Ferocious Blog

The accidental shoplifter

Pete Drake is a bit of an enigma – somewhere between comedy and social observation, he’s a staple in solo acoustic guise, compere and open mic administrator at festival scenes. On Facebook he runs a popular spot the ball competition, and documents the painstaking do-it-yourself duties that are required to maintain the hard slog to becoming a pop star. Whether it’s presenting existing pop stars with badges, getting involved with Japanese radio stations, it feels like there’s no random stone left unturned!

I can quite vividly remember the first time I heard him, we’d just arrived at Roystonbury Festival and it was hammering it down with rain so we’d not yet ventured from our van, but being quite close to the stage we could hear Accidentally Found, which I still love for its clever wordplay and observations.

The Accidental Shoplifter is his first full-length album, which he recorded between January and April this year. The CDs themselves promise to have unique hand-drawn inner sleeves complete with lyric quotes, at least for the first 99 he sells – each drawing themed around a word contained in the album. There’s no pre-ordering or crowd-funding here – you’ll have to wait until it’s released tomorrow to get a hold of it. I’m not sure whether it will be available on digital platforms – which one of the songs might offer reasons for it not to be!

I’m sure it will be available on his Bandcamp page though!

For those of you accustomed to Pete’s live performances you might be in for a surprise – along with his customary guitar and vocals there’s layers of percussion and synth here courtesy of Mark Adamson to give some depth and character. His characteristic authentic-accented vocals putting more emphasis on clever and witty wordplay than soaring melodic ranges – and it’s all the better for it, it’s genuine and honest. He’s just dropped a teaser video which you can see below.

The subject matter of the twelve songs vary tremendously. As a fledgling song-writer I often wonder where people get their inspiration from to pen a new song, with Pete it seems like anything and everything that occurs to him in his daily life is fit material to turn into music – usually irreverent, often funny and sometimes poignant it’s a rare talent! We open with The Accidental Shoplifter, observing the supermarket trend of installing self-checkouts and the opportunity many shoppers took to ‘accidentally’ shoplift. (Supermarkets saw record sales in ‘carrots’ as people weighed whatever goods they had whilst selecting carrots on the screen).

The Wizard of Oz sees Kay Spink joining on vocals, underpinning this eighties sounding vibe is observations around relationships taking themes from the famous film. I Believe in Magic is a boogie-tastic disco-classic – an album version, with an extended dance remix promised for a release later in the year. Airborne is literally a flight of fantasy, albeit based on a true story of Tom Stoker who spent $290k on a lifetime pass for United Airlines – 33 years later he’s travelled more than 23 million miles and visited over 100 countries, defending his carbon footprint by pointing out the plane would fly with or without his presence – a refrain that echoes through the song.

I Wasn’t Asked is probably a familiar refrain for many grassroots artists – that balance between being asked to play or be involved and over-asking / applying to events is something in my Darwin’s Rejects guise I can relate to strongly. It feels like the song is tongue-in-cheek with an element of seriousness, it feels hard to earn opportunities. The Ballad of Wally West continues what is now becoming a snooker player series – specifically his world record break which was a record he held for many years – that honour now of course sitting with Ronnie O’Sullivan.

30 Sets of Strings is a kind of tribute sequel to Star Botherers, Pete’s writing style does remind me more than anyone of Bart. Their song 3 Sets of Strings talks about the decline of high street music shops because supplies are cheaper on eBay – in this ‘answer ballad’ Pete recounts his loyalty to a particular music shop who went on to have a closing down sale, so in a panic bought all their remaining stock in a closing down sale!

There’s Only Two Pete Drakes offers the explanation why you might not find this on Spotify or Apple Music – there’s already a recording artist called Pete Drake, or at least – as we discover – that’s the name he took on rather than was given. He’s an American country performer sadly no longer with us, an amusingly embittered song as ever underpinned with humour. Mr Barton Says recounts a 1980s interview with Edward Barton on The Tube – Pete doesn’t elaborate on the specifics of the interview but whatever it was he said changed his outlook. Edward himself has approved the song too!

I admit I did lose myself in a Edward Barton rabbit-hole which I shan’t delve into here – but his Wikipedia entry is fascinating.

