The Secret Commonwealth | Last Call

Go To Artist Page

Recommended if You Like
Fairport Convention Old Blind Dogs The Pogues

More Artists From
United States - Tennessee

Other Genres You Will Love
Folk: Celtic Folk World: Celtic Moods: Type: Acoustic
There are no items in your wishlist.

Last Call

by The Secret Commonwealth

An eclectic mix of original Celtic, Americana, and Folk-Rock music that spans the moods from rowdy to reflective, from lively to haunting, acoustic but underscored with a little electric psychedelia.
Genre: Folk: Celtic Folk
Release Date: 

We'll ship when it's back in stock

Order now and we'll ship when it's back in stock, or enter your email below to be notified when it's back in stock.
Sign up for the CD Baby Newsletter
Your email address will not be sold for any reason.
Continue Shopping
just a few left.
order now!
Buy 2 or more of this title and get 20% off
Share to Google +1

Tracks

Available as MP3, MP3 320, and FLAC files.

To listen to tracks you will need to either update your browser to a recent version or update your Flash plugin.

Sorry, there has been a problem playing the clip.

  song title
share
time
download
1. Man Overboard
Share this song!
X
2:53 $0.99
2. The Lion's Breath
Share this song!
X
4:16 $0.99
3. Til Jamie Comes Hame
Share this song!
X
4:13 $0.99
4. Dubhachas (I'll Dream of Times Like This)
Share this song!
X
3:58 $0.99
5. Springtime Unknown
Share this song!
X
3:24 $0.99
6. In the Old Ruins
Share this song!
X
2:50 $0.99
7. Field of Bannockburn
Share this song!
X
5:05 $0.99
8. High Over France
Share this song!
X
2:31 $0.99
9. One Shot
Share this song!
X
2:35 $0.99
10. Scarecrow Walking
Share this song!
X
3:19 $0.99
11. Isle of Man
Share this song!
X
3:39 $0.99
12. My Highlander
Share this song!
X
3:41 $0.99
13. All These Years
Share this song!
X
8:08 $0.99
preview all songs

ABOUT THIS ALBUM


Album Notes
The Secret Commonwealth has been Middle Tennessee’s most enduringly popular Celtic band since their inception in 1993. Influenced by The Pogues, The Chieftains, and traditional Irish pub bands, TSC’s music mixes original material with traditional music and many styles of American and European folk.
“Celto-eclectic” is the term the band members use most often to describe the Secret Commonwealth sound. The celtic music forms the core of the band’s repertoire, but at any given show, the audience might be treated to side-trips into blues, country, even a bit of rock ‘n roll once in a while. Secret Commonwealth doesn’t adhere to a “purist” approach to traditional music; rather, they enjoy proving that the music still lives and breathes with possibilities, which is why it’s not unusual to hear them slip an electric “surf-guitar” break into the middle of an Irish trad instrumental!
Because of the band’s democratic philosophy, each new member is encouraged to contribute material and bring their own musical background and style of playing into the mix; a big reason why TSC has the energy and edge of a new band even as it is now in its twentieth year of performing.

“(People) leave a Secret Commonwealth show with sore hands from pounding on the table tops and clapping and sore throats from singing along as loud as they can” – The Daily News Journal, Murfreesboro, TN

“One of Nashville’s best Celtic bands” --- Southeast Performer Magazine

“One of Nashville’s best Celtic-influenced bands…The Secret Commonwealth cover a wide range of English, Scottish, and Irish tunes --- from traditional ghost songs and reels and jigs to Donovan’s “Season of the Witch” --- and invest them with psychedelic potential and achingly beautiful harmonies” --- The Nashville Scene

“There’s an underlying theme of fun that pervades this sincere and sometimes somber music and that’s what makes (Secret Commonwealth’s second album) UNINVITED GUEST work on so many levels… an elegantly progressive mix of time changes and genre shifts performed with a touch of class; interesting music that is surprisingly perfectly crafted by a group of relative unknowns.” --- Joe Viglione, allmusic.com


Reviews


to write a review

John Davis

Last Call? First rate!
The Secret Commonwealth's latest CD "Last Call" celebrates the band's twentieth year, and quite a celebration it is. It's hard for me to be anything like objective in writing about it, because they've been a part of my life for all twenty of those years. A sea of ale has passed through all of us in that time, distilled with raucous laughter and comingled with more than a few tears. And in the center of it all was the late, sometimes great Jack Hunter Daves. He was a prime mover in starting the band, writer of many of its songs, inspiration for many more, player of pennywhistle, banjo and bodhran, raconteur, and singer extraordinaire. He was at the heart of The Secret Commonwealth. He was also notoriously hard to get to practice, often moody, and frequent flyer of the path of least resistance. He was my friend, and I miss him.

