Larry Kirwan writes theatrical music both literally and figuratively. Sometimes the epic nature of the music comes close to bombast, sometimes the drama veers toward melodramatic, and sometimes his melodic reach exceeds his vocal grasp.
But what songs.
My criterion for 5 stars is that every track has to be memorable. This disk nails it. One is tempted to go track by track to describe the music. As others have indicated, this is a band with disparate roots and influences; its central tendency sounds something like what might have happened if Springsteen grew up in Wexford listening to traditional Irish music instead of R&R and R&B. Like Springsteen at his best, not everything is pedal-to-the-metal; Black 47's music encompasses a range of subject matter and emotion, but with a perspective rooted in Kirwan's immigrant alienation and political interests. "Banks of the Hudson" is what might happen if a traditional murder ballad crashed into Manhattan complete with Geoff Blythe doing his best Clarence Clemmons imitation; "Funky Ceili" is a joyful celebration of dissoluteness; "James Connolly" an anthemic celebration of the Irish Marxist revolutionary; the quiet "Fanatic Heart" is both plaintive and chilling; and "Living in America" is the band's piece de resistance -- an evocation of the slights and hopes of immigrant men and women in America. Like I said it is tempting to review each track.
It would be easy to fall flat on your face trying to pull this off -- the politics degenerating into sloganeering, the passion into cheap sentimentality, and the music into some kind of ersatz folk hydrid. Kirman's self-deprecating humor (I once saw him perform a song about his girlfriend leaving him "for another woman" while he was with the Major Thinkers, an earlier band) saves him lyrically, and relentless live performance has honed the band musically.
As a final note: "Fire of Freedom" is not Black 47's first CD. The band put out an eponymous CD two years earlier. Many of the songs are the same as "Fire of Freedom" though there are four that are not on subsequent disks. The production is more spare, and I actually prefer some of the performances to the more cluttered productions on "Fire of Freedom." If you like "Fire of Freedom" and you come across "Black 47", it could be worthwhile picking it up.
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Fire of Freedom
Black 47
(Artist),
Larry Kirwan
(Performer, Composer, Producer),
Ric Ocasek
(Performer, Producer),
Mary Martello
(Performer),
Mike Fazio
(Performer),
Thomas Hamlin
(Performer),
Morning-Star Courtney
(Performer),
Geoffrey Blythe
(Performer),
Dave Conrad
(Performer),
Darryl Jenifer
(Performer),
Fred Parcells
(Performer),
David Conrad
(Performer),
Chris Byrne
(Performer)
&
10
more Format: Audio CD
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Track Listings
1 | Livin' in America (Fordham Road 8:00Am) |
2 | Maria's Wedding |
3 | Rockin' the Bronx |
4 | Fanatic Heart |
5 | Funky Ceili (Bridie's Song) |
6 | Fire of Freedom |
7 | James Connolly |
8 | Livin' in America (Bainbridge Avenue 2:00Am) |
9 | Banks of the Hudson |
10 | 40 Shades of Blue |
11 | New York, NY 10009 |
12 | Sleep Tight in New York City/Her Dear Old Donegal |
13 | Black 47 |
14 | Livin' in America |
Product description
Black 47 ~ Fire Of Freedom
Product details
- Is discontinued by manufacturer : No
- Product Dimensions : 14.2 x 12.5 x 1.07 cm; 108.86 Grams
- Manufacturer : Capitol
- Item model number : black477
- Original Release Date : 1993
- Label : Capitol
- ASIN : B000006N4R
- Number of discs : 1
- Customer Reviews:
Customer reviews
4.3 out of 5 stars
4.3 out of 5
18 global ratings
How are ratings calculated?
To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzes reviews to verify trustworthiness.
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Top reviews from Canada
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Reviewed in Canada on January 10, 2001
Reviewed in Canada on March 5, 2004
This is one of the decade's best albums. Every track is memorable, though "James Connolly" and "Fire of Freedom" are the ones that stick with me long after the music stops. This is Black 47 at the top of their game (or at least as good as they get in the studio: Nothing beats them live). A mixture of straight-on rock 'n' roll, with Celtic flavors on some tracks, and reggae beats or hip-hop thrown in occasionally. The musicianship here is incredible at times; the horn section blends with the pipes for some truly inspired sounds.
