Music – Ferocious Blog

Dogging at the Devil’s Arse..

It has been a while.

I’d like to claim that this is because I’ve been carefully considering the future direction of Ferocious Blog, waiting for precisely the right moment to dust it off and start hammering at the keyboard again.

It isn’t. Life happened. Ferocious Dog got bigger, line-ups changed, lockdown happened, and somewhere along the way I stopped being quite as inclined to spend every available weekend charging around the country watching bands and talking to absolutely everybody I encountered.

Then Ferocious Dog announced they were calling it a day.

It was actually Ella who spotted the gig at the Devil’s Arse and acquired the tickets. Which seems fitting, really. Ferocious Dog are fairly directly responsible for me knowing Ella in the first place, after fleetingly meeting her at a gig in Nuneaton and then properly getting to know her and Simon in Harlow all those years ago.

And so, having both finished work a little early, something unusual happened.

I drove.

Those who remember the more active days of this blog may remember this was once entirely normal. There was a time when my car probably knew its own way to Ferocious Dog gigs. These days Ella tends to do most of our driving, but apparently some muscle memories remain.

We arrived in Castleton with loads of time to spare and almost immediately encountered something that felt rather strange.

There were Ferocious Dog fans everywhere.

And we didn’t know them.

Back in the days when this blog was at its most prolific, going to see Ferocious Dog generally meant arriving somewhere and immediately recognising half the people there. Sometimes considerably more than half. The travelling support was a relatively small, mildly dysfunctional family and you’d encounter the same faces in Nottingham, London, Manchester, a field in Derbyshire or wherever else the band happened to be playing.

Ferocious Dog getting to the point where they can fill places with people I’ve never seen before is, of course, a very good thing.

It just made me realise how long we’d been away.

Not that everybody was unfamiliar. On the hunt for food we bumped into Geoff and Adella, before discovering we’d managed to arrive at precisely that awkward point in the afternoon when all the cafés had decided we didn’t need feeding.

Fortunately, there was a chip shop.

While we were waiting Jamie wandered past, and shortly afterwards a succession of little Devil’s Arse 4x4s appeared to collect an absolutely enormous order.

We naturally concluded this must be the Ferocious Dog rider.

Times really have changed.

Suitably fuelled, we headed up towards the Peak Cavern – or the Devil’s Arse, to give it its vastly superior name – and it’s difficult to imagine many more spectacular places to watch a band.

The cave opens up into a vast natural auditorium, with the stage at the far end and the main standing area split across two levels, along with a raised accessible area for people with limited mobility. It looks incredible.

It perhaps isn’t the natural habitat of the kind of raucous Ferocious Dog mosh pit I remember from years gone by, but more on that later.

There were more familiar faces once we were inside. Paul was manning the merch stand, and we probably encountered another dozen or so people we knew as we wandered around. Outside, Neil told us a lovely story about taking his dad to his first Ferocious Dog gig in Stockton, and Ken making a real fuss of him.

And that, more than anything, was always what this whole thing was about.

The music was obviously important – it would have been a bit weird otherwise – but Ferocious Dog somehow created this enormous network of people around them. People met at gigs, became friends, went on adventures together, formed relationships, discovered other bands and generally became embedded in one another’s lives.

I started this blog because I liked a band and thought more people should know about them.

I ended up with lifelong friends.

And Ella.

Anyway. Enough misty-eyed nostalgia. There were bands to watch.

First up were Shanks’ Pony, who of course are no strangers to these pages themselves. These days they’re also great friends of ours, which meant I was simultaneously delighted to see them supporting Ferocious Dog in such an incredible venue and just a tiny bit annoyed that Darwin’s Rejects hadn’t managed to wangle our way onto the bill too.

I’m sure I dealt with this with enormous maturity.

We headed down to the front for their set, and they were superb.

Getting a live sound right in what is, fundamentally, a massive room made out of rock presumably presents one or two challenges. There was a little crunchiness to the sound at times, but Shanks’ absolutely smashed their half-hour set out of the park.

Rollercoaster provided one of those wonderful moments when the audience properly takes over, the singalong echoing around the cave, before the inevitable closing carnage of Moshpit Waltz. It’s always a highlight of a Shanks’ set and, frankly, if you’re going to finish a set in a cave then you might as well do it with a song encouraging everyone to hurl themselves around a bit.

There’s something particularly satisfying about watching your mates play to a big crowd and absolutely nail it. Although admittedly it does nothing whatsoever to alleviate thoughts of we could’ve supported this, you know.

Then it was time for Ferocious Dog.

And they were on really good form.

For us, unsurprisingly, it was the older songs that particularly hit the spot. The Glass, Quiet Paddy and Too Late were all very welcome, while Freeborn John proved that reports of the demise of the more energetic Ferocious Dog crowd may have been slightly exaggerated when Kaysharr got herself up on the surfboard.

