The Rogues

Annapolis Irish Festival Annapolis, MD
Guest Artist with Air Force Symphony Washington, DC
Maryland Renaissance Festival Annapolis, MD
Columbus Scottish Festival Columbus, IN
WV Scottish Festival and Celtic Gathering Bridgeport, WV
Firelake Grand Casino Oklahoma City, OK
Monte Carlo Casino Las Vegas, NV
North Texas Irish Festival Dallas, TX
Celtic Fling Manheim, PA
Celtic Fest Chicago Chicago, IL
US Naval Station Guantanamo Bay
Alma Highland Games Alma MI
Mykonos, Greece
Detroit Highland Games Detroit, MI
Almonte Celtic Festival Almonte, Ottawa, CANADA
Fergus Scottish Festival Fergus, Otario, CANADA
Pennsylvania Renaissance Festival Manheim, PA
Floydfest Floyd, VA
Frog and Onion Pub Bermuda
Scarborough Faire Waxahachie, TX - The Rogues

Only a decade ago, most North American Celtic groups were just loose imitations of bands like Battlefield, Tannahill Weavers, and Osian. Today, the United States, in particular, appears to be not just riding the wave of interest in Celtic music, but creating its own tidal force.

The Rogues - the Houston, Texas, quartet of two pipers and two percussionists – have just released "Off Kilter," their fourth recording, which presents a quite unique and distinctly modern take on the Celtic idiom.

It would be a mistake for competing pipers and drummers to take one look at the group and dismiss them as a bunch of Rob Roy revivalists, like those seen around many North American Highland games. The Rogues’ puffy shirted look is part of the overall spectacle.

"Off Kilter" is a distinctly modern approach to piping and drumming. But, unlike many of today’s Celtic music groups, The Rogues don’t seem to have much time for synthesizers or anything electronic, for that matter. With only one exception, their stuff is done using traditional instruments.

Their music, though, is anything but traditional. "Off Kilter" is a ceilidh of musical surprises, the most intriguing of which seem to be from piper Lars Sloan. Three tracks in particular – "Miss. P.," "’Scuse Me?" and "Guinness Dog" – are wonderfully creative. From the dog barking samples in "Guinness Dog" to the bizarre vocal interjections in "’Scuse Me?," Sloan’s compositions put an accent on fun, and usually come up with a percussion groove that makes the pipe music surge.

And it is the percussion that is perhaps the best overall part of "Off Kilter." Bodhran, congas, bongos, claves, and God knows what else drive the whole thing along at a crazy pace. The only parts of the recording that get a bit ponderous are the points where the groups goes only with Highland pipes and pipe band snare, as in the start of the last track of hornpipes and reels. It’s relatively unexciting, but then the group gets grooving again with drum set and a more driving tempo.

"Off Kilter" is a difficult thing to summarize musically. The piping is very good, the instruments are well tuned, and the spirit is intensely positive. One thing’s for sure: the piping puritans will hate it. - Piper and Drummer Magazine, article by Andrew Berthoff

"A lone piper bleating a mournful tune is one thing, The Rogues quite another. They are a genuine band that galvanizes an audience with precisely played rhythms and moves them the the hidden mysteries of Scottish tradition - they can make an Iranian wistful for Scotland! Their performance is a measured blend of stately hymns and rabble rousing anthems, it moves from dignity through defiance to abandoned joy and most important, the audience feels it. Some shows beg for audiences participation; The Rogues induce it. When they are joined by Highland dancers, the energy doubles and is palpable. ... I can't think of any situations where they would not be a huge addition." - David Casey - David Casey - General Manager, Texas Renaissance Festival

Sixteen seasons ago, I introduced a new band to The Maryland Renaissance Festival, an outdoor entertainment venue which draws over 300,000 patrons in nineteen days. This band had a unique style, presenting bagpipes and drums in a way most people had never heard. I was very impressed with their CD, and was curious to what the response would be from our patrons.

On the Rogues' first performance day I stood at the back of the crowd to observe. By the end of the first song the crowd went wild. The atmosphere was charged with energy. The response was terrific and has stayed that way over many seasons.