Halloween Has Been is a seasonal number that nearly didn’t make the cut – there’s a bit of a hint as to it being an older song than others, as there’s a few Covid-19 references (some of which he edited out, but I clocked the ‘staying in your bubbles’ one!). She Sells She Smells is amusing – having listened a few times I must admit that the backstory I started to construct was possibly slightly more deviant than the truth – a random article Pete found documenting a lady who was selling farts in a jar for a considerable sum. Far from mocking, it’s almost celebratory for the entrepreneurial spirit!

Then we reach the end with Turned Down the Turner Prize, upbeat with drums and bass synth from the off, guitars kick in and then we’re treated to a future vision of Pete’s creative output which diversifies from music considerably and well, the title kind of gives away the ending but perhaps not the journey which I’ve leave for you to discover yourselves. It’s a fun way to finish though – with lots of layers of sound in here.

Thus concludes an obvious labour of love. It’s perversely polished-yet-raw, despite the fancy machinations of production there’s an authentic punk feel – I don’t mean lots of Ois and electric guitar, more in attitude and philosophy – knowing that there’s a true ethos of DIY underpinning on the whole production – from the songwriting, recording, artwork, promotion – it’s endearing as it is clever and engaging, and it will make you laugh too.

Freeborn Al / 27th May 2024 / Music, Photos, Videos

Of no particular consequence..

A couple of weeks ago the unflappably humble Henshaw (and I wouldn’t want that to change, to be fair) released Of No Particular Consequence into the wild, many of us having excitably pre-ordered it. Mine arrived complete with a lovely little handwritten card, which is a nice personal touch. His post-launch post included a comment as self-depreciating as “That’s all then, it’s old news, it will never chart, it will never sell a million copies..” – we’re almost in slap-upside the head territory, before he ends the sentence with “… it doesn’t matter, I’m fucking proud of it.”

And so you should be, buddy. I’m proud of you.

Henshaw’s music is beautifully melancholic at times, and that massively appeals to me – the latest band sound has evolved into something that wouldn’t sound out of place in the 90’s (and that definitely appeals to me!), to my ear at least there’s a mash-up of indie/Britpop type sounds with grunge elements and a bit of shoe-gazing introspection thrown in, and somehow remaining cohesive. It ticks a lot of my boxes – but that’s quite a reductive description for what is a really varied collection of thirteen songs.

I just wanted an excuse to use the ‘I wasn’t wearing eyeliner!’ picture 🙂

It’s an almost jarring start with The Adventurer, starting with train sounds, making you sit up and take notice before it settles into a steady beat and bass, I don’t know what the musical term for the bit where he runs down some notes both vocally and instrumentally is – but I like it! The mixing and mastering is polished, I’d expect nothing less from Tom Carter. Samples introduce a number of the songs, including Partially Martyred, a heavy verse kicking into a much lighter chorus. The sample preceding the song here featuring a Scottish gentleman reading some poetry and seeking affirmation from Paul. There’s some John Hare horn bits in here too!

Like Plastic in a Flame changes the pace down, and is probably my favourite track – not just because the title idly plays into my fantasies of what to do with Russ’ kazoos – it’s got a dancy beat and dreamy guitars, the solo provided by George Marriott of Pet Needs. It’s a melodic dirge but dirge in a good way, I listen to it and get lost in it – then we get to the a more impassioned bit, that elevates it into something epic. I proper love this song – I don’t even know what it is, prog-indie-dancy-dirgey goodness. That’s what it is. I think.

Like Plastic in a Flame – simply sublime (possibly with a slightly differing line-up)

Fake Masquerades continues the pace built up as the previous track built up to, lyrically clever compelling the listener to let go of the past and appreciate the present. Wise words, with countless layers of delicious instrumentation. Let the Sun Shine In performed by The Wilkinson Trio is definitely a change of pace and tone – and on reviewing the sleeve notes, it’s a charming recording from the 1950s featuring his Mum, Aunty and Grandad – sentimental bugger, it provides a lovely interlude though.

All the Other Times is ballad-like – Paul’s vocals are gentle, but backed up by an almost orchestral level of emotional instrumentation I think we’re straying into power-ballad territory, it’s really moving though – lyrics evoking a final attempt. This would be a lighters out sway-along if ever there was one and if we’d not all switched to vapes! With Love and a Handshake does the gentle-into-heavy trick again – drenched with Van Gogh references, who I’m well aware Paul absolutely adores so it’s lovely to pay tribute to that in song.

