Patrick O’Donnell wrote this review.
The trouble with Americans is that we’re always looking somewhere else for our roots. It’s a pretty rare thing to hear someone say “I’m American” when you ask about his or her pedigree. A teacher once illustrated this point to me many years ago, when I was in the fifth grade. He started in the first row of the classroom, and in succession each pupil was asked to state his nationality. The answers were usually something akin to “German,” “Italian-Greek,” and, in my case, “Welsh, German, French, English, Irish and Scottish” (which drew a snicker from the room and a snort from the teacher). Only one student said, quite proudly, “American!” And that drew a satisfactory nod from the teacher, who went on to explain the purpose of the exercise: Your ancestors may be from somewhere else and it’s fine to be proud of your heritage, but if you were born in America, you’re American.
I’m reminded of this lesson each time I listen to St. James Gate‘s Glass in Hand. With the exception of one song (“Will the Circle be Unbroken”), the CD is a collection of fine old traditional Irish tunes. Nothing wrong with that. In fact, the selection is better than I’d expected, the instrumentation and arrangements are solid, and the music well-played. But the vocals … ahh, therein lies the thorn that pokes crookedly through the fabric of this release.
The harmonies are just fine; I’d go as far as to say well-done. The singers (Dave Conterio, Jim Faller and Barry Mokate share vocals) are in tune, and their voices are strong and clear. But the fake Irish accents affected for many of the songs give this CD about as much credibility as a Milli Vanilli release.
Let me put my criticism more in focus, lest it sound like I’m panning the whole work. To make it perfectly clear, I’m not. I think this is a fine selection of tunes, 16 in all, with high points that include “Star of the County Down,” “Raggle Taggle Gypsy,” “Mountain Dew,” “Sailor’s Lament” and “Johnson’s Motor Car.” I also think these guys play their instruments – mandolin, guitars, banjo, whistles, bodhran and bass – rather well.
But I think the “accents” detract from what otherwise would be a very credible release. It’s three guys from Chicago singing Irish tunes, and it should sound like three guys from Chicago singing Irish tunes, not like three guys pretending (and not very well) that their native land has a preponderance of Guinness, thatched-roof pubs and a flag that’s green, white and orange.
Glass in Hand is fine pub – or bar – fare, but it does not rise above that level, though it has the potential. If these guys lose the accents and sing “Whiskey in the Jar” in the same style they tackle “Will the Circle Be Unbroken,” their music would be much better off. Otherwise … well, they’re left standing at the gate.
(StJG, 2000)
