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Track Name	plays	downloads
(F)lannigan's Ball	1,091	0	play
Filesize: 3.3 MB Length: 219 seconds
The State of Massachusetts	1,970	0	play
Filesize: 3.5 MB Length: 232 seconds

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The Warrior's Code
Released: Jun 21, 2005
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Singles Collection, Vol. 2
Released: Mar 8, 2005
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{^Singles Collection, Vol. 2} collects covers, B-sides, and "other crap" from {$the Dropkick Murphys}, circa 1998-2004. {$Cock Sparrer}, {$the Business}, {$Shane MacGowan}, {$AC/DC}, {$Gang Green},... Continue[+]

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{^Singles Collection, Vol. 2} collects covers, B-sides, and "other crap" from {$the Dropkick Murphys}, circa 1998-2004. {$Cock Sparrer}, {$the Business}, {$Shane MacGowan}, {$AC/DC}, {$Gang Green}, {$Mot�rhead} -- the covers connect the hardworking Boston unit to their heroes, but also make up a great {\punk} (and {\rock}, too) jukebox for any {$Dropkicks} fan. {$CCR}'s {&"Fortunate Son"} becomes a raucous street {\punk} anthem with some absolutely killer rhythm guitar, there are two {$Cock Sparrer} covers ({&"Working"} and the {\Oi!} classic {&"Watch Your Back"}), and {&"Mob Mentality"} is a collaboration with {$the Business} that has a message for {\punk} {\rock}'s fair-weather fans. News flash: it's not "Hey! Welcome!" {$AC/DC}'s {&"It's a Long Way to the Top (If You Wanna Rock & Roll)"} was a natural for {$the Dropkick Murphys} -- they've paid their dues and have a bagpiper in the band -- and their version is typically ragged and boisterous. {&"Pipebomb on Landsdowne [Dance Remix]"} was "recorded at 4:30 a.m. sometime in August 1999," and there are great takes on material from {$Sham 69} ({&"Hey Little Rich Boy"}) and {$Angelic Upstarts} ({&"Never Again"}). {$The Dropkicks} host {$Shane MacGowan} on a suitably teetering, slurring version of the {\traditional Irish} {&"Wild Rover"} -- it comes complete with the audio of a raucous, beery party. Speaking of the {$Pogues} legend, {$Rancid}'s {$Lars Frederiksen} joins the band for {&"Vengeance,"} which {$MacGowan} wrote as part of his first band, {$the Nipple Erectors}. Another highlight is an amplified yet reverent version of {&"Victory,"} better known as the Notre Dame fight song. "No particular reason for recording it," the liners state, "just sounded good on the pipes." The list goes on. {^Singles Collection, Vol. 2} will disappoint no fan of {$the Dropkick Murphys}, especially anyone trying to track down some of the rarer 7" and comp appearances this set collects. It's a gift to diehards from one of most honest bands in {\rock} music today. ~ Johnny Loftus, All Music Guide

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Tessie - EP
Released: Aug 24, 2004
Label: N\A

In Boston, the only thing bigger than {$the Dropkick Murphys}' street {\punk} and bagpipes sound is the Fenway Park's Green Monster. So it's fitting that the group united with the Red Sox for this... Continue[+]

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On the Road With the Dropkick Murphys
Released: Mar 9, 2004
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Walk Away - UK CD
Released: Feb 24, 2004
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Blackout
Released: Jun 10, 2003
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On their fourth studio album, {^Blackout}, {$the Dropkick Murphys} work with their soused {\punk} {\rock} style for their tightest material to date. Sure, the intensity that made {^The Gang's All... Continue[+]

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On their fourth studio album, {^Blackout}, {$the Dropkick Murphys} work with their soused {\punk} {\rock} style for their tightest material to date. Sure, the intensity that made {^The Gang's All Here} and {^Sing Loud, Sing Proud} so great is intact, but there's a bit more polish and {$the Dropkick Murphys}' Irish-colored {\rock} jigs have never sounded better. Bassist {$Ken Casey} produces this energetic set of working-class anthems. Shared vocal duties between {$Casey} and frontman {$Al Barr} are ferocious yet playful in leading this Boston septet of beer-room brawlers. From the merry singalong of {&"Kiss Me I'm #!@*faced"} to the tomfoolery of {&"The Outcast,"} {^Blackout} captures the band's undying spirit. {\Traditional Irish} favorites like {&"Fields of Athenry"} and {&"Black Velvet Band"} are equally rowdy, and {&"Walk Away"} nicely represents {$the Dropkick Murphys}' lasting brotherhood. {\Rockabilly} riffs blaze about on {&"Gonna Be a Blackout Tonight,"} a riotous good time put to the words of an unpublished {$Woody Guthrie} song. Such an effort is quite fitting for the band as well, since {$the Dropkick Murphys} are keen to {$Guthrie}'s classic working-class ideals. But they have a spark that matches the soul of {$Shane MacGowan} and {$Billy Bragg}, and that's what makes {^Blackout} so impressive. The rawness behind making a living is balanced with a good swig of whiskey, and despite the band's aggressive presentation, this is no motley crew. {^Blackout} is honest in words and heart, so raise your fist. ~ MacKenzie Wilson, All Music Guide

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Live on St. Patrick's Day From Boston, MA
Released: Sep 10, 2002
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Great live albums accomplish two things: They show how an artist sounds in real life (or something close to it) and they make you wish that you were there the night they recorded this gig. By this... Continue[+]

