Album Review: Broadsides and Ballads

Broadsides and Ballads is the second studio album for The Whiskey Bay Rovers, the first since their debut album of Shantyman’s Folly back in 2013. Based out of Louisiana, this album does touch on their roots in a few places. Mind you the review below was written as I listened to the album suffice to say this album goes back and forth between a capella and full band to an interesting effect. What I think this album does a strong job of is giving you a definitive idea of who they are as a band and what you can expect to hear when you see them live, which is always welcome.

We begin the album with “Rolling Down to Old Maui” with a very traditional start. A deep harmonic start using nothing but vocals sound strong to start the album off with. Actually something about the song is giving me a feeling of Mist Covered Mountains from The Hobbit. I think it’s the start of a verse solo and then joined in that’s causing that feeling, and it’s working for me.

“Ghost of Pierre LeBlanc” starts us off with some beautiful instrumentals. This band is from Louisiana so having a song featuring their most famous pirates is a welcome addition. The balance in the song is really well done, nothing is overpowering other sections. The song itself has a STRONG New Orleans feel when you listen to the lyrics. A perfect song for a pirate band from Louisiana.

We go back to the a capella style of the first song in “General Taylor”. Will be interesting to see if this is the decision to lay the album out in this fashion. Arranged in a very traditional set up with a soloist and everyone during the chorus. Harmonies are all solid and is a nice song, just nothing new as we had with “Ghost”.

“Rosin the Beau” brings us back to some loving violin play, which makes sense when we look at the song title. A traditional song from the early 1800s, it is a nice addition as it’s not one of the more often played traditional songs you can see in the pirate community, likely because it’s more of an Irish waltz but still a beautiful song. The flute and violin are mixed very nicely and would expect to see a good number of folks dancing along to this song live.

It does appear we will be going from a capella to instrumental on this album as “Bully In The Alley” has taken us back to the a capella. Similar in style of “Taylor” except it’s not a solo in verse, but a duet. I do think I am enjoying this arrangement more so than “Taylor” but again isn’t remaking the wheel. That is not meant as a negative, it’s a fine song, just nothing new.

“The Dark Lady” is a modern song that has a big following in this area of the country so it’s no surprise to see the Rovers doing their own rendition. What I find most interesting about this version is it immediately felt like a Marc Gunn version of this song. Even as it continues on the melody would fit right on a Brobdingnagian Bards album. With this happening there is a bit of a disconnect between the lyrics and melody in my mind, but that also may be due to hearing the Pride O’ Bedlam version every weekend for the last month. It is most definitely a new and unique version of “Lady” that I’ve never heard before. What I really do enjoy is the instrumental break towards the end of the song, not sure if that’s been done and it is absolutely beautiful.

“Cape Cod Girls” is another long standing traditional song done by many pirate bands. This a capella has taken us back to the solo/group arrangement from “Taylor”.  We find once again a very solid, traditional approach to the song that isn’t doing anything drastically new. There is a definite audience for the traditional takes on traditional albums and this should make those listeners very happy.

I am an avowed fan of “Wild Mountain Thyme” ever since I first heard likely at my very first Renaissance Faire. The style of band that The Whiskey Bay Rovers are this is a great compliment to their arsenal of songs to play live. The flute playing is especially nice on the recording, though the vocals are doing something that’s taking me a bit out in the middle of the song. It’s as if the male and female vocals aren’t exactly aligned and so I’m hearing both distinctly? Still a lovely rendition of the song.

Every pirate band has to do a recording of “Drunken Sailor” if for nothing else than the non-pirates who come to pirate shows. This is definitely a song that can go on FAR TOO LONG for some bands, thankfully this is not one of them. Short, to the point, very much appreciated. As I always say, “Drunken Sailor” is akin to “Time Warp” for Rocky folks; it’s everyone else’s favorite song and we hate doing it.

The next song, “Health to the Company”, is one that means a great deal for folks in my area so it is a pleasant surprise to see a different take on the song. It begins in the style you are likely most used to and then picks up the pace. I’m not sure if I’ve seen “Company” done at this speed and am digging it. The one issue, and like all of mine it’s a personal taste, I’m not sure the flute goes with the speed of the song. Love the guitar, drums and singing; the flute just seems out of place.

“Leave Her Johnny” continues the trend of a capella traditional songs. The switch up of main vocalist is a nice change in this rendition; gives it a crew feel to the song. As with the previous acapella songs a solid rendition of a classic song.

With “Finnegan’s Wake” we once again get the Marc Gunn influence on the band. The arrangement and sound is very reminiscent of Gunn. This could be a blessing and curse, but the Rovers do Gunn’s version some justice. I would have personally liked to hear the violin at least on the same level as the guitar, but you can tell they are having fun singing this song. That is always nice to see in a song, the sheer pleasure of doing a certain piece.

“Sailor’s Prayer” is our last “official” song on the album. Not to be confused with the Tom Lewis song of the same name, this song is a wonderful end cap for the album. An almost hymnal quality with some excellent harmonies. I really like the placement of the song as the “end” of the album.

The additional song on the album is “Ghost Riders of New Orleans” which is likely a big hit during their live shows. Something added into this song that I’m really enjoying is what I think is a harmonica, so much so I am wishing it was on some of the other songs on the album and am a bit sad it’s not. This is a “parody” of “Ghost Riders in the Sky” about some  New Orleans history. Again a bit sad that this is falling as a special treat at the end as it’s maybe my second or third favorite song on the album, a real treat.

Overall Broadsides and Ballads is appropriately named since we spend the album going back and forth between a capella and full band. Some of the songs like I said aren’t re-making the wheel and that’s OK. It is a solid album aimed for a more traditional pirate band feel. Fans of The Pyrates Royale, Marc Gunn, Bounding Main I think will really enjoy the album, as I have.