Being the child of Irish parents in England in the late twentieth century was not always the easiest of identities.
Fall out from the Troubles, a comedy culture that seemed to extend no further than thick Paddies and a concerted press campaign that sought to denigrate all things Irish that extended from the "Daily Mail" to the "Face", all seemed to combine in creating a negativity around all things Irish. A degree of hostility from the Irish born towards the second and third generation Irish best summed up as the "Plastic Paddy" syndrome all added to the unhappy lot of many of the children of the Irish immigrant community.
In recent years it has become obvious that one area that did provide a refuge for many second generation Irish was the world of popular music. A new book by Sean Campbell,"Irish Blood English Heart” explores this vibrant cultural scene focusing on the 1980s British music scene revealing just how strong an Irish representation it had.
Campbell focuses on three very different acts - Kevin Rowland and Days Midnight Runners; Shane MacGowan and The Pogues; and Johnny Marr and Morrissey of The Smiths. Equally he could have focused on such notables as Lennon, McCartney, the Gallaghers, Kate Bush or Elvis Costello. There was no shortage of those with Irish blood creating waves within the British music scene in the late twentieth century.
For those of a certain age Campbell’s work will be fascinating, particularly those who came of age in the 1980s.
His first target for analysis is Shane MacGowan the Irish Cockney who emerged spitting and screaming from the late 1970s punk scene. Perhaps he struck such a chord with so many fellow sons and daughters of Irish emigrants as his alienation and anger was something they themselves could relate to due to their English experience.
What MacGowan will always be remembered for is imbuing his sense of Irishness with the spirit of punk cool, at a time when any sense of Irishness was anything but cool. Think Arran sweaters and Val Doonican.
Yet one should remember that as much as he broke stereotypes of Irishness he often lived up to them. He did for many become a modern personification of the drunken stage Irishman.
Compare him with Dexys Kevin Rowland. He eschewed booze and drugs. The bands rider specified copious amounts of tea at venues they were to play. He is credited with being the first second generation musician to deploy overtly Irish themes and styles.
Campbell next focuses on The Smiths.
Quintessentially English band? Well lets look at their surnames, Joyce, Rourke, Morrissey and Maher (Marr) All quintessentially Irish.
But how Irish was their guitar/ indie rock?
Well according to Campbell surprisingly more than you might think. Marr relates that his patents were heavily involved in traditional Irish music. The family home seems to have been a centre for Irish traditional music sessions.Marr further confides that it was Irish rock/blues icon Rory Gallagher who first inspired him to pick up the guitar.
Melancholy and maudlin vocals are often described as the hallmark of the Smiths music. But is not this also the DNA of much of Ireland’s traditional music?
Add Morrissey’s love of Oscar Wilde and his maudlin vocals and I defy anyone to deny The Smiths were an Irish band
Irish Blood English Heart, how could anyone deny that both cultures were enriched in the process.
