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December 4, 2016 / rockroots

The Concerned – Show Some Concern

After a very quiet year, it must be time to warm up the old engine and see if everything’s still in working order. To ease back in, let’s take a look at a selection of novelty and charity records from the archives, starting with The Concerned. Far be it from me to criticise the good intentions of other people, but it has to said that charity records are usually pretty rubbish, musically speaking. Decide for yourselves if this is the case with this single from 1985.


The single in aid of famine relief in Ethiopia and Sudan was written by Paul Cleary of The Blades, produced by Bill Whelan, and featured a big selection of singers from the Irish music scene, ably assisted by a brace (if that’s the right term) of RTE presenters. Sure, the major league stars were missing, but there’s still a good range of contributors here, including Clannad, Christy Moore, The Golden Horde, In Tua Nua, Stockton’s Wing, Linda Martin…. well, you can see for yourselves. And if you’ve ever wanted to see a be-suited Pat Kenny pose awkwardly with a bunch of scruffy rock stars, you’re in luck.



In 1985 there was no getting away from charity records. The year had started off with Bob and Bono at number 1 as part of Band Aid, The Concerned made to the top spot in March, being replaced after two weeks by USA for Africa. A few months later The Crowd reached number one with a record in aid of the Bradford City stadium fire fund, all of which goes to show that, for all it’s many problems, 1980s Ireland was willing to part with generous amounts of money for a good cause despite the questionable quality of the vinyl they got in return.


The Concerned – Show Some Concern (192 kbps)



January 25, 2016 / rockroots



The Rockin’ Vickers

Is there be a way to say something about that late, lamented ultimate rock star Lemmy and still make it relevant to a blog about Irish rock music? Well it’s a bit of a stretch, but let’s try it anyway! In 1965/1966 those sadly under-appreciated Belfast R’n’B dynamos The Wheels were playing a residency in Blackpool, as part of which arrangement they shared a farm house at Garstang, Lancashire, with struggling local group The Rockin’ Vickers. And just as The Wheels guitarist Rod Demick was from North Wales, so too was The Rockin’ Vickers guitarist Ian Willis (whose father had in fact been a vicar).


The farmhouse The Wheels and The Rockin’ Vickers shared

The Rockin’ Vickers, as the name might imply, had a typically ’60s gimmick of dressing in a bizarre mixture of religious garb and – as they were very successful in Finland – the Finnish national costume. Demick remembers Them and many other touring bands visiting the farm to party. The time the two groups spent together evidently went harmoniously as, in a newspaper interview from late 1965, the various Wheels were sure, when asked their favourite musical artists, to name-check their little known housemates.


Both bands would ultimately break up without breaking through, with some members achieving modest success during the ’70s. Willis, of course, would undergo an unlikely transformation to Hendrix roadie, hippie singer with Sam Gopal‘s group, sonic adventurer with Hawkwind and finally, as Lemmy, rock’n’roll legend with Motörhead. Lemmy’s life reads like the evolution of rock music itself, from 1950s skiffle fan all the way to metal aristocracy. He never hid his unhip origins, acknowledging that he had been inspired first by Cliff Richard and Tommy Steele, and he was part of a generation for whom rock’n’roll was more than just disposable entertainment, it was the white-hot essence of youth culture. His macho persona was genuine rather than the stage routine of so many of his contemporaries, and he refused to follow the well-worn path of reformation followed by sobriety and smugness, but what was most remarkable about the man was his sincerity, humility and his sharp humour, in spite of all his success. Music will continue be made and may be vibrant and exciting, but it is unlikely to ever have such cultural significance again, and Lemmy’s passing seems to herald the final closing of that chapter. But we are blessed to have so much fantastic music from that time preserved for us to relive as often as we want and, as someone very cool once said, the only way to feel the noise is when it’s good and loud!



Wikipedia: The Rockin’ Vickers

Manchester Beat: The Rockin’ Vickers

Garage Hangover: The Wheels


December 20, 2015 / rockroots

Billy Harrison – Billy Who?


Billy Harrison is in many ways the unsung hero from the big bang of Irish R’n’B. He formed The Gamblers in Belfast with Alan Henderson and Ronnie Millings – the band that later became Them with the addition of Eric Wrixon and Van Morrison – stepping back from front-man to lead guitarist behind Van’s dominant persona. He remained band leader and manager until the music biz professionals took over, but Billy was an integral part of the original Them sound, with his distinctive raw guitar playing to be heard all over their first album, and apparently much more input into the writing process than he is credited with. After a confrontation with manager Phil Solomon over vanishing royalty payments, and finding little solidarity from the rest of the band, Billy packed it in. He was briefly involved with a rival line-up of Them (which evolved into The Belfast Gypsies) and did some session work with Van’s Them, Joe Meek and The Pretty Things, and was eyed-up by Belfast group The People before Henry McCullough joined and they became Eire Apparent. Billy then left music completely and took a regular job with the Post Office, returning from London to Belfast in 1975.

That was it until 1979, when Billy Harrison decided to revive Them one more time, inviting Eric Wrixon and Alan Henderson along with new guys Mel Austin and Billy Bell. They convened in Hamburg and the resulting Shut Your Mouth album – all written or co-written by Harrison – was an enjoyable return to their R’n’B roots. Again the band was incapable of holding together and Billy was fired from the group he had started, to be replaced a second time by Jim Armstrong for a subsequent German tour.

