| Celtic rock | |
|---|---|
| Stylistic origins | |
| Cultural origins | 1960s, Celtic nations |
| Fusion genres | |
| Other topics | |
| Celtic fusion | |
Celtic rock is a genre of folk rock, as well as a form of Celtic fusion which incorporates Celtic music, instrumentation and themes into a rock music context. It has been prolific since the early 1970s and can be seen as a key foundation of the development of successful mainstream Celtic bands and popular musical performers, as well as creating important derivatives through further fusions. It has played a major role in the maintenance and definition of regional and national identities and in fostering a pan-Celtic culture. It has also helped to communicate those cultures to external audiences. [1]
The style of music is the hybrid of traditional Irish, Scottish Gaelic, Welsh and Breton musical forms with rock music. [2] This has been achieved by the playing of traditional music, particularly ballads, jigs and reels with rock instrumentation; by the addition of traditional Celtic instruments, including the Celtic harp, tin whistle, uilleann pipes (or Irish Bagpipes), fiddle, bodhrán, accordion, concertina, melodeon, and bagpipes (highland) to conventional rock formats; by the use of lyrics in Celtic languages and by the use of traditional rhythms and cadences in otherwise conventional rock music. [3] Just as the validity of the term Celtic in general and as a musical label is disputed, the term Celtic rock cannot be taken to mean there was a unified Celtic musical culture between the Celtic nations. However, the term has remained useful as a means of describing the spread, adaptation and further development of the musical form in different but related contexts.
It was in Ireland that Celtic rock was first clearly evident as musicians attempted to apply the use of traditional and electric music to their own cultural context. By the end of the 1960s Ireland already had perhaps the most flourishing folk music tradition and a growing blues and pop scene, which provided a basis for Irish rock. Perhaps the most successful product of this scene was the band Thin Lizzy. Formed in 1969 their first two albums were recognisably influenced by traditional Irish music and their first hit single "Whisky in the Jar" in 1972, was a rock version of a traditional Irish song. [4] From this point they began to move towards the hard rock that allowed them to gain a series of hit singles and albums, but retained some occasional elements of Celtic rock on later albums such as Jailbreak (1976).
Formed in 1970, Horslips were the first Irish group to have the terms 'Celtic rock' applied to them, and produced work that included traditional Irish/Celtic music and instrumentation, Celtic themes and imagery, and concept albums based on Irish mythology in a way that entered the territory of progressive rock all powered by a hard rock sound. [5] Horslips are considered important in the history of Irish rock as they were the first major band to enjoy success without having to leave their native country and can be seen as providing a template for Celtic rock in Ireland and elsewhere. [6] These developments ran in parallel with the burgeoning folk revival in Ireland that included groups such as Planxty and the Bothy Band. [7] It was from this tradition that Clannad, whose first album was released in 1973, adopted electric instruments and a more 'new age' sound at the beginning of the 1980s. [8] Moving Hearts, formed in 1981 by former Planxty members Christy Moore and Donal Lunny, followed the pattern set by Horslips in combining Irish traditional music with rock, and also added elements of jazz to their sound. [9]
There were already strong links between Irish and Scottish music by the 1960s, with Irish bands like the Chieftains touring and outselling the native artists in Scotland. The adoption of folk rock produced groups including the JSD Band and Spencer's Feat. Out of the wreckage of the latter in 1974, was formed probably the most successful band in this genre, combining Irish and Scottish personnel to form Five Hand Reel. [10] Two of the most successful groups of the 1980s emerged from the dance band circuit in Scotland. From 1978, when they began to release original albums, Runrig produced highly polished Scottish folk rock, including the first commercially successful album with the all Gaelic Play Gaelic in 1978. [11] From the 1980s Capercaillie combined Scottish folk music, electric instruments and haunting vocals to considerable success. [12] Scottish Band The Waterboys became a well known Celtic Rock band during the 80s with the release of albums such as This Is The Sea and Fisherman's Blues. They also incorporated folk elements into their music. One of Scotland's most commercially successful and fondly-remembered rock acts, Big Country, also incorporated the influence of traditional Scottish music into their songs. While bagpipes had become an essential element in Scottish folk bands they were much rarer in folk rock outfits, but were successfully integrated into their sound by Wolfstone from 1989, who focused on a combination of highland music and rock. [13]