Some traditions, happily, remain intact.

But it was probably the songs from From Without that landed hardest.

That album arrived right in the middle of what I suppose was our peak Ferocious Dog period. We were travelling all over the place, this blog was being updated at a frankly unsustainable rate, and the band and the people surrounding it occupied a fairly ridiculous proportion of our social lives.

So hearing Gallows Justice again was particularly welcome. There are songs which you simply like, and there are songs which somehow become attached to a particular period of your life. A fair chunk of From Without falls firmly into the latter category for us.

And, of course, there could really only be one way to finish.

Slow Motion Suicide.

There are songs that acquire a significance beyond the recording itself because of everything you associate with hearing them live, and that one carries an awful lot of memories with it. Hearing it blasting around the Devil’s Arse was a pretty spectacular way to round things off.

We also discovered a useful Devil’s Arse gig-going tip during the evening: the sound is actually better if you move further back. Perhaps that’s the acoustics of the cave doing their thing, or perhaps standing immediately in front of a large collection of speakers has never actually been the optimum way of appreciating musical subtlety.

Who knew?

Moving back also gave us a chance to survey the crowd and notice another difference from the Ferocious Dog gigs of old.

Where were all the mosh pits?

There were certainly flashes of the old chaos – Kaysharr had already demonstrated that – but there was nothing quite resembling some of the seething masses of bodies we remembered.

Perhaps the unusual layout of the venue discouraged it. Perhaps the Ferocious Dog demographic is changing.

Or perhaps we’re all just getting old.

There was a time when getting battered around a Ferocious Dog mosh pit was an absolutely standard component of an evening out. These days I found myself looking at the space where one might have developed and wondering whether my back would actually tolerate it.

Character development, apparently.

It would be easy to get overly nostalgic about all of this. To look back at the tiny venues, familiar faces and chaotic weekends and conclude that something has been lost as Ferocious Dog have grown.

But that wouldn’t really be fair.

Things change.

The band got bigger. People came and went. New people discovered them. Lockdown interrupted the habits we’d built our lives around. I became less relentlessly sociable than I once was. Other things came along – not least ending up playing in a band myself rather than merely standing around watching them.

The old scene didn’t disappear.

It just evolved.

And standing in a cave in Castleton, watching Ferocious Dog with Ella, Shanks’ Pony having just played a storming support set, surrounded by a mixture of old friends and hundreds of people I’d never met before, felt like a pretty good demonstration of that.

When I created Ferocious Blog back in 2015, the About page ended with:

“Other than that there’s no grand plan – let’s just see where it leads!”

Well, now I know some of where it led.

It led to ridiculous journeys around the country. To festivals and fields and pubs and venues I’d never otherwise have visited. To countless bands I might never have discovered. To friendships that have long since ceased to have anything to do with whichever band happens to be on a stage.

Ultimately, it led to a life that would look meaningfully different if I’d never encountered Ferocious Dog.

And it led to Ella.

Which isn’t bad going for a music blog.

This isn’t quite the end, either.

We have tickets – again courtesy of Ella – for Ferocious Dog’s final Rock City show in November.

Because it would be rude not to, really.

And maybe, just maybe, there’s one last mosh pit in me.

Assuming my back’s up to it.

Freeborn Al / 23rd August 2026 / Band, Gigs, Music, Other Bands

The Highs and Lows of Being Normal..

I never cease to be mesmerised by Warren Ireland.

Given that I have the privilege of spending a few hours rehearsing with him each week that might sound surprising. Despite having been privy to some of his writing process with Darwin’s Rejects, how he can conceive of, and perform, such a myriad of musical layers as one person is – frankly – mind-blowing. Even to do it in a studio, then consider the fact he can do it live with the pressure of an onlooking crowd. It’s just wow.

Here’s me generally feeling very pleased with myself for being able to lay down some very simplistic bass on our tracks, haha!

Normally an 80-odd mile round trip to the Black Market Venue in Warsop would feel like a bit of a bind on a Sunday evening but we weren’t going to miss an opportunity to see him showcase the release of his latest album, The Highs and Lows of Being Normal. Regrettably weekend faffing around meant we missed the support acts, which was sad but also necessary as we’d had a busy Saturday already. The curtains were across the room and side stage being utilised for an intimate crowd eagerly anticipating the main act.

If you get hold of a CD from Warren of the album (which you should do), then you’re treated to a book-ends and intermingled skit tracks that aren’t present on the online streaming sites – plus you can’t get it beautifully signed and dedicated on Spotify or Apple Music. So buy a CD even if like me you’ve got no means of playing them probably beyond a computer somewhere, then stream it as well! I’m not going to describe these, you’ll have to get a copy and find them out for yourself!