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Great live albums accomplish two things: They show how an artist sounds in real life (or something close to it) and they make you wish that you were there the night they recorded this gig. By this measure, {^Live on St. Patrick's Day From Boston, MA} is one of the best of the breed. You may have to go back to {^Live at Leeds} to catch this kind of stage energy. {$Dropkick Murphys}, working-class heroes in blue-collar Boston, crash through their set with hair-raising exuberance. Their sound, a muscular collision of {\punk} and {\traditional Irish} elements, connects directly with the crowd, whose presence is never lost in the mix; throughout the set the band welcomes relatives in the balcony, runs footage of old Boston Bruins hockey games as a video backdrop, opens the stage to a bunch of step-dancers, brings a guy up from the audience to propose to his girl as the crowd roars its approval (the girl, no fool, says yes), and invites any woman in the crowd to join them as their massive, beer-swilling piper, {$Spicy McHaggis}, plays a jig. ("His pipes are gigantic, and so is his schlong," {$Al Barr} yells as the band thunders merrily.) From the opening moments, a stirring skirl provided by {$the Boston Police Gaelic Column Pipes & Drums}, to a final chant of "Let's go, Murphys!" performed in the wreckage that follows the finale, {^Live on St. Patrick's Day From Boston, MA} is ultimately a raucous, brawling, and sentimental testament of love between a band and their perfectly matched audience. ~ Robert L. Doerschuk, All Music Guide

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Sing Loud, Sing Proud
Released: Feb 6, 2001
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Boston's {$Dropkick Murphys} exude an energetic rowdiness, a definite slice of {\punk}-o-rama appeal. Fans raise their fists in the spirit of {\Oi!}, and the {$Dropkicks} playfully snarl into... Continue[+]

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Boston's {$Dropkick Murphys} exude an energetic rowdiness, a definite slice of {\punk}-o-rama appeal. Fans raise their fists in the spirit of {\Oi!}, and the {$Dropkicks} playfully snarl into Irish-American song traditions and musical unity. On {^Sing Loud, Sing Proud}, it became more than a family affair. The band's new lineup featuring {$James Lynch} (guitar), {$Spicy McHaggis} (bagpipes), and {$Ryan Foltz} (mandolin) allowed the album a broad-based instrumentation, a spastic composition scaling above 1999's {^The Gang's All Here}. The fervor surrounding a hearty jig, a group of hearty men, and social woes in the midst of relaxing with a scally cap is something commonly found among the {$Dropkicks}' fun-spirited chants. {&"The Torch"} resonates {\Celtic folk} vibes, acoustics blending inside {$Barr}'s and bassist {$Ken Casey}'s roughcast duet. {&"Good Rats"} and the vinyl-only version {&"The Wild Rover"} feature ex-{$Pogue} {$Shane MacGowan} on guest vocals. One of the '80s biggest headaches, {$MacGowan}'s presence adds a hint of {\old school} {\rock} ambience, but his contributions are lackluster. {$Barr}'s throaty growl overshadows {$MacGowan}'s monotone; the songs might have done decently without him. But again, it is {$Shane MacGowan}, one of the original barroom heroes who helped lead {\Irish rock} to near mainstream level. {$The Dropkick Murphys} do remain at the heart of things, particularly on {&"Fortunes of War."} Dedicated in memory of a {\punk rock} fan who was killed in Texas, {$Cock Sparrer}'s {$Colin McFaull} joins {$Barr} for a touching swan song, {\skatepunk} style. Recognizing the working class' blood and tears while patronizing the use of societal scapegoats, {&"Fortunes of War"} makes {^Sing Loud, Sing Proud} a decent addition to the band's album roster, but thanks to a pint of ale, of course. ~ MacKenzie Wilson, All Music Guide

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Mob Mentality
Released: Jun 20, 2000
Label: N\A

{^Mob Mentality} is a dozen track full-length of scowling punk rock featuring Boston's {$Dropkick Murphys} and U.K.'s {$the Business}. Both groups initially got together to cut a 7", but many beers... Continue[+]

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The Singles Collection
Released: May 23, 2000
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Released in the U.S. in 2000, {^The Singles Collection: 1996-1997} isn't a best-of CD. Rather, the 24 songs on this good to excellent collection fall into two main categories: singles from 1996 and... Continue[+]

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Released in the U.S. in 2000, {^The Singles Collection: 1996-1997} isn't a best-of CD. Rather, the 24 songs on this good to excellent collection fall into two main categories: singles from 1996 and 1997 (which had been out of print in the U.S.) and previously unreleased live recordings. For punk lovers, the release of this disc was cause for celebration; those early singles (which came out on small indie labels like {@Cyclone}, {@Flat}, and {@Pogostick}) had become hard to find, and they were too infectious and spirited to remain unavailable. Retro-punk items like {&"John Law,"} {&"Eurotrash,"} {&"Regular Guy,"} and {&"Barroom Hero"} aren't innovative or groundbreaking, but they're definitely inspired and passionate. A throwback to the late '70s and early '80s, these 24 tracks are heavily influenced by the early British punk of bands like {$the Clash} and {$Sham 69}. In fact, the album contains live performances of no less than three {$Clash} covers: {&"White Riot,"} {&"Career Opportunities,"} and {&"Guns of Brixton."} But {$Dropkick Murphys} have also been influenced by Irish rock, and traces of {$the Pogues} and {$the Boomtown Rats} find their way to some of the tracks. Occasionally, you'll hear a bagpipes solo on this CD, not exactly a typical punk instrument, but a nice way for the Bostonians to acknowledge the Scottish side of Celtic music. {^The Singles Collection: 1996-1997} isn't the last word on {$Dropkick Murphys}, but if you're getting into the band for the first time, it's one of the places to start. ~ Alex Henderson, All Music Guide

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Dropkick Murphys

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