The region of Brittany also made a major contribution to Celtic rock. The Breton cultural revival of the 1960s was exemplified by Alan Stivell who became the leading proponent of the Breton harp and other instruments from about 1960, he then adopted elements of Irish, Welsh and Scottish traditional music in an attempt to create a pan-Celtic folk music, which had considerable impact elsewhere, particularly in Wales and Cornwall. [14] From 1972 he began to play folk rock with a band including guitarists Dan Ar Braz and Gabriel Yacoub. Yacoub went on to form Malicorne in 1974 one of the most successful folk rock bands in France. After an extensive career that included a stint playing as part of Fairport Convention in 1976, Ar Braz formed the pan-Celtic band Heritage des Celtes, who managed to achieve mainstream success in France in the 1990s. Probably the best known and most enduring folk rock band in France were Tri Yann formed in 1971 and still recording and performing today. [15]
While Welsh folk music developed as a distinctive part of a pan-Celtic movement, early Welsh pop and rock music was more influenced by American and English artists than Irish and Scottish acts. [16] By the end of the 1960s the Welsh rock scene included a number of internationally successful English language groups that included Badfinger, Amen Corner, Elastic Band, Budgie and Man.
The Welsh rock scene would change markedly from October 1969, when the Sain record label released its first single. [17] Founded as a label for both rock and folk musicians in the Welsh-language, and home to artists such as Dafydd Iwan, Meic Stevens and Ar Log, Sain would become Wales' biggest record label. [18] With Sains success as both a folk and rock label, more and more folk musicians transitioned into rock music in the early 1970s, meaning that traditional Celtic element within Welsh folk music now became evident within the burgeoning Welsh language rock scene. Acts such as Edward H. Dafis caused a sensation by "going electric" and using rock instrumentation. [19] This new Welsh language rock scene was also associated with Welsh nationalism, political activism and the campaign for the Welsh language. [20]
by the 1980s Celtic rock had firmly transitioned into the mainstream, and was now at the centre of Welsh language culture. With acts such as Ar Log touring the world with new renditions of "traditional Welsh folk music, haunting love songs, harp airs, melodic dance tunes and rousing sea shanties". [21] Dafydd Iwan's 1983 song Yma o Hyd would become his biggest cross-over success.
The late 1970s and 1980s also saw a backlash against Celtic rock. With many Welsh language acts such as Sains own Geraint Jarman finding success using more contemporary and global musical forms (such as reggae) with lyrics conforming to the traditional techniques of Welsh formal poetry. Jarman would later be credited by the musician Gruff Rhys with "severing ties with Celtic folk and serving as a bridge to a new wave of post punk". [22] The Welsh scene became divided between more traditional music and the new punk-folk bands such as Bob Delyn a'r Ebillion. [23] While the 1990s saw the creation of the Fflach:tradd label and an increase in recognisably Celtic rock acts such as The Bluehorses, the era is marked by the success of Wales' international Rock acts such as the Manic Street Preachers, Stereophonics, Super Furry Animals and Catatonia. [24] However, current Welsh rock acts such as Calan and Bwncath continue to find success within the Celtic rock genre.
Whereas other Celtic nations already had existing folk music cultures before the end of the 1960s this was less true in Cornwall and the Isle of Man, which were also relatively small in population and more integrated into English culture and (in the case of Cornwall) the British State. As a result, there was relatively little impact from the initial wave of folk electrification in the 1970s. However, the pan-Celtic movement, with its musical and cultural festivals helped foster some reflections in Cornwall where a few bands from the 1980s onwards utilised the traditions of Cornish music with rock, including Moondragon and its successor Lordryk. More recently the bands Sacred Turf, Skwardya and Krena, have been performing in the Cornish language. [25]
Ireland proved particularly fertile ground for punk bands in the mid-1970s, including Stiff Little Fingers, The Undertones, The Radiators From Space, The Boomtown Rats and The Virgin Prunes. Scotland also produced its fair share with acts including The Skids and The Rezillos. As with folk rock in England, the advent of punk and other musical trends undermined the folk element of Celtic rock, but in the early 1980s London based Irish band The Pogues created the subgenre Celtic punk by combining structural elements of folk music with a punk attitude and delivery. The Pogues' style of punked-up Irish music spawned and influenced a number of Celtic punk bands, including fellow London-Irish band Neck, Nyah Fearties from Scotland, Australia's Roaring Jack and Norway's Greenland Whalefishers.