Paddy Said opens, such a powerful track built around an irresistibly catchy little guitar riff – but layered with chords, beatbox and of course the vocals it comes to life. Lyrically it charts sage bedside advice presumably from Paddy about acceptance and how straightforward it really ought to be to make the world a nicer and friendlier place with a bit more tolerance. Layers of backing vocals backdrop a lovely intricate instrumental picked on guitar, before into another soaring round of choruses then an outro. A strong start.

Happy in my Skin carries on the bouncy start – a long initial opening verse which, if you take a moment to think about it, as well as remembering the myriad of instrumental layers, there’s a ridiculous amount of lyrical content to remember too. More use of reverb and backing vocals on choruses than we’ve typically seen before from Warren works really well, the lyrics are an introspective examination of how we’re all flawed and have perhaps regrettable elements of our past – but ultimately we can only work from now to be the best version of ourselves!

Something So Right starts with spooky backing vocals before the gentler instrumentation kicks in, we’re onto a more chilled out section you can get lost in the lovely little picked guitar bits over a ponderous rhythm – whilst the charming lyrics are a heartfelt tribute to the challenges of developing a relationship – but ultimately the refrain of ‘I don’t want to let you walk away’ shows the underlying desire to make things work. It’s a mostly lovely sentimental track.

Make It Out takes us down a different path – acoustic guitar tricks you with gentle melodies before a full on drum and bass assault of beatbox is unleashed. You might question if he can deliver that live – he can! The impassioned singing and guitar is actually not as pacey as the beats would suggest. Backing vocal melodies are brought in with some singalongable ‘la la’s’ – who knew drum and bass with a singalong bit could be a thing? The picked guitar solo in the bridge sounds almost Spanish guitary. There’s such a lot going on here, but despite what sounds like a description of disparate things that don’t belong together blend into a beautiful absorbing creation. Writing duties here credited also to Jordan Phatboy White.

Heroes pulls us back to acoustic driven chords before gentler percussion and picking is overlaid before semi-rapped-semi-sung lyrics kick in. The over-riding feel is lighthearted but underpinned with the troubled state of the world, and a need for some kind of hero to save the day. We get more lovely finger picking for the bridge, and of course the chorus of ‘Superman or Iron Man‘ gives a nice nod to the fairly frequent appearance of Warren’s Superman dressing gown on stage!

Home is a punchy lament to something I’m sure we can all relate to at times, that overwhelming desire to go home whether it be from a workplace or another place. It’s an anthem for the disaffected, which I’m sure most of us are at least some of the time – but I can imagine when you’re a full on creative the daily grind of a typical workplace must be absolutely intolerable. This is a multi-layered foot-stomper, a steady beat and chord pattern overlaid by more intricate instrumentation and lyrics. Highly relatable but by creating something you can have a dance to it’s made a positive out of frustration.

Woke Snowflake is gentle musically with some vitriol in the lyrics, which I like. Woke is a really interesting slur, my understanding of the term is somebody with empathy for others. That sounds like a virtue not an insult to me! Backing vocals start us off, then guitars and beats before the lyrics, there’s some clever wordplay in here which appeals to me – playing back the kind of vitriolic bile you see increasingly on platforms like Twitter under the auspices of Elon Musk, it’s a creative way of addressing something that is really quite damaging.

Scrolling By is ludicrously catchy – strums back way for beats, strums and picking before the lyrics kick in. It’s a pandemic that affects all of us in the Smart Phone era – I’m definitely guilty of it, questioning the need for the latest and greatest phone – and of course, how much time we spend staring glazed face at banal crap whilst real life passes you by. This is – even by Warren’s standards – an absolute word-fest, he gives himself a nice break before the final chorus kicks in, again another that gives you an irresistible urge to tap your foot at the very least whilst it’s playing.

Letter to Heaven is a change in mood and pace, beautiful acoustic guitar work gives a simple backdrop for really heartfelt vocals. Backing vocals on the chorus heighten the emotion, there’s almost a full cycle of grief here – loss, pain, fondness and gratitude for having known them. It’s so powerful in its relative simplicity, stripped back raw and brave and allowing the narrative to take centre-stage. It was mesmerising to hear this live at the weekend too, although perhaps not one he’ll include often in shorter festival sets. Truly beautiful.

Dear Me arrives just as you’re recovering your sensibilities and threatens to tip you over the emotional edge again. Again, acoustic guitar provides the platform, this time the vocals are more impassioned, a combination of singing and rapping, interspersed with some finger-picking instrumentals. It’s Warren having a harsh word with himself, a reflection of self-worth (or lack thereof at times), reflecting on achievements he’s reached and to remember he’s his own worst critic. The vocal delivery brings Scroobius Pip to mind for me, which is a high compliment as I absolutely adore his lyrical writing and delivery. As the song builds so do the power of the vocals. It’s lovely. I hope he listens to himself!