Just going off the title I was worried that The Ballad of Super Ted might be an ode to possibly one of the most irritating cartoon characters going – quite the opposite. I didn’t have the pleasure of knowing Ted but what we have here is a charming tribute to a lost friend, reflecting on happy memories it’s at once sad and celebratory. I feel a bit insensitive making the cartoon observations but it was a legitimate worry from a position of ignorance – what we actually have is lovely! And ne’er a mention of the hateful Spotty. Right. Sensible head back on.

A triumphant album launch at Ey Up Mi Duck (photo credit: J. Russell, Lyric Lounge Review)

This War is frankly anthemic – full of affirmation and support, comradeship and solidarity. I absolutely adore this song, it’s amazing live too when the crowd get involved in the ‘keep your shoulders high..’ part. Wonderfully empowering and uplifting. For Miriam is an abrupt change of pace and sentiment commemorating a three year old girl murdered by the Nazis. The tiny stone being stepped on referred to is a Stolperstein, a cube embedded in the ground bearing the name and life dates of victims of Nazi extermination or persecution. A literal translation would be stumbling block. It’s a harrowing song, but strangely beautiful for it.

Let Fireworks Light the Sky brings us back from the doldrums, building gently from guitar into a wall of sound crescendo after the first couple of acoustic verses. The choice to use the Friday night at Ey Up Mi Duck seems spectacularly apt as within a couple of hours of Henshaw’s set concluding nature saw fit to light up the sky with her own fireworks as Aurora Borealis amazed us across the campsite. No Longer Proud is a more overt than usual lament to the state of the nation, featuring beautiful fiddle melodies courtesy of Hannah McLeod of Leylines fame and then a rap from Samantics. It’s not just a moan though, there’s a crumb of hope offered too!

Easter egg – dodgy backing singer alert!

Which brings us to the final track, Save Me, Hate Me. It starts with organ tones and plaintive vocals – strings and light percussion join a third in, building intensity but not pace – finally a thumping beat kicking in just beyond half way, with more and more layers of intricacy building the song up to be the epic finale this album needs, dropping you back to stripped back vocals abruptly to finish. It’s quite the rollercoaster just in one track which is a fitting end of an album that has the same effect.

I can see why Paul is proud – this is clearly a labour of love, there’s undoubted subtle and personal meanings I’ve not necessarily picked up on in here, and from his own comments in the sleeve notes his bandmates and collaborators have clearly taken his creations and then augmented them with their own creativity and vision to render something truly epic. Packaged up beautifully with artwork by the wonderfully talented Sally Harrison it’s really a triumph. I would urge you most strongly to get hold of it, it deserves a much wider audience than Paul seems to think it will achieve!

Buy Of No Particular Consequence on Bandcamp now 🙂

Freeborn Al / 22nd May 2024 / Music, Other Bands, Photos, Videos

Kleptocracy

Well, since I found the password to the blog it seems rude not to mark the auspicious occasion of a new album from the band that kickstarted this whole venture, doesn’t it? I’ve had a few previous tracks for a while but thought it worth waiting ’til release before committing type to box.

It feels like this album’s been a long time coming, it arrived on streaming platforms yesterday and the postman brought me my pre-order this morning – idiot me bought two black LPs rather than a red and a black one. D’oh! My chimpish oversight gladdened slightly by the inclusion of THREE signed postcards.

In digital or CD format there’s a smorgasbord of sixteen tracks, stripped back to ten for the vinyl format. The latest generation of Ferocious Dog feels more at home with the rabble-rouser anthems than some of the more poetic elements thrown into the mix of previous albums. With the political landscape as it is, and political luminaries like Ben Bradley and Lee Anderson looming large in their area of the country it’s perhaps not a surprise there’s a more overt protest feel for this collection of songs.

Launching into Witch Hunt sets the tone quite nicely, fast folk punk issues an immediate call to the mosh put with a chugging beat and bass overlaid with intricate instrumentals and rasping vocals from Ken. We’ve already heard SUS Laws as it was released – it grabbed me straight away because of the stunning fiddle arrangement – which I realised I’d heard before, Jamie has repurposed the strings from Montagu’s Harrier from his past life with The Silk Road – it’s a beautiful composition and fits well into a full song rather than a pure instrumental.