One by-product of the Celtic Diaspora was the existence of large communities across the world that looked for their cultural roots and identity to their origins in the Celtic nations. While it seems young musicians from these communities usually chose between their folk culture and mainstream forms of music such as rock or pop, after the advent of Celtic punk relatively large numbers of bands began to emerge styling themselves as Celtic rock. This is particularly noticeable in the US and Canada, where there are large communities descended from Irish and Scottish immigrants. From the United States this includes the Irish bands Flogging Molly, The Tossers, Dropkick Murphys, The Young Dubliners, LeperKhanz, Black 47, The Killdares, The Drovers and Jackdaw, and for Scottish bands Prydein, Seven Nations and Flatfoot 56. From Canada are bands like The Mahones, Enter the Haggis, Great Big Sea, The Real Mckenzies and Spirit of the West. These groups were naturally influenced by American forms of music, some containing members with no Celtic ancestry and commonly singing in English. A band in England is the BibleCode Sundays. [26]
Like Celtic rock in the 1970s, Celtic metal resulted from the application of a development in English music, when in the 1990s thrash metal band Skyclad added violins, and with them jigs and folk voicings, to their music on the album The Wayward Sons of Mother Earth (1990). This inspired the Dublin based band Cruachan to mix traditional Irish music with black metal and to create the subgenre of Celtic metal. They were soon followed by bands such as Primordial and Waylander. Like Celtic punk, Celtic metal replicates the fusing of Celtic folk tradition with contemporary forms of music.
Whereas in England folk rock, after initial mainstream recognition, subsided into the status of a sub-cultural soundtrack, in many Celtic communities and nations it has remained at the forefront of musical production. The initial wave of Celtic rock in Ireland, although ultimately feeding into Anglo-American dominated progressive rock and hard rock provided a basis for Irish bands that would enjoy international success, including the Pogues and U2: one making use of the tradition of Celtic music in a new context and the other eschewing it for a distinctive but mainstream sound. Similar circumstances can be seen in Scotland albeit with a delay in time while Celtic rock culture developed, before bands like Runrig could achieve international recognition. Widely acknowledged as one of the outstanding voices in Celtic/rock is Brian McCombe (born Glasgow, Scotland, United Kingdom) of The Brian McCombe Band, a pan Celtic group based in Brittany.[ citation needed ]
In other Celtic communities, and particularly where Celtic speakers or descendants are a minority, the function of Celtic rock has been less to create mainstream success, than to bolster cultural identity. A consequence of this has been the reinforcement of pan-Celtic culture and of particular national or regional identities between those with a shared heritage, but who are widely dispersed. However, perhaps the most significant consequence of Celtic rock has simply been as a general spur to immense musical and cultural creativity.
Celtic rock has also influenced musicians from countries and regions without Celtic communities, with some of them, like the Balkans, spawning their own Celtic rock scenes, which contributed to the interest for Celtic music and culture in local public. [27] The pioneers of Celtic rock on the Yugoslav rock scene were the pub/garage rock band Roze Poze in the mid-1980s. [28] In the 1990s, bands like Orthodox Celts from Serbia [29] and Belfast Food from Croatia popularized Celtic rock further, influencing a number of younger acts, like Irish Stew of Sindidun.
Celtic music is a broad grouping of music genres that evolved out of the folk music traditions of the Celtic people of Northwestern Europe. It refers to both orally-transmitted traditional music and recorded music and the styles vary considerably to include everything from traditional music to a wide range of hybrids.
Rock is a broad genre of popular music that originated in the United States, but also in United Kingdom, in the late 1950s and early 1960s, developing a lot of subgenres, including heavy metal and punk rock. It has its roots in 1940s and 1950s rock and roll, a style that drew directly from the genres of blues, rhythm and blues, and from country music. Rock also drew strongly from genres such as electric blues and folk, and incorporated influences from jazz and other musical styles. For instrumentation, rock is centered on the electric guitar, usually as part of a rock group with electric bass guitar, drums, and one or more singers. Usually, rock is song-based music with a 4
4 time signature using a verse–chorus form, but the genre has become extremely diverse. Like pop music, lyrics often stress romantic love but also address a wide variety of other themes that are frequently social or political. Rock was the most popular genre of music in the U.S. and much of the Western world from the 1950s to the 2010s.