Look for a CD put out in 1995, called "Keep it Reel," with Seanchai (Chris Byrne from Black 47), Eileen Ivers, and Pat McGuire. Absolutely awesome live recording of Irish hip-hop, and several other genres fused together, with brilliant lyrics by Seanchai. Hard to find.
Look for a CD put out in 1995, called "Keep it Reel," with Seanchai (Chris Byrne from Black 47), Eileen Ivers, and Pat McGuire. Absolutely awesome live recording of Irish hip-hop, and several other genres fused together, with brilliant lyrics by Seanchai. Hard to find.
Reviewed in Canada on January 14, 2001
This album is a little tougher than one might expect from a celtic band. While you can't divorce the celtic influence it is definitely supported by an American twist.
This cd is fun as in the exuberant "Funky Ceili" (a great song, great story, in neo-celtic style,) "40 Shades of Blue" or "Rockin' the Bronx". More often however there is an edgy darkness here whether in detailing Irish history ("James Connolly" or "Black 47") or in the contemporary ("Banks of the Hudson"). Don't expect the Irish Tenors here or even the Chieftains. The beauty of those artists aren't here (although the artistry is). This is more thought-provoking, more raw, more contemporary (lyrically and vocally).
This cd is fun as in the exuberant "Funky Ceili" (a great song, great story, in neo-celtic style,) "40 Shades of Blue" or "Rockin' the Bronx". More often however there is an edgy darkness here whether in detailing Irish history ("James Connolly" or "Black 47") or in the contemporary ("Banks of the Hudson"). Don't expect the Irish Tenors here or even the Chieftains. The beauty of those artists aren't here (although the artistry is). This is more thought-provoking, more raw, more contemporary (lyrically and vocally).
Reviewed in Canada on December 22, 1999
I never tire of playing this CD: it is my favorite , from my favorite band: Black 47! Its rare to find lyrics with such depth and feeling written today, and rarer still to find them matched with catchy infectious music, but this CD contains both in abundance. Black 47 takes the best of traditional music, retains its heart and soul, and adds their own stylistic touches to create something that is both fresh and new, but with roots firmly anchored in the heart and soul of Ireland. Their creativity has caused some critics to scorn them for their unique sound, but it is said that you are as distinguised by your enemies as your friends, and never was this more so than in the case of Black 47. Beyond all that I must add that when they sing of the sun rising over Fordham Road, it makes the heart of this expatriate Bronx boy rise in joy!
Reviewed in Canada on December 5, 2000
Bought this CD in 1995 on recommendation from a fellow Pogues fan, but anyone trying to make a comparison to the Pogues is sadly mistaken. these boys are making Irish rock in America, giving their stuff an entirely different feel and heft.
There are a few people i've played this for who haven't appreciated it as much as me, but they tended to be much older and half-deaf like my poor old Da ("I can't hear a damn word, it's all just noise") who, for all his love of irish rebel songs, can't appreciate an electric guitar.
This CD and the followup Fire of Freedom are about the best to come out of the 1990's. Buy it - you won't be disappointed.
There are a few people i've played this for who haven't appreciated it as much as me, but they tended to be much older and half-deaf like my poor old Da ("I can't hear a damn word, it's all just noise") who, for all his love of irish rebel songs, can't appreciate an electric guitar.
This CD and the followup Fire of Freedom are about the best to come out of the 1990's. Buy it - you won't be disappointed.
Reviewed in Canada on December 22, 1999
Black 47's best album by far. This is one of the decade's best albums. From the light romp Funky Ceili to the heavy melancholic sax solo in Sleep Tight in New York City/Her Dear Old Donegal the album takes the listener on a very enjoyable ride. I hope you enjoy the Irish flavor of Fire of Freedom as much as I have. "In the Blarney Stone, I drank a gallon of foam till I'm feelin half myself again.." Cheers!
Top reviews from other countries
Paul Haspel
5.0 out of 5 stars
Fiery Irish-American alt-rock
Reviewed in the United States on October 20, 2013Verified Purchase
From the first notes of its first song, Black 47's 1993 album "Fire of Freedom" pulsates with Celtic flavor and energy. This Irish-American band, whose name invokes the Great Famine that killed one million Irish people and forced a million more to emigrate between 1845 and 1852, imparts to their songs a powerful storytelling quality that recalls Irish literary traditions. The portraits that emerge from this powerful and evocative album are of wounded people who are part Irish and part American, and yet are not wholly at home in either country.
