As a reviewer, I often receive items for review from bands, individuals and authors of whom I have never before heard mention. The Prodigals fell into that category -- although the name sounded vaguely familiar, I had never actually heard their music. Well, lucky for me, the Prodigals' Dreaming in Hell's Kitchen is definitely a keeper.

Classifying themselves as "jig-punk," the Prodigals put out a unique blend of punk, rock and traditional Irish music, flavoured with some rather unconventional rhythms that really set their music apart. The band is Gregory Grene (vocals, button accordion), Andrew Harkin (bass), Ray Kelly (vocals, guitar) and Brian Tracey (drums, percussion). Their diverse roots may account for the intriguing style with which they play -- Harkin hails from Dublin, Kelly from County Clare, Tracey from New York, and Grene's home was alternatively Chicago and County Cavan for much of his life.

The material on the album is held together by a common thread. Grene does a better job than I would in summing up this theme of "dreams, passions and moments intensely lived, in surroundings that are gritty, imperfect and real." No rose-coloured glasses for these guys -- they tell it like it is. But they way that they tell their stories is what makes the album. Strong vocals, witty lines, cohesive arrangements, interesting rhythms and striking melodies characterize the Prodigals' work.

The first track on the album immediately grabbed my undivided attention, and in fact, became my personal favourite. "Happy Man" is an upbeat song with a really great African-style rhythm and outstanding guitar work. The vocal harmonies are excellent, and guest musicians Everett Bradley (harmonies, human beatbox) and John McCurry (guitar) add just the right tone to the song. The melody is fantastic and still won't get out of my head!

After setting the stage for an excellent album, the band does not disappoint on the tracks that follow. The band has a tendency to begin a song with minimal accompaniment, and then adds more instrumentation by the first chorus. This serves to focus attention on the thought-provoking lyrics and the outstanding vocals of both Grene and Kelly, while making the guitars, accordion and percussion more noticeable when they do join in. Grene and Kelly are both wonderfully expressive vocalists, evidenced in several of the songs. Kelly's vocals bring the appropriate anger to the words of "Lord Randall," "Paddy's Heaven" and "Jackie Hall," while Grene's smooth vocals lend themselves well to such songs as "Last Night as I Lay Dreaming," "Baggot Street" and "The Morning After."

The powerful instrumentals on this recording are also quite significant. Bassist Harkin is a pure genius on his instrument, particularly evidenced in such songs as "Baggot Street," "Out of Mind" and "Last Night as I Lay Dreaming." Grene is equally talented on the accordion. Often, he adds traditional Irish fare to a song where you'd least expect it, but manages to make it sound as though it is destined to be there. Guitarist Kelly, along with Tracey on percussion, provide some really unique and innovative rhythms which make the Prodigals' music so distinctive. The pair work well together in producing some almost reggae-like beats in a few songs, like "Happy Man," "Paddy's Heaven," "Baggot Street" and ... well, pretty much in every single song! Kelly manages to complement both the melody and rhythms with his guitar, and Tracey seems able to adapt to just about any type of song.

I could go on and on about such subtle little nuances that put this recording on the fast track to being one of my favourites, but instead, I'll leave it to readers to have a listen themselves. With a sound that is reminiscent in some ways of say, the Levellers or the Pogues (although I really dislike making comparisons), the Prodigals' music will likely appeal to a wide audience, composed of fans of traditional Irish music, rock, punk and even folk.