Man Among the Damned is a beautiful arrangement with Martin Borrett providing piano along with Warren’s guitar, again we have powerful and less pacey vocals. More self-reflection, the struggle for a sense of purposes or to have a plan – but there’s metaphorical light at the end of the tunnel as the narrative builds (or maybe light through the clouds?). Backing vocals lift the choruses and I suppose it’s a neat reminder that somebody as objectively full of talent as Warren could be wracked with insecurity, it’s a relief to hear some kind of progression.

We end with a reprise of Paddy Said, but slowed and with accompaniment both from Martin Borrett on piano and also Jared Harding with some rousing trumpet as the track ends. This is slowed down and contemplative, it’s such a perfect way to close out the album – almost as it began, at least in subject if not in tone – that catchy riff slowed down becomes a beautiful melody and you’re eased back either to the beginning or the end. It’s a clever way to close out it leaves you feeling relaxed but uplifted after quite the rollercoaster of pace and sentiment.

Highs and Lows you might say, but exceptional – not mere normal.

The Highs and Lows of Being Normal is available on all the usual streaming platforms, and I strongly urge you to get yourself to one of Warren‘s gigs or contact him for a CD too.

Freeborn Al / 19th November 2024 / Gigs, Music, Other Bands, Photos, Videos

Can you hear the bells?

I’ve been procrastinating writing this for ages, maybe it was seeing Paul over the weekend that reminded me, as well as one of those meetings being at Warren’s album launch last night adding another essential thing to muse upon being added to my queue of things to ponder about on here!

So, long overdue – musings on the new(ish) album from Shanks’ Pony, evocatively titled Whispers of Arcane and bedecked with beautiful artwork by Kezia Parsons perfectly incapsulating the contemporary folk whimsy the CD enclosed promises. It’s hard to believe it was way back in 2017 we were treated to the debut album A Song For Everyone, which has remained in regular rotation on my playlist!

The band of course have evolved since then, Pete has arrived to beef up the sound with bass, and Rob has picked up fiddle duties from Helen – so whilst undoubtedly there’s a more fulsome soundscape here, they’ve lost none of their inherent charm and earnest storytelling. What was it that the BBC were set up to do? Inform, Educate and Entertain – maybe they should be taking a leaf out of the Shanks’ Pony playbook these days!

The Bells of St Martin opens, lonely strings before the bass and percussion kick in we’re transported to Dunwich, Britain’s answer to Atlantis, a town lost to sea in medieval times. There’s local legend that the bells of St. Martin’s can still be heard which provides the hook to the song. Despite the sombre topic, it’s an upbeat song and a perfect album opener to set the tone, fading out to haunting bells chiming and sounds of the sea.

Mickey’s Bag of Tricks is probably my favourite – it’s wonderfully sleazy sounding, ponderous in rhythm and perfect in tone to evoke a bar full of folk of ill-repute, ne’erdowells who probably aren’t all that bad – the chorus lifts to another level, as does the soaring fiddle instrumentation whilst the dirty dirgy guitar, bass and cajon keep the song grounded and gritty. I wondered how this slight departure from what I’m used to would translate live, I’m happy to say it does so perfectly!

One Way Ticket feels more familiar territory, and in a very good way (I should clarify, I bloody love the diversions into new songs too!) – co-written with long time collaborator Amy Hill, it’s a charming folksy song lifted by lovely backing vocals to compliment the catchy melodies and sing-along-able choruses. Another than translates excellently to a live setting (which is kinda the point of recording songs, isn’t it, it seems like a silly thing to point out – but it’s not always something that works!).

Downtown starts with a gut punch of guitar, bass and cajon – I did as Paul if he’d used different guitars, maybe a 12 string but apparently not – but it might be one of those where he’s tuned down the low E. Thematically a sequel or continuation of High Street Sell Out from the first album – much grittier and harder hitting, with Rob finding the perfect spaces to overlay a pretty melody to lift the mood. Maybe it’s just me that gets drawn to Petunia Clark’s more optimistic song of the same name during the chorus! This one was, according to the album notes, inspired by a poem by Nick Foulds.

Park Bench Pete brings the pace and mood down, a heartfelt lament to person down on their luck – a casualty of the dreadful state of the nation. Anyone involved in our music scene would draw obvious comparisons at least in theme with Slow Motion Suicide by Ferocious Dog, but this slow paced song with plaintive and emotional fiddle throughout doesn’t reach that gig finishing climax, it remains appropriately sombre. I don’t like the term ‘album track’ – but short of full-length gigs I don’t imagine it will get many airings at festival slots. For someone like me that loves a maudlin song, that’s not always a good thing!