The album's opening song, "Livin' in America (Fordham Road 8:00 am)," a short prologue, introduces a melodic line that will be reincorporated into the album later on; the mention of Fordham Road reminds the listener how interested the members of Black 47 are in Irish emigration to America generally and New York City specifically - not just back in 1847, but nowadays, where the Fordham Road-Bainbridge Avenue area of the Bronx is a contemporary gathering place for immigrants from the Irish Republic of today.
The energetic "Maria's Wedding" benefits from the hip-hop quality that lead singer Larry Kirwan incorporates into the song's vocal delivery, and from the melodic saxophone and trombone riffs that predominate throughout. Like other songs on the album, it tells the story of an Irish-American protagonist having a great deal to drink and then behaving in a socially unproductive manner. In the case, the song's protagonist tells of the time when he drank heavily, went to the wedding of his ex-girlfriend Maria, and began "dancin' like Baryshnikov all across the high altar." I'm not sure how Maria can be expected to respond to the speaker's assurances that "I'm so sorry I wrecked your wedding."
"Rockin' the Bronx" has fine tin-whistle work and a more overt hip-hop quality, and tells an autobiographical story of Black 47 starting out as a band. The pensive, guitar-based "Fanatic Heart" represents a drastic change of pace. Set against the tense background of a Twelfth of July parade in Northern Ireland (a time when great tension surrounds the Ulster Protestants' victory parades, especially when said parades go through, or close to, Catholic neighborhoods), this song tells the story of a nationalist who lost someone he loved that day, and then was arrested, interrogated, and tortured by British security forces. The quote at the end - "If our foundations are destroyed, what can the righteous do?" - draws from Psalm 11, with its expression of a belief that the wicked oppressor may enjoy temporary prosperity, but will be overthrown sooner or later. Here, as elsewhere, Black 47's strongly nationalist take regarding the Northern Ireland conflict comes through.
The following song, "Funky Céili (Bridie's Song)," was a big hit on alternative-rock stations like WHFS in Annapolis back in the early 1990's. Again, Kirwan's hip-hop delivery is well complemented by a distinctly Celtic melodic riff that brings together tin whistle and saxophone. And, once again, the song tells the story of an Irishman who drinks too much and behaves in an anti-social manner, with its tale of a young Irishman whose drinking gets him booted from his job with the Bank of Ireland, just in time to hear from his girlfriend that "I've got news of me own, a stór [my darling]/I'm two months late and it's not with the rent." Bridie's father in Cork does not take the news well, informing the speaker that "you've got two choices - castration, or a one-way ticket to New York!" As of the song's conclusion, the speaker is happily ensconced on Bainbridge Avenue in the Bronx, enjoying drink and music, and one hopes that his calls for Bridie to join him in America are sincere.
The album's title track, "Fire of Freedom," is characterized by a staccato, New Wave-style guitar (Ric Ocasek of The Cars co-produced the album, and contributed guitar, keyboard, and vocal work). This song seems to be apostrophizing Ireland, with references to revolutionary and activist figures from Malcolm X to John Lennon. A reggae-style rap delivery combines in an interesting way with saxophone arpeggios. There is also some untranslated Irish in the song - "Óro `se do bheatha `bhaile/Anois ar theacht an tsamraidh." At first, I didn't care what it meant, because the Irish language is always so beautiful to hear for its own sake; but then I got curious, went to Google Translate, and this is what I got: "Oh, welcome home/Now the summer is coming." So, there you are.
"James Connolly," as might be expected, takes the standpoint of the Irish republican leader who was executed for his role in the Easter Rising of April 1916. Musically, it is characterized by an anthemic sound, with guitar power-chords, a fine tin-whistle riff, and a plaintive middle 8. The song does not shy away from Connolly's socialist political convictions, and its references to other Easter Rising leaders like Patrick Pearse and Sean MacDermott (Seán Mac Diarmada) will no doubt warm the hearts of many an Irish or Irish-American listener.
