Songs like “Factory Girls” (about King’s mother) and “Light of a Fading Star,” however, put the brakes on the band in terms of tempo but not in terms of creativity. The “I just want to get up and dance” music is still there in tracks like “Seven Deadly Sins” and “Tobacco Island.” The third album in four years saw Flogging Molly branching out from its traditional musical mode.
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Larger than most bands, Flogging Molly does not see this as a burden, but as a boon – every instrument and musician is allowed to explore its full range. Smith) and Bob Schmidt on mandolin and banjo. This song also clocks in at 5:11, the longest track on the album, as the rest of the band flexes its musical muscles and explores the musical realm Flogging Molly has created.īridget Regan stars on the violin and tin whistle, George Schwindt on the drums, Dennis Casey on guitar, Nathan Maxwell on bass, Matt Hensley on accordion (since replaced by P.J. With a refrain like, “‘Cuz we find ourselves in the same old mess / singing drunken lullabies,” the album’s eponymous feel-good jaunt sings about friends, alcohol and getting into trouble – and the relationship between the three. Tracks such as “Rebels of the Sacred Heart” not only keep the toes tapping but also put your fist in the air as King tears through the fast-paced chords and smart lyrics. Perhaps a more personal album for primary songwriter and frontman Dave King, “Lullabies” has more to say about the Catholic Church and the history of the Irish people in general. Mainstream means kids outside of the punk scene began to take notice – and loved what they heard. Its creative blend of punk, rock and Irish music stayed just as creative and catchy. This does not mean, however, that the band began making mainstream music. “Drunken Lullabies” marked the breakout into the mainstream for Flogging Molly. Tracks such as “Salty Dog” and “The Likes of You Again” keep the tempo at a breakneck pace while others, such as the moving final track, “Far Away Boys” remind you of the influence that traditional Irish music has had on the band. Swagger is regarded by some to be its best, though not its most accessible album.
The band began touring with the punk festival Warped Tour and was able to make itself better known because of it. It toured with the likes of punk legends Anti-Flag and was able to build up a sizable fan-base. In a time when bands such as Pennywise and NOFX were specializing in straight up punk-rock, Flogging Molly’s Irish-infused punk sounded like something that came from the moon – and everyone loved it. The first studio album Flogging Molly released took the punk world by storm when it was released in 2000. No one really knows why this is the case, but it remains a Flogging Molly staple that shouldn’t be missed.
Why buy this album if many of the songs are on its later studio albums? Well, not all of the songs on “Alive Behind the Green Door” are on later studio albums, most notably, the epic “Delilah.” While any fan of Flogging Molly has heard “Delilah” either at a live show or on this live album, it has never been recorded for a studio album. “Every Dog Has His Day” and “Selfish Man” would feature prominently on Flogging Molly’s next album while others, such as “Swagger,” would feature on later albums.
It features many of the songs that would become Molly staples. It was recorded at the bar where Flogging Molly first formed, L.A.’s Molly Malone’s. This live album marked the debut Flogging Molly release. Socially conscious lyrics mixed with a raucous Irish-punk sound make Flogging Molly one of the most creative and unique bands to hit stages in the United States. The best way to describe punk band Flogging Molly would be a Guinness-soaked-musical bodyflow with a brain.