John O’Regan wrote this for Green Man Review.
One of Ireland’s real musical pioneers, Terry Woods has figured prominently in Sweeney’s Men, was a founding member of both Steeleye Span and the Woods Band, and added his considerable musical expertise to The Pogues. Woods’ thought provoking vision of Irish music is visible on The Woods Band’s new album, Music From The Four Corners of Hell.
The new Woods Band features Terry Woods on mandolin, cittern, concertina, five string banjo, and guitar, and Paul Harrigan on accordion and pipes, supplying palates of sonic color. Alongside are guitarist Dave Browne, bassist David Hughes, drummer Steve Browne, and vocalist Shane Martin. This Woods Band favors a rootsy, rock-influenced approach, combining a punk-fueled adrenalin rush with traditional expertise.
The Pogues connection will attract curious punters but is just part of the package; “Love on Tillery,” itself a Woods/Spider Stacey collaboration, heightens the Pogues influence. However, The Woods Band is very much an outfit of its own validity. This allows for a less frenetic and a more measured, melodic approach. The core of Music From the Four Corners of Hell concentrates on a selection of well-known ballads like “The Spanish Lady,” “Finegans Wake,” and “Dublin Jack of All Trades,” with a guest vocal from Ronnie Drew. The spirit is one of re-interpretation, without sacrificing the songs’ original appeal.
However, this is no nostalgia trip through the pub ballad repertoire, as Terry has a few tricks of his own up his sleeve. The seven-minute long “Grosse Isle Lament” combines extended electric folk-rock improvisations with a potent urgency, while “De Valera’s Green Isle” casts an wide angle view of Irish history. The new Woods Band has a sound both Irish and contemporary, as unique and original as the band’s original line up. Music From the Four Corners of Hell welcomes a folk-rock pioneer back to the fray, and the results are grippingly exciting.
(Four Corners of Hell, 2002)
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