A reprise of "Livin' in America" is once again short, and the voice of guest vocalist Mary Courtney from Morning Star unquestionably has that Irish lilt. "Banks of the Hudson" has a relatively conventional rock structure, with saxophone work that sounds as though it could be coming from the late great Clarence Clemons of Bruce Springsteen's E Street Band. There is a powerful, melancholy fatalism to this tale of an Irishman on speed, who loves an African American woman but constantly asks himself, "How could I ever take a black girl back to Wexford town?" Yet he has more immediate concerns, as he is on the run from organized crime figures. His situation, as of the song's end, does not look promising.
"40 Shades of Blue" (*not*"Fifty Shades of Grey") has a slow, traditional-Irish feel in the intro, and then speeds up. Like many of the songs on this album, it abounds in New York references (the Bowery, CBGB's). Like the previous song, it features a homesick Irishman who dreams of going back to Wexford; but he is "back on the drink," made homeless by his alcoholism. By this point in the album, a common theme comes through quite clearly; "Fire of Freedom" is an album-length collection of stories of lost souls, people who have ties to both Ireland and America but do not feel at home in either country.
"New York, NY 10009" places one in Manhattan's Lower East Side, zip-code-wise, and tells an autobiographical story of the band members' ill-fated attempt to form an earlier band, only to face record company rip-offs and other setbacks: "Sheila went off and joined the Scientology Church/Then Mike stopped a bullet on Staten Island." This song's raucous guitar effects made me think of some of Radiohead's early work.
"Sleep Tight in New York City/Her Dear Old Donegal" features a soft, slow tin-whistle intro. This time, the situation is reversed from what one sees in earlier songs: the speaker is in Ireland, the woman he loves is in New York, and he recalls mournfully "that wet Monday I drove her down to Shannon." His life in Ireland is going nowhere, and she's in danger of falling into drug addiction: "You better sleep tight in New York City/Now you've got a different angel watching over you." A powerful song, the musical style of which rather reminds me of some of U2's early work - from, say, the time of "The Unforgettable Fire" or "The Joshua Tree."
When I first got the album, and saw that it had a song titled "Black 47," I thought, "Oh, great. The song `Black 47' by the band Black 47. Sort of like when the band Bad Company recorded the song `Bad Company' for the album `Bad Company.'" But that was before I heard the song - a stark tale of the Great Famine, told from the standpoint of a famine survivor forever scarred by the horrors he has witnessed, and set forth with suitably menacing New Wave rock stylistics and texture. The slow part in the middle - an almost operatic vocal interlude, with underlying sounds of screaming - reinforces the passion with which the song's speaker invokes God's curse upon Lord John Russell and Lord Trevelyan (prime minister and colonial administrator respectively during the Famine) and calls out "May your great Queen Victoria rot in hell." Read for yourself regarding how Sir Charles Edward Trevelyan, 1st Baronet, approached his job of disbursing relief to Irish peasants threatened by the Famine. You are likely to find it a chilling read.
"Livin' in America" finally gets a full-length treatment in the album's closing song, a tale of two Irish immigrants in contemporary New York, a man and a woman. He's working construction, she's looking after babies - "Is this what I've been educated for/To wipe the arse of every baby in America?" The song interrogates the American Dream from the point of view of new arrivals - the lack of national health care, children growing up without mother or father figures because "your parents are too busy makin' money" - and by song's end they're in the same pub, eyeing one another, wondering what the future might hold. That is about as optimistic as this album gets.
Before writing this review, I did not realize how well "Fire of Freedom" held together as what could be called a concept album regarding the modern Irish and Irish-American experience. Black 47 has done a great deal of very fine work since that time - e.g., their post-9/11 song "Mychal," about the New York priest and fire-department chaplain Father Mychal Judge, who died ministering to the victims of the terrorist attacks of September 11, 2001 - but for me, "Fire of Freedom" is still this band's best work.
The album's opening song, "Livin' in America (Fordham Road 8:00 am)," a short prologue, introduces a melodic line that will be reincorporated into the album later on; the mention of Fordham Road reminds the listener how interested the members of Black 47 are in Irish emigration to America generally and New York City specifically - not just back in 1847, but nowadays, where the Fordham Road-Bainbridge Avenue area of the Bronx is a contemporary gathering place for immigrants from the Irish Republic of today.
