Michael Flynn is a contributing writer for FolkWax .
Never Say No To A Jar is one of the best albums that has come from the Irish diaspora. Michael Snow has created a wonderful, touchingly personal masterpiece. You don't have to have a name like "Flynn" to be touched by this autobiographical, yet historical, perspective of an Irishman and his family's scattering from Liverpool to America. But it might help.
Michael Snow has worked in virtually every area of the music industry from beginnings in the Merseybeat of 1960's Liverpool to being a Nashville executive. His songs and playing have graced many well-known artists' works. A few years ago he turned to his own roots and began the "Skelly" Trilogy, a "Skelly" being an Irish man living in Liverpool. This album is the third installment of that trilogy. Having not heard the previous two, this reviewer finds it doubtful that they could possibly be as fine as this, the third. If they are this is truly a magnificent opus. Even if only a fraction as good, they are still "must have" material, if only to accompany this work.
While created within an autobiographical framework, lyrically this album is a collection of well-crafted songs that roam through memories in verse, drinking anthems, love songs, sad songs, period pieces, farewell songs, character portraits and more. All are interesting and full of references and personal feelings about whatever subject is at hand. It is truly like a lifetime of memories recollected over a lifetime of pints.
Musically this is a collection of Celtic Folk songs featuring all the instruments that one might even slightly relate to such an endeavor. Vocally the album is filled with wonderful harmonies, chorus sections and a Capella selections that make a perfect chaser to the whiskey of Snow's voice.
To truly do justice to such a fine work would require an analysis of each little masterpiece that these songs are and more space than available here. The problem is what songs not to address. The opener, "Dandy Vernon," tells the story of a sailor who made his way through the pubs and ladies of the ports of the world, but the meat of the matter is the big pub chorus repeating that sailor's maxim to "Take your stand as a drinkin' man, never say no to a jar..." It is infectious and this writer must admit to humming it quietly over a Guinness at my local.
The second song, "That Sonic Boom," a rockin' shuffle, is an autobiographical ode to the Merseybeat that started Snow on the musical road that has been his life.
Few writers can put as much personal memory in a album as Snow puts into one song, "River Remember Me." It is a huge personal statement beautifully delivered. Another real treat is the love song "Brand New Uniform" wherein the singer tells of what he would do to prove his love if in various occupations. It could have been written a hundred years ago. Snow;s dark and philosophical side arises on "Peeling The Layers Away." The a Capella "Old Irish Tunes" is a wonderful story of Irish Families who settled the frontiers of America and laid the railroads and the importance of their own musical heritage. "A Pub on Every Corner is a drinking man's dream of heaven sung over grand playing of whistles and pipes on a big chorus. Snow goes back to some darker philosophizing on "One Of Us" and it is moving with more fine instrumentals.
And with the latter cut we head toward the end of this album and a medley of songs that reflect the leaving of home, shown through Snow's own life. The first is spoken work piece of a man who lives in Tennessee remembering his Liverpool home to a stranger in his pub. This slides right into "Black Sheep: Blarney Star" which is a bid to an emigre to visit the landmarks in America and to "have a drink on me."
The final cut is a beautiful song of farewell written to family that may never be seen again, "Won't you keep the home fires burning / For the day I'll be returning / So long, in a while we'll be gone / Don's cry at a Skelly's goodbye."
Snow throws in a nice surprise in the form a hidden track of "Rosetta." This song was Snow's biggest success as a songwriter hitting #11 in the U. K. in 1971 for Georgie Fame and Alan Price.
Michael Snow has taken his personal experiences and feelings and presented them in a way that becomes personal to each listener and better with each listen. This is a gift and it is wonderfully executed. Sharing his journey is truly a pleasure and takes one through a course of emotions and introspection to end up feeling full of hope and happiness. It will probably be my choice for FolkWax "Album of the Year," Mr. Snow, the next round's on me. Thank you.
Michael Snow has worked in virtually every area of the music industry from beginnings in the Merseybeat of 1960's Liverpool to being a Nashville executive. His songs and playing have graced many well-known artists' works. A few years ago he turned to his own roots and began the "Skelly" Trilogy, a "Skelly" being an Irish man living in Liverpool. This album is the third installment of that trilogy. Having not heard the previous two, this reviewer finds it doubtful that they could possibly be as fine as this, the third. If they are this is truly a magnificent opus. Even if only a fraction as good, they are still "must have" material, if only to accompany this work.
While created within an autobiographical framework, lyrically this album is a collection of well-crafted songs that roam through memories in verse, drinking anthems, love songs, sad songs, period pieces, farewell songs, character portraits and more. All are interesting and full of references and personal feelings about whatever subject is at hand. It is truly like a lifetime of memories recollected over a lifetime of pints.
Musically this is a collection of Celtic Folk songs featuring all the instruments that one might even slightly relate to such an endeavor. Vocally the album is filled with wonderful harmonies, chorus sections and a Capella selections that make a perfect chaser to the whiskey of Snow's voice.
To truly do justice to such a fine work would require an analysis of each little masterpiece that these songs are and more space than available here. The problem is what songs not to address. The opener, "Dandy Vernon," tells the story of a sailor who made his way through the pubs and ladies of the ports of the world, but the meat of the matter is the big pub chorus repeating that sailor's maxim to "Take your stand as a drinkin' man, never say no to a jar..." It is infectious and this writer must admit to humming it quietly over a Guinness at my local.
The second song, "That Sonic Boom," a rockin' shuffle, is an autobiographical ode to the Merseybeat that started Snow on the musical road that has been his life.
Few writers can put as much personal memory in a album as Snow puts into one song, "River Remember Me." It is a huge personal statement beautifully delivered. Another real treat is the love song "Brand New Uniform" wherein the singer tells of what he would do to prove his love if in various occupations. It could have been written a hundred years ago. Snow;s dark and philosophical side arises on "Peeling The Layers Away." The a Capella "Old Irish Tunes" is a wonderful story of Irish Families who settled the frontiers of America and laid the railroads and the importance of their own musical heritage. "A Pub on Every Corner is a drinking man's dream of heaven sung over grand playing of whistles and pipes on a big chorus. Snow goes back to some darker philosophizing on "One Of Us" and it is moving with more fine instrumentals.
And with the latter cut we head toward the end of this album and a medley of songs that reflect the leaving of home, shown through Snow's own life. The first is spoken work piece of a man who lives in Tennessee remembering his Liverpool home to a stranger in his pub. This slides right into "Black Sheep: Blarney Star" which is a bid to an emigre to visit the landmarks in America and to "have a drink on me."
The final cut is a beautiful song of farewell written to family that may never be seen again, "Won't you keep the home fires burning / For the day I'll be returning / So long, in a while we'll be gone / Don's cry at a Skelly's goodbye."
Snow throws in a nice surprise in the form a hidden track of "Rosetta." This song was Snow's biggest success as a songwriter hitting #11 in the U. K. in 1971 for Georgie Fame and Alan Price.
Michael Snow has taken his personal experiences and feelings and presented them in a way that becomes personal to each listener and better with each listen. This is a gift and it is wonderfully executed. Sharing his journey is truly a pleasure and takes one through a course of emotions and introspection to end up feeling full of hope and happiness. It will probably be my choice for FolkWax "Album of the Year," Mr. Snow, the next round's on me. Thank you.