Like many other Folk outfits,Sally Ironmonger and Brian Carter have not been entirely inactive during Lockdown. They have been proactive and have managed to issue a new album. In the past, despite hailing from Kent (that's almost Brittany in my part of The Midlands), they have (deservedly) been regular guests at almost all Warwickshire venues. This newest release is an ideal way to keep in touch, for anyone currently missing them.
They take their songwriting seriously,whether compiling albums or assembling "live" performances. Consequently they are always entertaining in both formats. Like their live shows there are (as always) plenty of laughs in this collection,a lot of good music,some singalong choruses and an occasional sublime lyric that sticks in your head for ages afterwards. It's not all nudge nudge wink wink,although there is a certain Bamforth Postcard End of The Pier quality about them.
The title song is a nod to Boz who illustrated many stories and articles by Charles Dickens. It's an apt reference because like Sally, Dickens had a strong Kentish connection. He also loved to draw little pocket-sized caricatures of people,which the work of Boz complimented. A typical example of an Ironmonger sketch is The Bitter End which combines Sally's unique vocal style with some poignant subject matter and clever wordplay.
Having myself written a song putting Piracy into a modern context (Risk Assessment in my case), I loved "Threadneedle Street." Here they are at their angriest,describing "Tax evading asset stripping crocodiles," but waspish humour provides a good vehicle for making a serious political point. "The bastard sons of Blackbeard now walk Threadneedle Street," Sally croons,reasonably. I've joined in with this song at a live performance, singing merrily along with the choruses and echoing Brian's simple one word counter refrain of "Bastards." It was a very liberating experience.
In previous reviews of Sally's releases,I've mentioned her affinity with the late,great Victoria Wood. They both write in rhyme but the lyrics here are never forced or contrived thereby avoiding the trapdoor of end-of-line doggerel. In fairness, this admiration of VW is no secret and Sally does tend to finish her stage act with a brilliant homage to her. For those of us still missing that Woods-style brilliant observational writing,Sally is a most acceptable substitute. She has the same acid touch to some of her lyrics and imagery, managing to pack so much into each single verse.
The songs on Sketches are far from superficial. Some indeed are full portraits. They have a witty,clever,reflective content. The targets are often everyday themes we can all associate with. Sally's delivery is wry,tongue in cheek and sometimes vernacular. She makes no attempt to mask her accent,so good for her. "Sometimes a song appears waving a flag and demanding attention," the sleeve notes observe,adding,"and sometimes it is like trying to squeeze toothpaste back into the tube." Well...quite.
"Backstreet Boozer" rightly laments the passing of many of our great British pubs,no doubt currently being hugely accelerated by the horror of Coronavirus. Those of us who loved sinking a pint of Redemption or Tring in the Bree Louise whilst waiting for a train home from nearby Euston, now hope that the Bowler Hats responsible for its compulsory purchase( for HS2 clearance and subsequent demolition), choke on their Gin and Tonics.
When I first saw them, Brian's role was not as forward as it is nowadays. He tended to play a few instruments,add occasional colour to Sally's magnificent vocals and was the straight man in those amusing verbal asides to the audience. On Sketches he contributes guitar (including some cheeky little solos), mandicello, mandolin, banjo and Shrutti box. AND his name appears first in the writing credits. Nine of the twelve tracks are theirs,whilst the others are by Ian Petrie, the Chumbawumba team (no less!) and one is a cover of a Traditional child ballad which is over one hundred years old.
The songs are all of a sensible duration,between 3.30-4.50 mins. I know I bang on about this but as a Folk Jock and Club organiser, this is a godsend. So many artistes make the mistake of writing (and then recording) interminably long songs which won't get airplay and will send an audience off to sleep. If you can't get a strong message, a moral standpoint or a good story condensed into less than five minutes then you are at odds with an ancient Folk Tradition. You're neither a balladeer nor a troubadour. 7+ minutes of preaching or overkill will only engage Folk Nerds of the most seriously committed kind.
Much to admire then,in this fine collection. Their songs make you smile, shake your head,nod in agreement and develop a yearning to throttle some of the objects of their penmanship. If you've seen this duo already or own any of their previous albums,I'm preaching to the converted. If not-get it. It's available via their website as a hard copy or download. By clicking on the link here you can also sample snippets of each song-so you can see I'm not fibbing!