Their sound and style has changed a bit over the years, but the excitement and devotion of their fans has not. They have always been an extremely popular band at The Maryland Renaissance Festival.

In addition to being fine musicians, they are very professional as well. And those two things don't always go together! They are exceptionally dependable, prepared, and are always flexible with any changes that sometimes happen during the event. Working in an outdoor environment can be incredibly difficult. Our season is late August through October and the weather can start out near 100 degrees and be 50 degrees and cloudy by the end of the run. Yet the band has always fulfilled their commitment to the venue and their fans and played with enthusiasm no matter what the weather conditions.

Whether it is with a festival, special event, or in a concert setting, your patrons will enthusiastically respond to The Rogues. - Carolyn Spedden - Artistic Director, Maryland Renaissance Festival

I really couldn’t imagine listening to an entire album of bagpipes… Well, I couldn’t until I heard The Rogues latest album, 5.O.

The fifth release by Houston’s remarkable bagpipe & percussion quartet, The Rogues, is not just another bagpipe album. It’s the crossover album that will make fans of those who never before liked the bagpipes. The Rogues take a very traditional instrument, add modern arrangements and a very Celtic world-beat sound, to create a Grammy*-nominated masterpiece. (*I was mistaken with the original post. The band was not nominated for a Grammy.)

The Rogues V.O.“Gypsy” was my first favorite tune from the album. It opens with very simple flamenco-like percussion and adds The Rogues’ signature dual bagpipes of Jimmy Mitchell and Lars Sloan. Then enter the percussive magic of Randy Wothke who backs Leandra La Greca…a Gypsy Flamenco dancer! The song stands out as an introduction to the beautiful mischief yet to come.

“Bonny Portmore” belongs in a movie. The familiar melody opens with Wothke on keyboards and Brian Thomas of the Houston Symphony on French Horn. How they were able to blend that horn with two Bb bagpipes that enter in the second verse, I don¹t know, but the result is amazing and sounds wonderful, as does Wothke’s original aire, “The Rose of Sharon.”

5.0 has tunes for the traditionalists, but also features some of the newly, vogue bagpipe rock. “Cullen Anderson” by Lars Sloan is an epic bagpipe rock song with beautiful guest vocals by Emily Vacek. It smokes with a full drum kit, blazing bagpipes and some rocking Bouzouki-playing by Wolf Loescher. And of course, the one thing you can always expect from any of The Rogues albums is that their roguish sense of humor permeates throughout the album.

5.0 has something for everyone from the newbie to the seasoned Celtic music fan. When you listen to it, you will find something that will bring a smile to your face and have you listening to the album again and again for many years to come.

- Celtic Music Magazine

This is the eighth album for this band from Houston, Texas and Ontario, Canada who this year marks their 15th anniversary. It also marks the return of Jimmy Mitchell to the fold after a short absence to do some solo work.

All the cuts are clean, scrupulously produced works with care taken to modify the high range of the bagpipes. The pipe unisons are completely in tune, and the drone is pulled to the background so that the melody is most present. There is also an appreciation for the bass quality of the drum work without becoming “boomy,” even at oh-my-god-I-love-that decibel levels. This clarity could make the album a little cold and feel distant, but fans of The Rogues will recognize the energy that characterizes all their live shows.

Some notes as I listen the umpteenth time: Steam Train slowly gains momentum from the first notes to the in-your-face bagpipes and a driving mixture of drums that make The Rogues a fan favorite at Renaissance Fairs, folk music festivals and pubs all across the US and Canada.

Aidan’s Hornpipe, Celtic Goulash and the title tune American Highlander are memorable because of the set dance feel of these cuts. Dirty Linen Magazine has called this album “Outstanding” and frankly I’m running out of superlatives to add to it.

Cut Four 153 (The Simpleton’s Lament) highlights band member Nelson Stewart’s singer/songwriter talents, and is quite a departure from the tone and scope of the rest of the album. While describing himself “as deep as a puddle,” the simpleton declares his love: “She is the best thing about today, I can’t turn my back and walk away. She might be wrong, but she’s usually right/I just want to hold her through the night.” Lovely fun that takes Rogues fans where they seem more than willing to go.

