Reprinted from Green Man Review.
It’s a funny thing, but then again not. Let me clarify that. A group which exists to perform mainly UK punk and new wave songs of the late 70s and early 80s, but with acoustic instruments and trad tunes interspersed throughout, could easily be written off as a bit of a laugh and nothing more. In this age of crazy mash-ups and genre-hopping galore, it’s not necessarily even anything radical or unexpected.
However, in the case of The Bad Shepherds, it is clearly not meant as just an amusing diversion. They simply enjoy both types of music and see enough similarities to be able to put them together in a complementary way. The important question is whether the pieces work as songs in their own right and the answer is definitely in the affirmative.
If there’s any mashing up happening, it might be with the musicians themselves! The group comprises three well respected UK folk/folk-rock performers – Maartin Allcock (Fairport Convention, Jethro Tull, etc.), Troy Donockley (Maddy Prior, Iona) and All-Ireland Fiddle Champion Andy Dinan, who are joined by comedian Adrian Edmondson on lead vocals and mandolin.
To just call him a comedian through his work with cult classics such as The Young Ones and Bottom is not entirely fair, however. Edmondson has not only performed with the recently regrouped Bonzo Dog Doo Dah Band as well, but it was his idea to put the Bad Shepherds together. His work on the mandolin as a rhythm instrument is entirely apt and holds up well against the other members’ lead melody work. Vocally, his range is maybe a bit limited but it’s definitely expressive and who says you have to be a great singer for new wave music? Or folk for that matter!
The material is largely very well known songs of the era, but with arrangements that make the listener relive them in quite a different way. Examples would include ‘London Calling’, originally by The Clash but here interspersed with a traditional tune and an Allcock original, ‘Manchester Calling’ that fits ideally. Or a similar treatment given to the Sex Pistols’ ‘God Save The Queen’ with the verses spoken sardonically, and a very definite statement of the phrase “we mean it, man”.
In some other cases, it is more the acoustic treatment and choice of instruments that gives a song its unique flavour. The Jam’s ‘Down In The Tube Station At Midnight’ actually sounds like a folk song here and a fine one at that, while ‘Up The Junction’ (Squeeze) benefits greatly from Donockley’s marvellous uillean pipes, as if it wasn’t already a great song in the first place.
A couple of personal favourites are ‘Rise’, originally by Public Image Ltd. but here given a more melodic and engaging arrangement, and ‘The Model’. The latter again has uillean pipes as the main lead instrument and therefore sounds more organic than the original Kraftwerk version, not that there was anything wrong with that, of course.
All members naturally prove their musical dexterity throughout, not least Allcock on acoustic bass and 12-string guitar. One track consists of ‘Teenage Kicks’ combined with three traditional tunes, one of which is ‘The Merry Blacksmith’ which he performed regularly with Fairport as part of the ‘Dirty Linen’ medley. The piece also presents the opportunity to be described as folk with punk Undertones.
In fact, the title track is purely an instrumental medley of folk tunes and it’s an engaging performance, particularly in its unusual context. However, if we choose to believe that ‘Yan, Tyan, Tethera, Methera’ is actually the phrase “one two three four” in an ancient dialect used by Cumbrian shepherds, as we are told… then there is still a sort of rustic Ramones theme for consistency’s sake.
Let us not forget the work of guest shepherd Mark Woolley who provides subtle but effective percussion on various tracks, including ‘Once In A Lifetime’ and ‘Whole Wide World’. I’m sure he wasn’t chosen to be a guest on the album for his surname alone.
I had no misgivings or preconceptions in the first place when putting the CD in the computer but all I can say is that by the end, I really wanted to play it again. What better proof that it’s a successful combination of styles, and just an entirely enjoyable album? It’s not amusing in a comedic manner, but is certainly an entertaining way to spend 46 minutes of your time. No joke.
(Monsoon Music, 2009)
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