ten singles and albums in Ireland. The Pogues' lead singer Shane MacGowan had played in London punk outfit the Nips, originally known as the Nipple Erectors. The pioneers of a more distinctively English brand of folk punk were the Men They Couldn't Hang, founded in 1984. Also important was the Oysterband, who developed from playing English Céilidh music with a fast and harder rock sound from around 1986. the Levellers, founded in 1988, made less use of traditional melodies but more use of acoustic instruments, including violins. Several other prominent members of the English punk scene in the early 1980s were also experimenting with folk influences. Early demos by Chumbawamba feature the accordion and the trumpet, though it would take them over 20 years to transition into a full-fledged folk act. Attila the Stockbroker began entertaining punk audiences accompanied by mandola in 1986, and is still performing. Probably the most successful figure associated with English 1980s folk punk is singer-songwriter Billy Bragg, who enjoyed a series of hits in the 1980s and became a distinct influence on later folk punk acts.<ref>I. Peddie, The Resisting Muse: Popular Music and Social Protest (Aldershot: Ashgate, 2006), pp. 39-46.</ref> 1990s The early nineties saw a general lull of interest in folk-influenced punk, but there were a few acts touring. Formed in 1990, Austin-based experimental bluegrass band Bad Livers is one example, though the band used punk more as a cultural reference point than a musical one, often appearing wearing Misfits shirts and occasionally covering Iggy Pop's "Lust for Life". 1994 saw the creation of Plan-It-X Records. which would later go on to release some of the most quintessential folk punk acts of the late 90s/early 2000s and have a large influence on the genre. Another genre-defining act, the Moldy Peaches formed in 1994 featuring Adam Green and Kimya Dawson. singing and playing acoustic guitars. The band labeled themselves as Anti-Folk. Formed in 1995, the World/Inferno Friendship Society is a large ensemble that came to be influential in the later New York Gypsy Punk scene. They combined elements of Cabaret, Punk, and Klezmer into their grandiose and theatrical performances. At the close of the 1990s, Celtic punk had a revival as bands like Dropkick Murphys, Flogging Molly, Greenland Whalefishers, and the Real McKenzies started to experience a wider commercial notice. This wave of bands, who often mixed Pogues-derived sounds with those of street punk bands