Agony

03/20/2007 | Victory Records 

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All Music Guide Review

On Agony, the Tossers make it clear that they don't have any intention of departing from their tried-and-true formula anytime soon: by now they've probably resigned themselves to the obvious comparisons (the Pogues, Flogging Molly) and decided that there's nothing wrong with being derivative as long as you're very bloody good. And they're right. If you love punk-edged rock & reel, then you'll find plenty to love on Agony, and on every other Tossers effort as well. Highlights on this one include the quiet but fierce ballad "Not Forgotten," the brilliantly rollicking "Pub and Culture," and the thrashing "Did It All for You." The modal instrumental medley "Sheep in the Boots" is also a treat, as is the Gypsy shout-out "Romany." On the less exciting end of the spectrum are a peevish kiss-off song titled "Traps and Ultimatums" and the grim and raw (but ultimately boring) "Not Alone." Tony Duggins is still not much of a singer, but that doesn't really matter; in fact, his only vaguely melodic growl fits the material perfectly. Recommended overall. ~ Rick Anderson, All Music Guide

Track Listing

  • Track#
  • Title
  • time
  • 1
  • Never Enough
  • 3:08

  • 2
  • Pub and Culture
  • 2:58

  • 3
  • Shade
  • 1:54

  • 4
  • Did It All for You
  • 1:51

  • 5
  • The Sheep in the Boots
  • 3:26

  • 6
  • Not Forgotten
  • 3:31

  • 7
  • Siobhan
  • 2:08

  • 8
  • Traps and Ultimatums
  • 2:35

  • 9
  • Leopardstown Races
  • 5:44

  • 10
  • Claddagh
  • 1:55

  • 11
  • Where Ya Been Johnny?
  • 2:30

  • 12
  • Not Alone
  • 3:44

  • 13
  • Political Scum
  • 2:55

  • 14
  • Romany
  • 1:44

  • 15
  • Movin' On
  • 3:41

  • 16
  • The Nut House
  • 2:29

  • 17
  • Be
  • 2:15

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    Credits

    • Dan Shaw
    • Organ, Bass, Group Member, Piano

    Notes

    from Victory Records: Agony is the latest step in a long and fruitful journey for The Tossers, whose members were largely born and raised in an Irish Catholic enclave on Chicago’s South Side. It was the perfect environment for the creation of their distinct blend of Celtic folk songs and punk rock fury. The band’s name, whose roots can be traced back to Shakespeare, can means a variety of things-- commode, drunk, or the currency of Britain rejected when the Irish established their independence in the 1920’s.

    Whatever the definition, there’s no debating the heartfelt authenticity of their music. Using traditional instrumentation comprised of mandolin, fiddle, tin whistle and banjo, and beefed up with guitar and drums, The Tossers play with a furious edge that teeters between rage and raucousness. Favorite sons of the Windy City scene, the Tossers possess an unparalleled work ethic, playing “anywhere, anytime, for anybody, with anybody,” as banjo player Clay Hansen declares. It wasn’t long before they graduated from the pubs and taverns of Chicago’s South Side to concert stages with the likes of Shane McGowan, Dropkick Murphys and Stiff Little Fingers.

    Yet an enduring work ethic and a desire to keep the music passionate and untarnished by commercial compromise has kept The Tossers’ creative spirit pure. “I don’t know if we ever had the illusion that we could make a zillion dollars doing the music we love,” Pawula concludes. “We always wanted a career where we could keep making records and carve a comfortable career for ourselves. To be able to continue doing that is what keeps us going.”

    That’s The Tossers’ kind of Agony.



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