The energetic "Maria's Wedding" benefits from the hip-hop quality that lead singer Larry Kirwan incorporates into the song's vocal delivery, and from the melodic saxophone and trombone riffs that predominate throughout. Like other songs on the album, it tells the story of an Irish-American protagonist having a great deal to drink and then behaving in a socially unproductive manner. In the case, the song's protagonist tells of the time when he drank heavily, went to the wedding of his ex-girlfriend Maria, and began "dancin' like Baryshnikov all across the high altar." I'm not sure how Maria can be expected to respond to the speaker's assurances that "I'm so sorry I wrecked your wedding."
"Rockin' the Bronx" has fine tin-whistle work and a more overt hip-hop quality, and tells an autobiographical story of Black 47 starting out as a band. The pensive, guitar-based "Fanatic Heart" represents a drastic change of pace. Set against the tense background of a Twelfth of July parade in Northern Ireland (a time when great tension surrounds the Ulster Protestants' victory parades, especially when said parades go through, or close to, Catholic neighborhoods), this song tells the story of a nationalist who lost someone he loved that day, and then was arrested, interrogated, and tortured by British security forces. The quote at the end - "If our foundations are destroyed, what can the righteous do?" - draws from Psalm 11, with its expression of a belief that the wicked oppressor may enjoy temporary prosperity, but will be overthrown sooner or later. Here, as elsewhere, Black 47's strongly nationalist take regarding the Northern Ireland conflict comes through.
The following song, "Funky Céili (Bridie's Song)," was a big hit on alternative-rock stations like WHFS in Annapolis back in the early 1990's. Again, Kirwan's hip-hop delivery is well complemented by a distinctly Celtic melodic riff that brings together tin whistle and saxophone. And, once again, the song tells the story of an Irishman who drinks too much and behaves in an anti-social manner, with its tale of a young Irishman whose drinking gets him booted from his job with the Bank of Ireland, just in time to hear from his girlfriend that "I've got news of me own, a stór [my darling]/I'm two months late and it's not with the rent." Bridie's father in Cork does not take the news well, informing the speaker that "you've got two choices - castration, or a one-way ticket to New York!" As of the song's conclusion, the speaker is happily ensconced on Bainbridge Avenue in the Bronx, enjoying drink and music, and one hopes that his calls for Bridie to join him in America are sincere.
The album's title track, "Fire of Freedom," is characterized by a staccato, New Wave-style guitar (Ric Ocasek of The Cars co-produced the album, and contributed guitar, keyboard, and vocal work). This song seems to be apostrophizing Ireland, with references to revolutionary and activist figures from Malcolm X to John Lennon. A reggae-style rap delivery combines in an interesting way with saxophone arpeggios. There is also some untranslated Irish in the song - "Óro `se do bheatha `bhaile/Anois ar theacht an tsamraidh." At first, I didn't care what it meant, because the Irish language is always so beautiful to hear for its own sake; but then I got curious, went to Google Translate, and this is what I got: "Oh, welcome home/Now the summer is coming." So, there you are.
"James Connolly," as might be expected, takes the standpoint of the Irish republican leader who was executed for his role in the Easter Rising of April 1916. Musically, it is characterized by an anthemic sound, with guitar power-chords, a fine tin-whistle riff, and a plaintive middle 8. The song does not shy away from Connolly's socialist political convictions, and its references to other Easter Rising leaders like Patrick Pearse and Sean MacDermott (Seán Mac Diarmada) will no doubt warm the hearts of many an Irish or Irish-American listener.
A reprise of "Livin' in America" is once again short, and the voice of guest vocalist Mary Courtney from Morning Star unquestionably has that Irish lilt. "Banks of the Hudson" has a relatively conventional rock structure, with saxophone work that sounds as though it could be coming from the late great Clarence Clemons of Bruce Springsteen's E Street Band. There is a powerful, melancholy fatalism to this tale of an Irishman on speed, who loves an African American woman but constantly asks himself, "How could I ever take a black girl back to Wexford town?" Yet he has more immediate concerns, as he is on the run from organized crime figures. His situation, as of the song's end, does not look promising.
"40 Shades of Blue" (*not*"Fifty Shades of Grey") has a slow, traditional-Irish feel in the intro, and then speeds up. Like many of the songs on this album, it abounds in New York references (the Bowery, CBGB's). Like the previous song, it features a homesick Irishman who dreams of going back to Wexford; but he is "back on the drink," made homeless by his alcoholism. By this point in the album, a common theme comes through quite clearly; "Fire of Freedom" is an album-length collection of stories of lost souls, people who have ties to both Ireland and America but do not feel at home in either country.