Self Taught is a bouncing pile of festival fun, cheerful mandolin kicks things off – you’d do well to singalong to the very wordy verses, but then you’re rewarded with a spectacularly catchy chorus you can join in with! Irresistible to have a dance to, with lovely bass climbs and fiddle melodies all underpinned with Bob’s relentless rhythm and those mandolin sections picked through it. I love it!

Rise for Revolution is darker – launching energetically will full band, the soaring fiddle taking centre stage, before it slows and quietens for the vocals, then back to intense instrumentation, then quiet then a rousing chorus. The revolution of Pentrich is the topic – which again we’ve heard documented before, this has a different slant – delving into the motivations and underlying causes. This is such a multi-textured track in terms of tone and pace. I notice something different each time I listen, which I love!

Rotherham’s Lament / Lanigan’s Ball takes us to the immediately preceding time period – Napoleonic wars and joining up to fight, as was the want of the working classes at the time, the ‘making of a man’ – it’s emotive, it’s sad – but still tunefully uplifting as you’d expect before leaping into a traditional jig which fits beautifully to the end of the song, and would definitely be difficult to resist a good stomp to!

The Green Children of Wolfpit starts with more moody drop-D guitar, I love it. It puts me in mind of 3 Daft Monkeys and Levellers, which is a high compliment indeed! It starts out ponderous and atmospheric, then a third of the way in builds in relentless instrumental intensity before dropping back to continue a frankly fascinating backstory of two children who appeared in the Suffolk village Woolpit with pale green skin, a brother and sister who spoke an unknown language and only ate green beans! Maybe it’s the ‘and they danced’ refrain that reminds me of 3 Daft Monkeys but I bloody love songs with stories attached to them. Excuse me whilst I disappear down a Wikipedia wormhole!

Special Brew ’22 is a reboot of a Shanks’ classic, so will be familiar but more fulsome territory for anyone who’s ever seen them or heard them before. A mash-up of a cautionary or celebratory tale depending on your point of view, documenting many of the pitfalls of over-indulging in festivals. A firm favourite during their live sets for many years now, although the last few times I’ve seen them the cans of the infamous brew are no longer there for folk to claim as their past festival crimes are revealed in the lyrics – so maybe as time has worn on it’s more of a cautionary tale!

Which brings us to Raise a Glass, I can remember Paul posting an early version of this possibly even during lockdown. It’s an emotional and lovely tribute to the legend that is David Bowie. It’s poignant and uplifting, riddled with references to lyrics and songs from Bowie’s back catalogue – personally I’d have liked some more Labyrinth references but perhaps that betrays my own niche interests. A fabulous way to sign off this collection of songs.

I don’t think that you’ll find the album on streaming platforms (but do have a look and prove me wrong in case!), but get in touch with them to get a copy via their Facebook page – and you shan’t be disappointed!

Freeborn Al / 18th November 2024 / Music, Other Bands, Photos

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

No man is an Ireland..

Or are they? We finally got our hands on Warren Ireland‘s long awaited album this week. It’s been quite a week – we’ve been to gigs! Both featuring the aforementioned Mr Ireland, first up was Funke and the Two Tone Baby at The Hairy Dog in Derby on Wednesday. Funke is on fire at the moment. You should absolutely go see him. Then last night, having enjoyed ourselves so much we got ourselves some tickets to head up to the Black Market Venue last night where The Sweetchunks Band hosted a splendid evening with Warren and Sam Tucker? in support. I don’t think either of us had realised quite how much we’d missed going to gigs, and how lockdown-conditioned we’d become.

It still feels weird going out and socialising, but increasingly it’s a good weird! It was lovely to see folk we’ve not seen in years, to have a dance, to get lost in music again. More on that later.

The drive up gave us the opportunity to get Warren’s freshly ripped CD acquired on Wednesday playing in the car, so here’s some reflections. Warren is a difficult to define enigma – one man loop factory one minute, fusing guitar layers with beatbox, bass effects and vocals one minute, or perhaps playing in Darwin’s Rejects (sorry Russ, I can’t bear to leave out the apostrophe!) in a more conventional sense, he is at once folksy, bluesy, rock and roll with a dose of prog thrown in along with dancy overtones. One of the reflections I had whilst driving up is that his musical maturity and influences betrays his relatively young years – in a good way. You can tell this collection of songs is carefully distilled from what I imagine to be an overwhelming cacophony of ideas whirling around his mind.

In a strange departure from my normally haphazard attempts to describe genres or styles, the first two tracks Age Old and Don’t Look Back prompted an immediate thought and discussion in the car with Ella. Age Old evoked strongly a Sons of Anarchy soundtrack score – we were imagining the Sons preparing for some kind of raid or attack on a rival Gang, shots of leather clad bikers arming themselves from assorted stashes, securing their MC (where Piney in his denim cut stayed behind with a shotgun to defend the family members), as you reach the climax of the song the episode would end on a cliffhanger with Jax, Tig et al preparing their assault. The second track would open the next episode, the attack would be swift and not exactly what was planned, with a police ambush and chase ensuing, Rat would be caught along the way, the track probably ends with Jax and other key members in a jail cell probably about to be let out without much hassle by Sheriff Unser.

