandishness that might seem odd if you forget the song’s origin. Also worthy of note are Red Queen, William Kidd (brilliant vocals by Mallory), Bold Fighting Pirates, Derelict, and Down Among the Dead Men (the harpsichord is put to fantastic use on this one.) I was less impressed with some of the more sing-songy tracks, such as Ninety-Eight Not Out and Blood Red Flag. Also lacking were Fireship (a song about dating a pirate chick, which sounds sadly like dinner theater music) and Asleep in the Pirate’s Deep.

Mixed in amongst the good and not-so-good are several songs that are decent but not terribly remarkable, along with a couple of Irish pub tunes and two downright oddities. Hard Tack is a civil war song about that particular food so infamous amongst sailors, and which carries an unfortunate twangy tune. Dirty Ol’ Bird is rather annoying, despite the promise that comes with being a song about a foul-mouthed parrot.

All told, “Kings of the Sea” is a fine album. At times it sounds a bit kid-show, but at others it’s bloody brilliant. And with a full 21 songs, it can afford to have a song here or there that doesn’t ring as true as others. The winners far outweigh the losers, and are well-worth checking out!

Genre: Traditional and traditional-inspired
Rating: PG
Target Audience: Grown Ups

When I was little I used to watch low-budget cartoons from Japan. I remember one with three robots. These robots could combine to make a larger, mega robot. But the trick was, they could do it in any order. When the yellow robot was the head, it created a robot with different strengths and weaknesses than if the red or blue robot was the head – each of whom carried their own unique talents to the equation. And so it is with 3 Pints gone, a renaissance/maritime band that frequently shifts lead singers throughout their album “There is a Ship.”

3 Pints gone has become a renaissance and pirate faire favorite in the midwest. They sing a variety of songs at their shows, but this album focuses on the nautical end of the spectrum. On this CD, 3 Pints Gone makes a habit of shuffling lead singers, which results in some wide differences in both tone and content from one track to the next. It also leads me to make the unusual review decision of breaking this CD down by singer, rather than by track.

James Kuehl sings the vast majority of songs on this album, and tends to be highly energized and peppy, regardless of the song material. For many songs this is highly suitable, as in Jolly Rovin’ Tar, Away Rio, and Empress of Ireland (easily his best song on the album). But some other songs seem a less-than-perfect match. Fire Down Below, for example, is customarily a song about either a) hell or b) gonorrhea. Whichever the case, Kuehl’s vocals are just too friendly and chipper for a good fit. His voice carries a strong (albeit sometimes twangy) “spin yer partner round” aspect, and it follows that emotional charge simply isn’t his strength. As such, the songs led by him are generally best suited for dancing, clapping, and outright singing along with.

Kathleen Masino makes only one appearance on this album as the lead singer, although her voice is prominently featured on many other tracks in support. Her song Willie Taylor is a speedy, catchy piece that also features some fun guitar and fiddle work. A fine tune about a woman who won’t take back seat to her favorite sailor’s new girlfriend. Loyal to a fault, perhaps.

Bill Masino takes the lead for the remaining songs, and brings a literal 180 degree shift. Where Kuehl’s vocals were “get up and dance a jig,” Masino is entirely “sit down and listen.” His deeper, somber voice commands a strong emotional impact, and is well suited to the likes of Final Trawl and A Sailor’s Prayer. He does an equally fine job with the peppier Farewell to Nova Scotia, although the album’s closing track, Wind in the Riggin’, seems a tad lacking. It’s a warm, touching, well composed piece, but I can’t help but feel that Masino seems somewhat restrained, not quite putting his all into this song of storms and wreckage.

Generally speaking, a song is almost always more than just the lead vocals, and the instrumental and back-up vocal contributions on this album shouldn’t be overlooked. But as mentioned in the introduction of this review, it’s not merely the lead singer that shifts between songs, but the tone of the entire band. In the ten songs led by James Kuehl, the music is generally fast and jiggy. A couple of these songs don’t seem as well composed as most (Rollin’ Down to Old Maui and Leave Her Johnny both feel somewhat “off”), but the vast majority are well paced for rollicking festival music. Kathleen Masino’s song, as previously mentioned, features wonderful instrumentals, as do Bill Masino’s four contributions. Bill’s songs, in fact, easily feature the entire band at its very best, with gently moving instrumentals and excellent backup vocals. Personally I’m a fan of deeper, more layered music that’s written for listening as opposed to dancing, and it’s with these songs that 3 Pints Gone truly delivers.

