Album Review: Pretty Peggy (Sam Kelly and The Lost Boys)

      Recently I received what was then an early advance copy of the yet to be released “Pretty Peggy,” CD.  I confess thereafter, I played it over and over again. It is an excellent album, packed with big production, accomplished vocals and evocative instrumentation.                Frankly, it just oozes class. Unsurprising really, as it comes with a hell of a pedigree Sam's first EP won a Radio 2  “ Best Emerging Act” Folk Award.  Mike Harding, Mark Radcliffe and Seth Lakeman are among those to have already praised the band, so with such plaudits from Folk Royalty, who am I to disagree? ( I won't).

       Sam was a Britain's Got Talent Finalist aged just 19. Irish ancestry, born in Norfolk,living in Cornwall, what can possibly go wrong? (It doesn't). Still only 24, Sam's singing style shows character beyond his tender years. It is very distinctive and impossible to stereotype or define. Stripped down, it stands alone as a classic traditional voice. But he can embellish that with rock and Indie undertones. 

      The band-his regular touring and Festival line-up-are simply brilliant on the CD. His guests  include no less than Cara Dillon, Geoff Lakeman and Mike McGoldrick, How can it fail? ( It doesn't).

     Pretty Peggy herself is the inspiration behind The Bonny Lass of Fyvie. A song covered and recorded by many others, but here with additional vocals from Cara Dillon and the excellent pipe playing of McGoldrick, it soars.

     The Keeper is a refreshingly up tempo treatment of an old English song which many of us first learned in school. The Close Shave is an hilariously classic tale of cross- dressing and mistaken identity. (Happens all the time in Barrack Street).

      Greenland Whale applies a modern touch to a traditional subject matter. The frantic banjo picking is more Appalachian than Celtic, yet it works. The vocal is again honourably traditional:the chorus is one which will get festival audiences bawling and the whole piece just drives along. 

         Beware Angeline The Baker. An ancient Stephen Foster Minstrel song, it is the album's ear worm. I had no doubts over choosing it as the sampler on my radio show and I've been humming it (and the instrumental bridges) ever since.

        The Shining Ship is a magnum opus coming in at just under six minutes. An epic,layered performance opens with a ghostly vocal echoing whispered fragments of House Carpenter and the 17^th Century ballad Demon Lover. If Jack Sparrow were to record an album track I imagine it might sound like this. Plenty of effects and overlays and some intricately woven accompaniment with a distinctly oriental touch and a brilliant ending. The Rose explores similar territory. With its repeated central melody it is weirdly hypnotic, Mr Sparrow and his crew would like this, too.

            The eerie When The Reivers Call, is another big production, as is a powerful Folk Rock version of Dylan's Crash On The Levee. Indisputably, the boys can rock it up, but they are also capable of sophistication. “If I were a Blackbird is a haunting piece of music and beautifully sung, with a tiny tiny bit of tremelo sparingly used, and some splendid choruses. The Rose too, is atmospheric;a reworking of an original by Belgian band Naragonia.

         The plaudits for this band are richly deserved. On Pretty Peggy, they are at the top of their game- gifted, confident, innovative and energetic. Superbly engineered and produced, if there is a better Folk album than this released in 2017 I look forward to hearing it. The word “Classic” is applied to far too many albums. It is appropriate here. Sam and company are touring later in the year. It should be  a sell-out .

Getting Down with Men of Straw

           So here we are at NFC, with September 2017 now ticked off and approaching October next,with us celebrating our third birthday. A slightly smaller audience than usual, but no less enthusiastic in their chorus singing and as generous as ever with applause and encouragement. They also proved to have deep pockets when it came to buying raffle tickets and CDs and even though they were spread out a little more than usual, the room was still filled right to the back of the hall.    

          Lots of reasons why attendance was slightly lower this month. Those regulars used to moonlighting as teachers or Education Assistants (poor loves), had just started back to work after richly-deserved Summer Holidays. Many were physically and emotionally shattered. Others, taking advantage of their misfortune (and reduced travel prices once the schools go back) were off abroad, junketing in the sun.   Up the A5 at Hinckley Act we had the counter attraction of Tool,Willow et al ,greedily trying to beat their own record for appearing in as many venues as possible during  one week. 

       I had been into The Crown already at dinner time, to hang up the NFC banner, unload the P.A. and set out chairs and tables upstairs. My most immediate logistical problem however was using a bear hug to  manoeuvre a large man-sized packing case (allegedly containing a fridge freezer) from the centre of the dance floor, to the side of the room in a less conspicuous place.  As the evening got under way  rumour spread that John Kearney was not actually in Atlanta,Georgia, but was hidden  in this mighty cardboard box, secretly checking out just how well Paul Moore was filling in for him.  Mischievous NFC regulars  immediately christened this combination as "Punc."     