So yeah, that tells you very little about the intricate guitar picking work overlaid with beatbox and bluesy vocals for Old Age and the backing-vocal enriched sections, the lovely rolling rhythmic lyrical play sharing prominence with the punchy little guitar riffs, or the more rock-infused urgency of Don’t Look Back – but you know what? I’m not sorry – you should listen to it, see what imagery it evokes for you. It’s engaging, it’s clever, and just two tracks in you’ve already had a nice showcase of some of the facets Warren is exhibiting here. Spaceman is a different prospect – an interesting take on Sam Ryder’s Eurovision hit… no, I’m joking, it’s not that at all. Lilting gentle guitar and distant sounding vocals / backing vocals at times is a real shift in pace and style. You’ll be glad to know I’m going to stop trying to be a half-arsed TV screen-writer, although I could imagine some kind of Jemma-based introspective lament type scene backed by this – looking through some old paperwork and photos, then probably burning them. I promise, that’s the end of this, I’ve not even watched Sons of Anarchy in ages!

Warren at the Black Market Venue last night

Lost in Music is up next, it’s almost indugent with prog-rock stylee guitar then some beatbox kicks in and dreamy vocals again – it’s a nice follow-on from the previous track, I wonder if it’s a little window into what composition must be like for someone like Warren, with loops and the ability to effectively fill all the roles within a more traditional band set up the options really must feel limitless at times. This feels like something that started as an experiment in layering riffs, chords, beats, harmonics, vocals into something cohesive that’s developed into this absorbing track you truly can get lost in. Explode picks up the urgency, there’s Gomez vibes in the strumming for a while, spat-out vocals evoking frustrations around lockdown and the subsequent desire to make the most of the opportunity we now have to get out there, Warren certainly lives by that – on Saturday we saw him play his second gig of the day at 9pm before hotfooting it up to Sheffield to play his third. I love this track, it’s an irresistible foot-tapper, and frankly an amazing feat of breath-control in being able to perform it!

Title-track Grown Up is another footstomping vocally-challenging charting of the challenge in how to get on in life in a more conventional sense, which being a full-time musician certainly isn’t – it comes with so many challenges, and the theme is picked up with Millennial – chugging dirty guitar and beatbox, he played this last night and described it as him imbibing and subsequently vomiting a dictionary into a song, again there’s a display of impressive ability (a) remember so many words and (b) get them all into a song whilst retaining the ability to breathe! If you listened to the album blind without knowing much about Warren’s live performances this is probably the one that hints most strongly at his looping credentials. I think that’s a good thing recorded too, the joy in a performer who uses looping is watching them do it, that’s a difficult thing to be able to do in a recording! Not that everything on here sounds like it’s built up of loops.

The next track Drinking definitely isn’t, and puts us back firmly into rock and roll territory, electric guitars chugs and riffs, it’s so catchy with crashing drums and empassioned vocals interspersed with awesome guitar riffs and strings. It might be favourite to be honest, and it has that timeless sound that drives my assertion that Warren is a musician with conceptions and influences that betray his tender years. Wanderlust part 2 brings the pace right down into whimsy and folk, it’s lovely – a kind of reprise of his already well established track called (unsurprisingly) Wanderlust – it takes cues from the original but is it’s own song and I suspect inspired by our mutual friends Tony and Trudi semi-retiring onto a canal boat they named Wanderlust in honour of Warren’s song, this is a lovely little tribute to a tribute. I love seeing Tony and Trudi’s travel updates on Facebook!

Which brings us round to the end – Save me a Seat is another rambling prog-influenced almost dirge. I don’t mean dirge negatively, to return briefly to what things evoke, the repeating simple riffs and distant vocals make me think of the closing track of a documentary. If Warren did a ‘making of’ video this one would definitely be playing whilst the credits rolled at the end, speaking of credits, the CD doesn’t offer much hint to who else might have been involved in the production, the chances are it would either be a very short credit list or it would feature one name covering many many roles. I’m sure there’s been a few helping hands along the way as well, though.

An excellently varied yet balanced album from the troubadour, I don’t think anyone would regret a purchase – and I would urge anyone who hasn’t to augment that purchase by making an effort to see Warren perform live too, which really does bring a different dimension to everything, he’s an exciting talent who’s got so much more to offer in the future. The temptation to compare him with Funke is difficult to resist but I think they both come at the insane art of looping quite differently, they complimented each other brilliantly in Derby on Wednesday, similar enough to appeal to each other’s fans but with enough differences to not make you think you’re just watching two sets that are too similar. And his rendering of Pink Floyd’s Another Brick in the Wall is quite frankly sublime.

