Canada's Glengarry Bhoys offer a slant on the Celtic Rock theme worth mentioning. The Scottish influence on Canadian traditional music comes through many strains, such as the fiddling of Angus Chisholm and Bill Lamey, and can also be found in the family groups such as the Barra MacNeils and later outfits like Slainte Mhath. While the Glengarry Bhoys Celtic-rocking brew has been well appreciated in the Maritimes and US circuits, their early catalogue provides and interesting development and evolution from acoustic folk group to fully fledged Celtic rockers.

1998's Home Again is their first album, issued when the band was barely one year old. Founded in the summer of 1997 as a part time band made up of singer/guitarist Graham Wright, percussionist Gaye 'Ziggy' Stuart-Leroux and piper Bruce 'Goose' Blaney, the ensemble soon grew into something more permanent through word of mouth and enthusiastic gigs. They quickly recorded their debut album Home Again, a collection of well-known, mostly Scottish traditional ballads like 'Nancy Whisky' and 'Ye Jacobites by Name' and songs from the pens of writers like Eric Bogle and Roy Williamson. Williamson's 'Flower of Scotland' opens the album in a relaxed low-key fashion while 'Sam Hall', rendered a cappella, and 'Willy McBride' -- complete with a nod to 'Flowers of the Forest' -- show an equally sensitive side. The arrangement of 'King Fairweel' and 'Farewell to the Greeks' is reminiscent of the Corries, suitably dramatic and heart-rending. 'Unplugged and plowed', a live cut, shows their instrumental talents out-front. Comparing Home Again with their later albums, reveals that this is the quietest album of the lot, with the most emphasis on vocal tracks. There aren't the swirling bagpipe sets of later albums nor the manic punk-folk energy found with bands like The Prodigals.

The second Glengarry Bhoys album bears the title Full Contact Highlanding. Immediately the difference between it and its predecessor is apparent. Pipers have been replaced, with Bruce Blaney leaving the band for married life and relocation to Michican and Derek McGregor joining. Bassist Ewen McIntosh also joins adding a firm rhythmic backbone. The band's sound is bigger and louder; though still not full tilt rock and roll it's definitely heading there. 'Donald MacGillivray' is a suitably stirring opener with guest musician Gerry O'Neill's fiddle adding a burst of 'O'Neill's March' to the proceedings and a self-penned nationalistic ballad 'Lexie Wright' keeping the energy ante up. The sound is impressive and personable, brassy and lively with the Scottish elements -- pipe tunes, stirring ballads and nationalistic sympathies -- up front. However the quieter balladic strain is not forgotten, and was handled adroitly on Billy Connolly's anti-recruiting ballad 'Sergeant Where's Mine'. Original material by Graham Wright also enters the fray in the rum-running adventures of 'Captain Randall' and 'Lexie Wright'. The pictures of the jigsaw are being gathered and Full Contact Highlanding, while impressive, bore the hallmark of work in progress.

Glengarry Bhoys' third album The Gathering saw them getting nearer to the folk rock goal. The balance of all-out rock-influenced instrumentals and quieter ballads laced with punchy semi punk rants seems to be in place and the balance has gelled towards a "band sound" as opposed to a bunch of individuals hanging out and trying to harmonise. This is the sound of an experienced, road-drilled band -- tight and definitive quickly finding its collective feet. 'Cameronian Rant' opens with Derek MacGregor's solo pipes quickly joined by Gaye Stuart Leroux's drumming and Graham Wright's guitar and tin whistle blending power and subtlety. Graham Wright's songwriting had gained a pop sensibility and 'Till My Dying Day' radiated a confident pop-folk crossover and 'Over The Mountains' bore anthemic hallmarks. 'Pumpkin's Fancy' turned on the instrumental heat and 'Mason's Apron' gets an overhaul beginning slowly and growing in momentum. The Gathering neatly captured a band whose reputation was soaring as befitted the development of their unique sound.

The Glengarry Bhoys's fourth album Exile is fully-fledged Celtic rock showing the transition from balladeers to roots rockers fully complete. While they still use acoustic guitars, the Punk energy of 'Toil in Soil' recalls The Prodigals while the Corries ghost is found in 'Come ye Bay Athol' which they themselves recorded in 1966. The loud drum kits add power and ferocity, while the piping is wild and upfront, placing them in the category of bands like Wolfstone with tracks like 'Cabar Feidh'. Electric guitars also make their entry into fray and are used for effect rather than egoistic soloing as on 'Sterling Brig' and 'Cabar Feidh'. The balance between a high-energy folk rock band and a stirring Scottish ballad group with its nationalistic heart on its sleeve is well displayed. Likewise the sensitive balladry of 'Tiree Love Song' shows their pensive side, but Exile is essentially about power and attitude and the Glengarry Bhoys have both by the bucketful.

In conclusion, Canada's Glengarry Bhoys offer an interesting slant on the Celtic Rock theme. They wear their colours on their sleeves, nationalistic Balladry laced with all out Celtic Rock grooves and blazing instrumental sets. Take that and add some Punk-fuelled social commentary and some passionate College Rock in the big music school and you have the Glengarry Bhoys story so far, Of course this omnibus ends with Exile in 2000 and there have been more developments since but its good to leave off here with their musical, political and cultural evolution hitting a high water mark.