So perhaps it is not so hard to understand how I hear him in every song on this album. I don't think it's just my Jack-colored glasses (an unfortunate turn of phrase, but it's all I could think of. God, the scatological jokes Jack would have made of that). No, I think anyone who knew Jack at all will see how he pervades this album. But it's more than that, of course. It's filled with the history of the band, anchored firmly to their roots, yet still living in the present.

Because of my own peculiar proclivities, TSC's second CD "The Uninvited Guest" will probably always be my favorite. Filled with songs of Halloween and the supernatural inspired by mutual fascinations and shared experiences, this album was right up my alley. Hell, I wrote the liner notes. But I have to say that I find myself listening to "Last Call" just as much, if not more than The Uninvited Guest. It's just that good. Songs like "Til Jamie Comes Hame" and "Field of Bannockburn" hail back to the band's early roots in Scottish history. I had not heard Bannockburn in years, and the steady build of its power and momentum into a driving ballad is the best I have ever heard it rendered. The tracks "High Over France" and "Dubhachas (I'll Dream of Times Like This)" celebrate other often-visited early favorites of TSC and bring back a powerful nostalgia to those who frequented their shows in those years. Dubhachas especially evokes a great deal of emotion, for it has often marked endings and transitions among my group of friends. I will never forget weeping openly over this song at the last show they did at the Sherlock Holmes pub before the band broke up in October of 2003. Obviously it was not the end of TSC, but none of us knew that at the time. It did turn out to be the last time Jack would perform there. This is a song that crystallizes in amber some of the happiest times of my life. "The Lion's Breath" and "Springtime Unknown" celebrate Jack's love of all things British and bring a lump to my throat just about every time I hear them. Jack never went to the UK, but he lived vicariously there for most of the years that I knew him. These songs capture that so well. "Isle of Man" is a rarely heard instrumental in that same vein and very reminiscent of another of their favorite instrumentals, "Frost on the Pumpkin." "In the Old Ruins" evokes the origin of the band—twenty years ago on the run up to St. Patrick's Day when Jack, Troy, Rob, and I immersed ourselves in all things Irish, including the movie Darby O'Gill and the Little People, on which the song was based. "My Highlander" kind of sums up all of what I've been saying about Jack. It's a beautiful tribute written by mutual friend Linda Wylie, and I'm very glad to have it on the album. I recently joked with Troy that TSC's running gag was to have a different version of "Scarecrow Walking" on every album they made. That is, in fact, exactly what they've done. Every version has had qualities to recommend it. This version is a bit more down-and-dirty than other renditions (as one friend calls it, the Tom Waits version) and features the "Ho Lawd!" audience response that has become popular at their shows.

The three (four actually) remaining songs I have purposefully waited until last to mention, for they are the counterbalance for all this nostalgia. "One Shot" is a song written by Jack for a cameo he did in a film called The Shelter. I only got to hear him sing it once (maybe twice). As previously mentioned, Jack had an extraordinary voice, and many is the time that I recall him hushing a noisy pub by belting out an acapella song with those legendary pipes of his. Doesn't really sound like I'm moving past the nostalgia, does it? Thing is, Jack may have written the song and performed it amazingly, but it's Don Clark who delivers it here. And I mean he owns it. It's some of the most soulful blues you're ever likely to hear. In an Easter egg at the end of the CD, Don also croons in the best singing cowboy tradition a last loving tribute to Jack, who loved westerns every bit as much as Britain. "Man Overboard" and "All These Years" are relatively new songs to TSC's repertoire, but they sound like they've been performing them for years. They are a perfect fit and they reflect the here and now of the band, very much alive and kicking and ready to keep a pub full of fans well entertained over several pints.

Jack was at the heart of The Secret Commonwealth, but it's not his band anymore. It belongs to the remarkable talents of Troy Guinn, Rob Campbell, Franko Hashiguchi, and Don Clark. I'm very happy that they've honored Jack's legacy so well, but they do not live under his shadow. Well done, guys. Very well done. Last call? Not hardly.