You can find Grown Up on Spotify, Apple Music and I’m sure other platforms, or get in touch with Warren via his page if you’d prefer a physical CD!

Freeborn Al / 20th November 2022 / Music, Other Bands, Photos

Fear the Flames..

Erm, hello! I’ve remembered the login details to access the blog admin! And for good reason, as Brian Stone has only gone and brought out an album – some of you might already have your grubby mits on a CD as they launched at the end of April, with the digital version landing on Bandcamp today, available now! At the risk of repeating myself (which if anyone who’s read my ramblings before will know is an occupational hazard), it was particularly exciting to listen to this, thinking back to not that long ago (7ish years?) when Brian used to apologetically drag his guitar out after a gig or by a campfire and serenade us with Levellers, Leatherat or Ferocious Dog songs.

Like many artists I imagine the advent of Covid-19 put a sizeable boot into what had developed into a credible means of making a living, so it’s great when those signs of recovery manifest with new releases accompanying the increase in gigs and festivals now filling up our diaries once more.

Fear the Flames is the name of his new album, at 8 tracks and just shy of forty minutes maybe an albumlette? Or an elongated EP. It doesn’t really matter does it? It’s opens up with the title track, some lovely flutelike wind instrument and sparse guitar strums before kicking in with full guitar, vocals and the ever-present Maty Tustian on bodhran. It’s actually quite a bouncy tune as it kicks in despite the subject matter, Anne Askew – one of two women known to have been tortuned in the Tower of London. A brutal and sad tale, the only mercy afforded to her being given some gunpowder to speed the process of being burned at the stake.

What Makes You Happy is much cheerier in theme – and familiar from live streams during lockdown, a feel good bouncy track with a catchy chorus (and a ‘ba ba ba-da baaaaa’ singalong section – during live streams sheep related emojis symbolised a cyber-land singalong by proxy, which even spawned a t-shirt design as a result. As for the song, a tongue-in-cheek observational lament about things, including money, that don’t bring you happiness (although a bit of cash can help!), but ultimately music is the hero of the piece, and certainly I have a lot to thank my love of music for in terms of the many wonderous experiences and connections I’ve been able to make. A switch to 3-4 time gives you a lull before a final chorus and singalong.

Utopia with a trogging beat and almost country-sounding guitar, the vocals are almost rapped. The inspiration and story behind the song wasn’t immediately obvious to me, as somebody not particularly well travelled that’s probably not surprising. Utopia is a bar in Luang Prabang in Laos – which from Brian’s description sounds as close to idyllic as it’s possible to be, but the backdrop of Laos is less harmonious – the most bombed country in the world (by population) by unhappy virtue of being a supply route during the USA’s war with Vietnam, the remnants – many still unexploded – of the cluster bombs (almost charmingly de-dangerified as bomblets) still litter the countryside posing a very real danger to the visitors to places like Utopia.

Why Do You Care? surprised me a bit – in that it’s one of those songs that he’s been sitting on for a number of years – but it has been tweaked which is probably why I was surprised. An unbashed rant initially inspired by a particularly troubling job interview, but latterly adjusted very fittingly to take in the poisonous environment and scrutiny many people seem to face in the choppy waters of social media. It’s definitely something that the world could do with taking notice of, social media has brought many positives to the world but certainly I find it more and more alienating – maybe through residual over-dependence on it over lockdown partially.

You’re Away to Sea (A Life on the Ocean Waves) is what is increasingly a tradition of very personal dedications to family members, and in this case another inspiring woman. Jane Stone is the first woman to reach the rank of Captain in the North Sea, and is Brian’s sister. A heartfelt record of her achievements underpinned with natural familial worries and longing for a safe return, overlaid beautifully with mandolin by Ewan Stevens, I think anyone would be happy to have such a proud but jolly shanty dedicated to them!

When Time Stood Still spews forth from the same vibe as Brian’s lockdown release of The Circle, a muse of the general clusterfuck we make of looking after our world and each other. It’s got some delicious lyrical tricks that appeals to the logophile in me (highlight for me is “and while we speculate, the dinosaurs prevaricate, the asteroid it hits too late” – it’s dark and moody song performed over delicate instrumentation. Subjectwise it appeals to me greatly as I’ve always had a bit of a morbid fascination with the seeming inability we have as a species to act in our collective good rather than just being greedy bastards. Maybe the dinosaurs will have the last laugh.