Ferocious Dog – SUS Laws

Title track Kleptocracy has more than a whiff of Levellers about the instrumentation (which is certainly no bad thing!) before Ken’s distinctive vocals kick in to make it unmistakably Ferocious Dog albeit with some nice electric guitar licks giving it a rocky undertone. I wondered if Iron Mike Malloy might be the traditional cover FD usually throw in to their albums – I’m not sure it is though, it’s a tub-thumping tale of a real character – an Irishman living in New York with a fascinating back story, worth reading up on. There’s shades of Pogues about the sound here, which is deeply appropriate!

What kind of albums would this be without a song about rebellion, Merthyr Rising provides this – whistles and percussion with bouncing lyrics give an almost medieval feel before the song kicks in to a full on dervish. We do get some respite from the energy that maybe the influx of youth into the band of late has brought, A Place We Called Home is a charming duet ballad talking of love through the hardest of times, with a stunning contribution from Lizzey Ross providing the other half of the story. A real highlight for me, but then I always crave a bit of melancholy. This is lovely.

Ferocious Dog – A Place We Call Home

Blood Soaked Shores brings us back into protest mode – acoustic guitar and vocals start before the band joins in to another mosh pit stomper. Darker Side of Town sees Kyle take the vocals and judging by the electric guitar lead probably the songwriting too – as a huge fan of Pocket of Madness and his work with The Outlines, this is a very welcome addition! It brings a different dynamic to the album which I really like. Matty Groves is the traditional cover inclusion – probably best known from Fairport Convention‘s version – this is predictably on steroids and a few grammes of something probably more illicit!

Running with the Hounds is almost a reprise of Hell Hounds that of course fans of Ferocious Dog took their nickname – starting slow with guitar and light percussion, then lighter fiddle-driven instrumentation to give a little respite from the pace and heaviness – I really like this little break, we get a little build in intensity towards the end of course, but just in depth of tone rather than pace, then a faster instrumental reel built from the track melody at the end.

We have another slow starter in Moby Dick, string melodies almost evoking images of Tetris and gull calls kick into a lively telling of Herman Melville’s famous novel. Unusually for FD there’s some ‘la la la’ type singalongs here, and that’s most definitely no bad thing! Anger on the Streets kicks in with heavy guitar and instrumentation and properly angry vocals – it’s quick and to the point, and evocative I’m sure of how many feel with the state of politics both home and abroad at the moment.

Brixton’s Burning is back to a folkier sound – albeit still with the anger, but soaring instrumentals and pauses. You get two choices for The Protest Singer, a bluesy harmonica-infused Americana version that would be great for a ho-down, or a slower paced folksy version – they both work really well! I like the Voltaire quote in there – “it’s dangerous to be right, when your government is wrong” – indeed! (Don’t think that makes me well-read, my main knowledge of Voltaire comes from watching Sharpe, haha!

Which leaves us with Tell God and the Devil, starting with some banjo before kicking in with drum, bass and soaring fiddle at pace with vocals describing the trials and tribulations of working in the mines, something I’m in awe of that people used to do – it’s hard to imagine that kind of endurance when you’re an office-softened numpty like me!

As I write the band will have just rocked out the 100 Club in London and will be preparing to unleash an all day event at Rock City in Nottingham – it’s sure to be a high energy show. I do hope Ken’s got his ‘I can’t talk lots’ sign ready as it promises to be hard work on his voice!

Freeborn Al / 18th May 2024 / Band, Music, Photos, Videos

On the road to Nottamun Town

So I’ve found the key to the old blog, swept a few cobwebs aside and managed to get rid of a few errant spiders. And installed about twenty million updates!

Why? You might well ask!

A message popped into my messages the other day, from none other than Al Rate from Lawrence County inviting me to have a sneak peak of their forthcoming album. Well that’s rather a tempting proposition if ever I saw one!

“Are you still doing music reviews?” he asked “not really, it’s on a bit of an indefinite hiatus, but I could be lured into making an exception” – here is that exception.

The last thing I wrote about on here was Warren‘s (excellent) last album back in 2022! And he’s well on the way to release a new one soon.. I’m sure I’ll be making an exception for exceptional Mr Ireland too. The original purpose of this space was to find a creative outlet for me whilst I crammed all my free time with gallivanting off to festivals and gigs, and also give a bit of independent coverage initially to Ferocious Dog of course, and other grassroots artists that had become all-pervading in my life!