The Waterfall is one of the four original tunes from percussionist and founding member Randy Wothke on the album. All this piece needs is a movie set to grace. It is paired with a fun David McInerny piece, the Glayva Kid.

Don’t Look Down, continues the original tunes from Wothke with a nice bit of syncopation in the pipes and some very good bodhran work. Throughout this album, Wothke’s rudimentary snare drumming shows finesse and great control and is every bit as good as you would expect from this accomplished musician and teacher.

Expect cut seven to be fun. It is the traditional The Rights of Man, and takes the tune from an 80 beat a minute hornpipe to a 138 (or so) reel in four verses. We hear Irish fiddle, whistle, accordion and other instruments done in a pub style with a live audience. Great crowd reactions and amazing (what else would you expect on this album?) musicians.

Jimmy’s Reel Set. Wow. No, really. Wow. It has bodhran in it. More wow.

Cut Ten is J. Geil’s Band Centerfold. With the pipes doing the intro na-NA-na-na-na-na thing.

As I listened to this CD, I became aware that even those folks who don’t care for bagpipes will probably enjoy this one, simply because it is so well done.
- Southwest Celtic Music Association

This is the eighth album for this band from Houston, Texas and Ontario, Canada who this year marks their 15th anniversary. It also marks the return of Jimmy Mitchell to the fold after a short absence to do some solo work.

All the cuts are clean, scrupulously produced works with care taken to modify the high range of the bagpipes. The pipe unisons are completely in tune, and the drone is pulled to the background so that the melody is most present. There is also an appreciation for the bass quality of the drum work without becoming “boomy,” even at oh-my-god-I-love-that decibel levels. This clarity could make the album a little cold and feel distant, but fans of The Rogues will recognize the energy that characterizes all their live shows.

Some notes as I listen the umpteenth time: Steam Train slowly gains momentum from the first notes to the in-your-face bagpipes and a driving mixture of drums that make The Rogues a fan favorite at Renaissance Fairs, folk music festivals and pubs all across the US and Canada.

Aidan’s Hornpipe, Celtic Goulash and the title tune American Highlander are memorable because of the set dance feel of these cuts. Dirty Linen Magazine has called this album “Outstanding” and frankly I’m running out of superlatives to add to it.

Cut Four 153 (The Simpleton’s Lament) highlights band member Nelson Stewart’s singer/songwriter talents, and is quite a departure from the tone and scope of the rest of the album. While describing himself “as deep as a puddle,” the simpleton declares his love: “She is the best thing about today, I can’t turn my back and walk away. She might be wrong, but she’s usually right/I just want to hold her through the night.” Lovely fun that takes Rogues fans where they seem more than willing to go.

The Waterfall is one of the four original tunes from percussionist and founding member Randy Wothke on the album. All this piece needs is a movie set to grace. It is paired with a fun David McInerny piece, the Glayva Kid.

Don’t Look Down, continues the original tunes from Wothke with a nice bit of syncopation in the pipes and some very good bodhran work. Throughout this album, Wothke’s rudimentary snare drumming shows finesse and great control and is every bit as good as you would expect from this accomplished musician and teacher.

Expect cut seven to be fun. It is the traditional The Rights of Man, and takes the tune from an 80 beat a minute hornpipe to a 138 (or so) reel in four verses. We hear Irish fiddle, whistle, accordion and other instruments done in a pub style with a live audience. Great crowd reactions and amazing (what else would you expect on this album?) musicians.

Jimmy’s Reel Set. Wow. No, really. Wow. It has bodhran in it. More wow.

Cut Ten is J. Geil’s Band Centerfold. With the pipes doing the intro na-NA-na-na-na-na thing.

As I listened to this CD, I became aware that even those folks who don’t care for bagpipes will probably enjoy this one, simply because it is so well done.
- Southwest Celtic Music Association