Anyone who’s seen Brian play live with know that traditional song Ward the Pirate has been a staple in his set for some time, with a stomp box and Ewan again on mandolin, the studio treatment works very well here – as we’ve been sitting listening Ella and I have already been compelled to perform the ‘Ward the Pirate’ dance that she and Karen invented a good number of years ago now! The song is actually inspired by real life pirate Jack Ward, and whilst definitely deserving of its place purely as being a song so regularly associated with Brian’s live performances (and indeed, he does sometimes perform as ‘The Pirate’ after all), it also serves a purpose as a prelude here for final track…

… for Tales of the Barbary picks up the theme, a rolling tale (already in progress and augmented thanks to a book given to Brian by their esteemed highnesses Ron and Beth Peach) with a potentially-challenging-but-I-reckon-it-could-be-doable singalong chorus. Ewan is back on mandolin and adding some wonderful melody, as we are taken aboard a pirate’s adventure in the shoes of an unnamed Cornish smuggler who accompanies Jack Ward in a stolen ship heading for the Barbary, imprisoned in Algiers but released to become successful pirates. The twist in the tale and need for a cheery conclusion was inspired by Karen’s idea to have the unnamed hero succumb to homesickness and return to Cornwall to live off his ill-gotten gains, and it’s a nice touch!

You can pick up a CD for just a tenner, or a download for just a quid a track – and it’s definitely worth it! If you happen to read this on the 6th then now would be a good time as it’s Bandcamp Friday which means they waive their fees given the artist a better return, which is an awesome thing to do.

Freeborn Al / 6th May 2022 / Music, Other Bands

The Tales of Layton Rakes

When I think back to the first time I saw Star Botherers, I think they still had a The preceding them. It was at Bearded Theory in 2012 in Gail’s Tea Tent – we’d settled in there for the day, I forget if it was the same day when Ferocious Dog appeared there as Gentle Kitten or not, I think it probably was, but I’d heard that Dave – who played bass with FD at the time – had another project on the go, so we settled for a lovely afternoon in the tent and awaited it.

Back then it’s fair to say there was a degree of novelty to the act – Dave played bass and a drum, Bart on guitar and vocals – but right from those days, when non-festival gigs were probably made up of 50% game of bingo, comedy merch like customised tins of beans or condoms, the novelty tag didn’t sit that comfortably when you took in the lyrics and craft of the songs they were playing. Obviously over those intervening years Brad arrived to provide more percussion, then Ellis for some multi-instrumentalism and Joel too. Definitely not a novelty now.

The Tales of Layton Rakes – their second album – is definitely something that is overtly asking to be taken seriously. Layton Rakes a reference to a certain put chain that will loom large in the narrative throughout the album, and probably makes the perfect backdrop for so much of what ails our troubled society in these almost-post-Covid and post-Brexit days.

Here we have a professionally polished collection of songs – there some revisits, 13 Years in Oregon featured on their very first EP – now with more layers and shine, Just Around the Corner and Freethinker get similar treatment – putting down what almost certainly go down as classic Star Botherers songs in the way that they want them to be immortalised in recording, and it works tremendously well.

Of course we have new songs too, He’s Got Dreads has been a live staple for a while, and the contribution of Oddly Excluded for The Pete Drake Project is included too – but there’s also been plenty of new material developed over these very strange few months. As noted and indicated in the title, that pub chain (I’m not going to name them!) looms large in the lyrics, and as ever, Bart seemingly effortless skates the fine lines between cutting observational lyrics and no small amount of charm and of course humour.

Just Around the Corner always encapsulated that for me with their material, and the revisit is welcome and justified – I can well understand the urge to revisit past songs with the vision and craft amassed since it was originally committed to studio time and this works really well – but also as a prequel to Another Lidl Song where we get to catch up with the protagonists further into their story, with an amazingly Lazarus-like return for the mongrel called Bob!

There’s serious and poignant songs too – boosted by a bigger soundscape, and that’s not to say that this is unfamiliar territory, Ferocious Dog of course featured Broken Soldier on their latest album release, originally featured on the debut Botherers EP, here as well as another track FD borrowed in Freethinker there’s also thought provoking and serious songs like Let it Stand, a perhaps unexpected stance on the impending statue of Margaret Thatcher due to be erected in Grantham, and also Silence is Acceptance and Sailor’s Grave.

But fun with an underpinning of sharp social commentary is also readily available – Norton and Kyle definitely fits in the charming and funny bracket, but with the underpinning of shrewd observations. This album is essentially a blueprint or guide for that need for development and advancement in songwriting, musicianship and sound whilst staying true to that pervading original spirit so many of us have enjoyed over the years of watching Star Botherers develop into the five piece band they’ve evolved into.

The album is released on 10th December, with a launch party planned at the Old Cold Store in Nottingham, and assorted bundles of album plus tickets and t-shirts available. So if you’re struggling for Christmas stocking fillers then there’s some solid options available here!

Freeborn Al / 14th November 2021 / Music, Other Bands