Post-Covid I must admit I’ve struggled to get my social-engine re-tuned, so frankly I don’t partake in nearly as much live music as I used to. Coupled with that, more recently I’ve taken up the bass and am performing with Darwin’s Rejects – which has both plugged that creative need gap, and also means I tend to be doing a lot more playing music than watching it – whether it be learning new songs (hey, even writing some!) and practising as well as gigging of course.

I should plug us really – if I do say so myself I think we’re creating some really cool stuff!

So yes, anyway, that’s my excuses and shameless plugs out of the way! It is a genuine pleasure to pop my head over the blog parapet for this review.

Lawrence County are the formerly wonderfully named (but possibly a nightmare for poster writers) DH Lawerence and the Vaudeville Skiffle Show and they are releasing their latest album Nottamun Town on 29th June. If you’re not familiar with them, think Americana-infused traditional English folk music with a twist, nay, several twists. Their last album came out just as we went into lockdown, I remember forlornly wandering my permitted lonely daily walks with it in my earphones, it’s melancholic vibes fitting perfectly with the general mood (I love a bit of bleak melancholy!).

This album is a selection of traditional folk songs given the Lawrence County treatment – the opening and title track Nottamun Town has an interesting backstory – there’s more detail in the sleeve notes to delve into but it earned initial prominence thanks to Jean Ritchie in Appalachia, USA. Could this be something of older English origin that somehow migrated across the Atlantic, perhaps almost certainly involving LC (and my!) home town of Nottingham? It doesn’t feel beyond the realms of possibility does it?

It’s often linked with another traditional song Nottingham Fair – surely a nod to Goose Fair which traces its origins beyond reliable recorded history.

A great opening track – guitars start, and it layers up into a rambling tale with rasping lyrics – whether or not my obsession with Viking-related things plays into this but it wouldn’t sound out of place as the soundtrack to a Ragnar Lodbrok or Ivar the Boneless preparing to blood-eagle somebody. It wouldn’t be that out of place, really, Nottingham was of course central to the Danelaw in the tenth century after all! Surely that Scandinavian influence could well have pervaded into our folk music traditions? If indeed the soundtrack creators on shows like Vikings have any mind to what Scandinavian folk music might sound like!

But anyway, music – we’re treated to percussion breaks, bass solos, haunting violin. It sets an atmospheric tone for this reclamation, bringing a lost folk song back home.

I don’t propose to go song by song, but there’s a delightful mixture of pace and sentiment here – I’m a sucker for a good murder-ballad and there’s certainly a couple in here, Molly Bawn is a particular highlight for me with the atmospheric backing vocals adding some atmosphere to a sad and haunting tale – and an example where the band have got their own back on the Irish tendency of pilfering our folk songs and making them more famous! Although Molly Bawn sounds like how we all seem to pronounce Marylebone!

For those of you who like tracing origins and influences the Roud numbers are included for all but one of the tracks in the sleeve notes. The Roud Folk Song Index was a new discovery for me – an extensive catalogue of folk songs in the English language to track the origins, reimaginings and migrations. A veritable treasure trove of trivia and discovery that I’ve yet to delve too fully into, and a proper lifetime labour of love for its creator Steve Roud.

So, if you’re in the market for a charming collection of traditional English Language folk songs with a new lease of life breathed into them – and frankly, why wouldn’t you be? This is the album for you.

And whilst in their curation of these songs, Lawrence County have pilfered from other English speaking territories, for the last track they do put an eerie but compelling spin on perhaps the most famous folk song of English origin made more famous by our Irish friends. There’s no controversy in that statement as it’s not old enough to get a Roud number. It’s very different to what you’ll have undoubtedly heard courtesy of The Dubliners or The Pogues (I’m sure you’ve guessed by now!)

I think that Ewan MacColl would most definitely approve though.

This is a delightful selection of folk songs treated reverently and creatively with cajon, bass, fiddle, accordion, mandolin, guitars, banjo and of course voices – the layers and dynamics in the mix is incredibly pleasing. Hats off to Bob, Pete, Martin, Bill and Al with backing vocals provided by Andy and Lynn. It’s been brilliantly recorded, mixed and mastered – and packaged with evocative and atmospheric photography of Nottingham.

Nottamun Town is available to pre-order on Bandcamp, and you’ll get two tracks to enjoy right away!

Freeborn Al / 1st May 2024 / Music, Other Bands, Photos