Perhaps surprisingly, Billy decided to make one further album. This 1980 record, with the self-deprecating title Billy Who?, is essentially a follow-up to Shut Your Mouth, being entirely written by Harrison and recorded once again at Hamburgs TELDEC-Studio by engineer Klaus Bohlmann and producer Frank Dostal. This time Billy was singing as well as playing guitar, and was backed by a group of experienced German session musicians. Like its predecessor it’s a mix of R’n’B material and ballads, but Billy’s gravelly faltering vocals, to these ears at least, give a more fragile touch to his songs than Mel Austin’s croaky holler on the previous album. On tracks like Big Lover we get to hear Billy’s distinctive slide-guitar sweep back through our speakers once again. Orange Field lists some landmarks from a more innocent time in Belfast and asks an unnamed person when they last walked its streets (decide for yourself who that might be directed at). Baby Please Don’t Go is an original ballad with a presumably tongue-in-cheek title, while Bad Night is peppered with Billy’s menacing wolf howls.


(click to enlarge)

Thereafter, Billy Harrison officially retired from music. He seems to consider his contribution to rock music to have ended on a high in 1965, and that to have carried on as a struggling musician would have been at the cost of his reputation. This is a noble idea but, bearing in mind that Eric Wrixon and Jim Armstrong each made a decent living touring a Them-based blues repertoire in the nineties and noughties, we can only wonder if this decision was due more to his poisonous experiences of the music business. Still, far from being bitter about the past, he will occasionally sit-in on a local pub gig, or attend an event to commemorate Belfast’s musical legacy. Probably because it was released under the Them name, his 1979 album has since been reissued on CD as Them Reunion, but to the best of my knowledge this 1980 solo album has remained unjustly out-of-reach.

Billy Harrison – Billy Who? (192 kbps):

  1. Big Lover
  2. Hold On Tight
  3. Rock ‘n’ Roll Woman
  4. Orange Field
  5. Baby Please Don’t Go
  6. Bad Night
  7. Get Some Lovin’
  8. Summer Nights
  9. Black Haired Momma
  10. Free Ramblin’ Man


See Also:

Billy Harrison interviewed by Richie Unterberger – Ugly Things #31 & #32 (2011)

October 30, 2015 / rockroots

Treasure on the Wasteland: Irish Nuggets 1977-89

If this site has whetted your appetite for something slightly more modern, the Irish Nuggets blog brings you an excellent initiative collecting Original Artyfacts from the Irish Alternative Music Scene 1977-89. Most of these have had to be digitised from vinyl, so a lot of work has gone into this project. A Treasure indeed!

Treasure on the Wasteland: The Irish Alternative Music Scene 1977-89

June 20, 2015 / rockroots

Sugar Shack – Morning Dew / Sunshine Of Your Love


After stints with Dublin groups including The Liffey Beats, The Black Eagles and The Burma Boys Showband, drummer Brian Downey joined Pat Fortune (bass/vocals), Brian Twomey (guitar/vocals, formerly with The Difference) and Dermot Woodfull (guitar, formerly with The Intruders) in rock band Sugar Shack in 1967. With, according to the Irish Rock Discography, a repertoire of pop and blues-rock covers and some originals, the two recorded songs they left behind suggest they must have been an impressive live act.

‘Morning Dew’ was written by folk singer Bonnie Dobson, but later made famous by Tim Rose (who awarded himself a co-writing credit) and The Grateful Dead. Sugar Shack’s version may owe a debt to that by The Jeff Beck Group, also recorded in 1968, featuring strong musicianship but with vocals paling in comparison to Rod Stewart’s. Cream’s ‘Sunshine Of Your Love’ sounds better, with a real hard-rock thump and a song more suited to the singer. Through Tribune Records this single reached #17 in the Irish chart, but the band were divided on whether to follow a rock or pop route, and they split up after two years when Brian Twomey got married.

By 1969 Downey had reunited with his former Black Eagles bandmate Phil Lynott to form The Orphanage, and the two played together in another rock group during the ’70s and ’80s. Pat Fortune later turned up in country group The Ranchers and a mid-’70s line-up of showband Stage 2, not long after Dermot Woodfull had joined the Canadian-based Dublin Corporation, formerly The Pacific Showband, a familiar career path for many Irish rock musicians at the time. Woodfull apparently died in a car accident in 1976.


Sugar Shack (192 kbps)

  1. Morning Dew
  2. Sunshine Of Your Love


See Also:

Irish Rock Discography: Sugar Shack

Irish Showbands & Beat-Groups Archive: Sugar Shack


March 14, 2015 / rockroots

Henry’s Heroes: A benefit in aid of Henry McCullough

It’s way too late to be highlighting this St. Patrick’s Day gig – especially as tickets have been sold out for quite some time – but it’s good to see such an array of musicians willing to help out in aid of the ongoing care of legendary guitarist Henry McCullough in the aftermath of his crippling November 2012 heart attack.

Henry’s former Eire Apparent manager and Stiff Records founder Dave Robinson has set up a Facebook page in order to raise funds for Henry’s care.


March 9, 2015 / rockroots

Lyric FM – Granny’s Intentions

RTÉ’s Lyric FM broadcast an hour-long show on Granny’s Intentions with lots of great interviews, which will be of interest to many readers here. Should’ve been two hours!

The Lyric Feature: Granny’s Intentions and the Birth of the Irish Beat Scene