     Speaking of which, starting off the evening and joined by, (at JK's suggestion), a slightly anxious Paul Moore,he  Flossy and I ground out a few tunes from the regular Nunc repertoire.  We had furnished Paul with chord charts,song sheets, You Tube clips and MP3 files,and of course,Paul had accompanied us all previously at Astley Castle and as a member of Mac Awe On Tour.  We started with "Bring It On Home", added a fine version of "Angel From Montgomery" (which we knew the real JK would be visiting), and finished with the wonderful Richard Thompson song "Down Where The Drunkards Roll."  Paul was fine. We knew he would be. 

Nunc ft Paul Moore

         Des Patalong, a man of many shades,hats, hues and allegiances, was actually there on Wednesday as a token representative of shanty boys Sharp As Razors.Consequently,  he led us in us three vibrant hollers, including the eponymous "Sharp as Razors" which was a good way to get the audience singing straight away. Des had a new Razors CD with him,which he had recorded and mixed himself. Most impressive.  

Des Patalong. He's Sharp as Razors

            We do like to have our debutantes at NFC but it was of interest to note that, despite appearing in different combinations previously, all our guests this Wednesday had appeared on stage at The Crown before. Take Simon and Sally Ann Veasey for example. Their son Tom (currently outrunning hurricanes in a Disney Cruise ship) was our first Sound Man. His dad Simon appeared early doors partnered with Paul Moore and Sally Ann of course was a founder member of Daisybell. All of them had appeared en famille as The Veasey Family, but I think I'm right in saying that as a husband and wife duo our audience had not seen them previously. Only the week before we had recorded them in this format at the Anker Radio "Live Lounge" sessions, for a birthday Special of Anker Folk. We eventually aired both catchy songs "Moonlightin' Man," and " I'll Catch you Later " on the radio show. I was delighted to hear them repeated at The Crown along with a clever song about how Nuneaton got its name. (The real one, not "Treacle Town"). 

Simon and Sally-Ann. They'll catch us later

           Also recorded and broadcast in both those Live Lounge sessions, another class Nuneaton-based performer, John Neal, made a swift return this Wednesday and gave us three songs: "Passing Day," the seasonal "September Grass" and the powerful "Song for Lennon" with an evocative hook line. 

John Neal

           We just can't get enough of the excellent Paper Circus at the moment. Talent, Youth and glamour. Not always a in regular supply at some folk clubs.  It was good to see them back in the original line up, with Jennian joined by Jim and Siraj. Jim proudly showed me his new cello which had a "proper" pick up, meaning he could finally use a DI box. The days of angled boom mikes were finally over. Jennian in his first week at a new job and fresh from Uni with her two degrees (get YOU girlfriend!) was, as always in fine voice. No, "fine" won't do it,actually. "Beautiful" voice is better. Always good to see jaws dropping when Jennian unleashes  those astonishing vocals. Two versions of "Amazing Grace" and "Go Lassie Go" got the classic Circus treatment. Magical. Good sound, guys!

Paper Circus. Go Lassie,Go. (And lads)

      With the audience (and Scarecrow) visibly knocked out, and Wilson Wright,invited to follow that did so,admirably. John and Hilary, sounding better than ever. Besides including a song Hilz had previously performed on radio 4 they finished by putting a WW slant on  a haunting version of "Fotheringay " which really did justice to such a great song and showed off  Hilary's voice to perfection. John Wright's contribution should not be overlooked. His guitar work and vocals are sometimes underestimated. So glad these two got together as a duo. 

John  and Hilary.  Wilson Wright are all right

         When you have fellow musicians who turn up knowing that there is no chance of a floor spot you know you are getting somewhere. So it was good to see Jak Lynch, Pete McParland Max Wright and Katherine Fear among others just the enjoying the music. And as Scarecrow stepped up to give us a first taste of their excellent multi-skilling,we all knew we were in for a treat. They'd had lots of requests beforehand and managed to fit them into this first set and the longer second one with not one but two encores. 

Scarecrow whistling up a storm

                            So, besides any newer stuff, it was good to hear again their outstanding version of Fairport's "Too Close to The Wind" and to see (and hear) the audience joining in with "New York Girls"  and "Down To The Rigs"  Scarecrow's musical competence and versatility is astonishing. Flute duets. Bagpipes. Good spirited Folk vocals. Unique and original instrumentation. Numbers featuring light and shade with introductions middle sections and properly arranged endings. And the occasional good old hanging added for good measure. All this, and absolutely no side or "Big Time Charlie"  about them. No wonder they are playing support to the great Dougie McClean at Banbury Festival next month. But get that second album done quickly, chaps!

All this and bagpipes too.