Throughout the history of the British Isles, the land that is now the United Kingdom has been a major music producer, drawing inspiration from church music and traditional folk music, using instruments from England, Scotland, Northern Ireland, and Wales. Each of the four countries of the United Kingdom has its own diverse and distinctive folk music forms, which flourished until the era of industrialisation when they began to be replaced by new forms of popular music, including music hall and brass bands. Many British musicians have influenced modern music on a global scale, and the UK has one of the world's largest music industries. English, Scottish, Irish, and Welsh folk music as well as other British styles of music heavily influenced American music such as American folk music, American march music, old-time, ragtime, blues, country, and bluegrass. The UK has birthed many popular music genres such as beat music, psychedelic music, progressive rock/pop, heavy metal, new wave, and industrial music.
Scottish folk music is a genre of folk music that uses forms that are identified as part of the Scottish musical tradition. There is evidence that there was a flourishing culture of popular music in Scotland during the late Middle Ages, but the only song with a melody to survive from this period is the "Pleugh Song". After the Reformation, the secular popular tradition of music continued, despite attempts by the Kirk, particularly in the Lowlands, to suppress dancing and events like penny weddings. The first clear reference to the use of the Highland bagpipes mentions their use at the Battle of Pinkie Cleugh in 1547. The Highlands in the early seventeenth century saw the development of piping families including the MacCrimmons, MacArthurs, MacGregors and the Mackays of Gairloch. There is also evidence of adoption of the fiddle in the Highlands. Well-known musicians included the fiddler Pattie Birnie and the piper Habbie Simpson. This tradition continued into the nineteenth century, with major figures such as the fiddlers Niel and his son Nathaniel Gow. There is evidence of ballads from this period. Some may date back to the late Medieval era and deal with events and people that can be traced back as far as the thirteenth century. They remained an oral tradition until they were collected as folk songs in the eighteenth century.
The Music of Wales, particularly singing, is a significant part of Welsh national identity, and the country is traditionally referred to as "the land of song".
Popular music of the United Kingdom in the 1970s built upon the new forms of music developed from blues rock towards the end of the 1960s, including folk rock and psychedelic rock movements. Several important and influential subgenres were created in Britain in this period, by pursuing the limitations of rock music, including British folk rock and glam rock, a process that reached its apogee in the development of progressive rock and one of the most enduring subgenres in heavy metal music. Britain also began to be increasingly influenced by third world music, including Jamaican and Indian music, resulting in new music scenes and subgenres. In the middle years of the decade the influence of the pub rock and American punk rock movements led to the British intensification of punk, which swept away much of the existing landscape of popular music, replacing it with much more diverse new wave and post punk bands who mixed different forms of music and influences to dominate rock and pop music into the 1980s.
Popular music of the United Kingdom in the 1980s built on the post-punk and new wave movements, incorporating different sources of inspiration from subgenres and what is now classed as world music in the shape of Jamaican and Indian music. It also explored the consequences of new technology and social change in the electronic music of synthpop. In the early years of the decade, while subgenres like heavy metal music continued to develop separately, there was a considerable crossover between rock and more commercial popular music, with a large number of more "serious" bands, like The Police and UB40, enjoying considerable single chart success.
British rock describes a wide variety of forms of music made in the United Kingdom. Since around 1964, with the "British Invasion" of the United States spearheaded by the Beatles, British rock music has had a considerable impact on the development of American music and rock music across the world.
Horslips are an Irish Celtic rock band that compose, arrange and perform songs frequently inspired by traditional Irish airs, jigs and reels. The group are regarded as "founding fathers of Celtic rock" for their fusion of traditional Irish music with rock music and went on to inspire many local and international acts. They formed in 1970 and 'retired' in 1980 for an extended period. The name originated from a spoonerism on The Four Horsemen of the Apocalypse which became "The Four Poxmen of The Horslypse".