“There is a Ship” is an album of widely divergent content. While all the songs are of a traditional feel in the maritime tradition, the vast differences in James Kuehl’s and Bill Massino’s styles seem as though they’re from different bands entirely (Kathleen Masino’s, rather diplomatically, seems relatively at home with both.) The bulk of the album is in the knee-slapping tradition, with a few helpings of slow and introspective. Each is largely well done for its chosen genre, if not entirely cohesive within the context of a single album.

Genre: Traditional and traditional inspired sea shanteys.
Rating: PG
Target Audience: Grown ups, mostly

Skip Henderson’s “Billy Bones and Other Ditties” is one of the most aptly named albums of all time. Amongst the track listing is, as expected, the song “Billy Bones” – one of the greatest pirate songs I’ve ever heard. And the rest of the album is a bunch of ditties – some more entertaining than others, but few that really leave a mark.

The album begins with the instramental “The Quilty Hornpipe.” Jiggy yet subdued, it makes for a nice introductory track.

Next up is aforementioned “Billy Bones,” an absolutely brilliant piece that sounds both sinister and self-satisfied as an old pirate calously sings over the skeleton of an old adversary/partner. It has an old-timey sea shantey feel, but carries a drama and a catchiness rarely seen in such songs. Sounding as though it’s performed by genuine pirates, this track alone is very nearly worth the cost of the CD.

“General Taylor” sounds like a drinking song about a funeral. Carries a nice lively beat, but is otherwise unremarkable.

“Tarbaulin Jacket” follows. Also about funeral arrangements, one starts to notice a pattern in the subject matter. Also noticeable is that most of the songs from here an are, indeed, ditties – nice, fun, even catchy at times, but mostly forgetable.

“Ben Backstay” is a lively number with fun lyrics about sharks and humorously unfortunate death at sea. Sadly, the refrain drives my crazy (something along the lines of “with a chip chop cherry top polly rolly riddle rock, chip chop cherry top polly riddle rock”).

“Two Hornpipes” is another instrumental piece that would be nothing more than jiggy pub music, except this time there’s a twist. While the band plays the sounds of a bar room brawl grow increasingly noticeable, to the point that by the end of the song it’s a wonder the acordian player doesn’t get brained by a barstool. I can’t help but smile when I hear this one.

The next two songs are “The Mermaid” and “Bold Jack,” both of which are decent ditties, but unremarkable.

“Fifteen Men (Bottle o’Rum)” is likely a familiar song to most. Considering its brutally pirate roots, as well as the morbid gidiness with which Skip Henderson sang “Billy Bones,” I had high hopes for this song. Unfortunately, whatever brilliance he injected into “Billy Bones” isn’t apparent in this song. Skip clearly tried for that same genuinely-performed-by-pirates sound, but it comes across as a bit more tame and folky.

“Kerry Recuit” is an amusing ditty about a young soldier being given his GI materials and then sent off to war.

The next batch of songs – “We’re All Bound to Go”, “Two Waltzes”, “Sailor’s Consolation”, and “Porter”, are all nice little ditties, but once again unremarkable.

“Chivalrous Shark” is a nice change of pace. A bit naughty and very amusing, this song tells of a “maneating” shark that has no interest in the ladies. Cleverly done, and definitely funny.

“Oliver Martin (Whiskey Harbor)” is yet another little ditty.

Last on the agenda is “Song of a Ship,” which is a genuinely touching tribute ot the beauty and magic of ships.

It seems this album is about 80% “nice little ditties,” which might make for decent background music, but don’t really stand on their own (unless you’re really into ditties – I freely admit that I am not.) A few songs (“Two Hornpipes”, “Fifteen Men”, and “Chivalrous Shark”) are more worthy of note, but make up a minority of the total songs.

What really gets my goat about this album is “Billy Bones” – it’s so well done, so traditional yet piratey – it makes me want to cry that there aren’t more songs like this. With it Skip Henderson gives us a peek at how truly brilliant folksy pirate music can be, which makes the rest of the album seem that much more lackluster in comparison.