"New York, NY 10009" places one in Manhattan's Lower East Side, zip-code-wise, and tells an autobiographical story of the band members' ill-fated attempt to form an earlier band, only to face record company rip-offs and other setbacks: "Sheila went off and joined the Scientology Church/Then Mike stopped a bullet on Staten Island." This song's raucous guitar effects made me think of some of Radiohead's early work.
"Sleep Tight in New York City/Her Dear Old Donegal" features a soft, slow tin-whistle intro. This time, the situation is reversed from what one sees in earlier songs: the speaker is in Ireland, the woman he loves is in New York, and he recalls mournfully "that wet Monday I drove her down to Shannon." His life in Ireland is going nowhere, and she's in danger of falling into drug addiction: "You better sleep tight in New York City/Now you've got a different angel watching over you." A powerful song, the musical style of which rather reminds me of some of U2's early work - from, say, the time of "The Unforgettable Fire" or "The Joshua Tree."
When I first got the album, and saw that it had a song titled "Black 47," I thought, "Oh, great. The song `Black 47' by the band Black 47. Sort of like when the band Bad Company recorded the song `Bad Company' for the album `Bad Company.'" But that was before I heard the song - a stark tale of the Great Famine, told from the standpoint of a famine survivor forever scarred by the horrors he has witnessed, and set forth with suitably menacing New Wave rock stylistics and texture. The slow part in the middle - an almost operatic vocal interlude, with underlying sounds of screaming - reinforces the passion with which the song's speaker invokes God's curse upon Lord John Russell and Lord Trevelyan (prime minister and colonial administrator respectively during the Famine) and calls out "May your great Queen Victoria rot in hell." Read for yourself regarding how Sir Charles Edward Trevelyan, 1st Baronet, approached his job of disbursing relief to Irish peasants threatened by the Famine. You are likely to find it a chilling read.
"Livin' in America" finally gets a full-length treatment in the album's closing song, a tale of two Irish immigrants in contemporary New York, a man and a woman. He's working construction, she's looking after babies - "Is this what I've been educated for/To wipe the arse of every baby in America?" The song interrogates the American Dream from the point of view of new arrivals - the lack of national health care, children growing up without mother or father figures because "your parents are too busy makin' money" - and by song's end they're in the same pub, eyeing one another, wondering what the future might hold. That is about as optimistic as this album gets.
Before writing this review, I did not realize how well "Fire of Freedom" held together as what could be called a concept album regarding the modern Irish and Irish-American experience. Black 47 has done a great deal of very fine work since that time - e.g., their post-9/11 song "Mychal," about the New York priest and fire-department chaplain Father Mychal Judge, who died ministering to the victims of the terrorist attacks of September 11, 2001 - but for me, "Fire of Freedom" is still this band's best work.
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Kindle Customer
4.0 out of 5 stars
Great album!
Reviewed in the United States on August 6, 2014Verified Purchase
This album has several of the same tracks as the first black 47 album, but different mixes.
I must say that in my own opinion I do prefer the original mixes of most of the songs that are repeats on the CD.
However, they are both great and of course both must have since they do contain different material.
Of course Maria's Wedding is a definite must-have for any fan!
My favorite of the alternate mixes that if you're on both CDs is Living In America!
Love the rock in remix!
Definitely the most intense song on the CD is Black 47.
It is chilling and heart wrenching and sometimes very difficult to listen to.
The sounds and images that they manage to bring across in this track are hunting.
I must say that in my own opinion I do prefer the original mixes of most of the songs that are repeats on the CD.
However, they are both great and of course both must have since they do contain different material.
Of course Maria's Wedding is a definite must-have for any fan!
My favorite of the alternate mixes that if you're on both CDs is Living In America!
Love the rock in remix!
Definitely the most intense song on the CD is Black 47.
It is chilling and heart wrenching and sometimes very difficult to listen to.
The sounds and images that they manage to bring across in this track are hunting.
J. Deverse
4.0 out of 5 stars
Not typical Irish Punk Music
Reviewed in the United States on November 13, 2006Verified Purchase
I am a big Dropkick Murphys fan. So, I was excecting something along those lines. Though, I do like Black 47 they are nothing like Dropkick. They remind me more of the eirly eighties bands.