In the province of Nova Scotia in Canada, Celtic music has played a significant role, both in its traditional forms and fused with other musical styles. Nova Scotia's folk music features traditional tunes brought over from the Scottish Highlands in the late 18th and early 19th centuries, as well as localized forms such as Cape Breton fiddle music. In recent years, a wide variety of other musical genres have emerged in Nova Scotia, which has produced several country music stars such as Hank Snow, Wilf Carter, Anne Murray, and Rita MacNeil.
Newfoundland and Labrador is an Atlantic Canadian province with a folk musical heritage based on the Irish, English and Cornish traditions.
Rock music in Ireland, also known as Irish rock, has been a part of the music of Ireland since the 1960s, when the British Invasion brought British blues, psychedelic rock and other styles to the island. The Irish music scene in the 1960s and much of the 1970s was dominated by the unique Irish phenomenon of the 'Showbands' which were groups of professional performers who played at dancehalls and clubs across the country putting on a professional 'show' and playing all the American and British hits of the era. From the mid-1970s onwards rock music in Ireland has followed a similar path to rock music in Britain.
British folk rock is a form of folk rock which developed in the United Kingdom from the mid 1960s, and was at its most significant in the 1970s. Though the merging of folk and rock music came from several sources, it is widely regarded that the success of "The House of the Rising Sun" by British band the Animals in 1964 was a catalyst, prompting Bob Dylan to "go electric", in which, like the Animals, he brought folk and rock music together, from which other musicians followed. In the same year, the Beatles began incorporating overt folk influences into their music, most noticeably on their Beatles for Sale album. The Beatles and other British Invasion bands, in turn, influenced the American band the Byrds, who released their recording of Dylan's "Mr. Tambourine Man" in April 1965, setting off the mid-1960s American folk rock movement. A number of British groups, usually those associated with the British folk revival, moved into folk rock in the mid-1960s, including the Strawbs, Pentangle, and Fairport Convention.
Serbian rock is the rock music scene of Serbia. During the 1960s, 1970s and the 1980s, while Serbia was a constituent republic of Socialist Federal Republic of Yugoslavia, Serbian rock scene was a part of the SFR Yugoslav rock scene.
Folk punk is a fusion of folk music and punk rock. It was popularized in the early 1980s by The Pogues in England, and by Violent Femmes in the United States. Folk punk achieved some mainstream success in that decade. In more recent years, its subgenres Celtic punk and Gypsy punk have experienced some commercial success.
Celtic fusion is an umbrella term for any modern music which incorporates influences considered "Celtic", or Celtic music which incorporates modern music. It is a syncretic musical tradition which borrows freely from the perceived "Celtic" musical traditions of all the Celtic nations, as well as from all styles of popular music, it is thus sometimes associated with the Pan-Celtic movement. Celtic fusion may or may not include authentic traditional music from any one tradition under the Celtic umbrella, but its common characteristic is the inspiration by Celtic identity.
Celtic punk is punk rock mixed with traditional Celtic music. Celtic punk bands often play traditional Celtic folk songs, contemporary/political folk songs, and original compositions. Common themes in Celtic punk music include politics, Celtic culture and identity, heritage, religion, drinking and working class pride.
Nyah Fearties were a Scottish music band from the village of Lugton, Scotland, that created a near-unique brand of anarchic modern folk between 1982 and 1995.
A number of overlapping punk rock subgenres have developed since the emergence of punk rock in the mid-1970s. Even though punk genres at times are difficult to segregate, they usually show differing characteristics in overall structures, instrumental and vocal styles, and tempo. However, sometimes a particular trait is common in several genres, and thus punk genres are normally grouped by a combination of traits.
The British folk revival incorporates a number of movements for the collection, preservation and performance of folk music in the United Kingdom and related territories and countries, which had origins as early as the 18th century. It is particularly associated with two movements, usually referred to as the first and second revivals, respectively in the late 19th to early 20th centuries and the mid-20th century. The first included increased interest in and study of traditional folk music, the second was a part of the birth of contemporary folk music. These had a profound impact on the development of British classical music and in the creation of a "national" or "pastoral" school and led to the creation of a sub-culture of folk clubs and folk festivals as well as influential subgenres including progressive folk music and British folk rock.
