Celebrating the tenth anniversary of their landmark Debut, Ferocious Dog are reissuing the album in a handsome double disc digi-pack, complete with expanded booklet, remastered version of original album and a second disc dedicated to the band’s 2022 Live at Leeds Orchestral outing. Mixed and mastered by Al Scott (The Levellers, The Wildhearts, Asian Dub Foundation etc.), it sounds absolutely amazing and is released via the increasingly impressive Graphite Records.
Given that a lot of fans will already own the band’s audacious debut, we’re going to focus on the amazing live disc first and then, for those who haven’t had the pleasure, a review of the remastered original album follows. TLDR? It’s f***ing great, but then you probably know that… Anyway, on with the show:
Disc 2
While metal and hard rock bands are no strangers to the world of orchestral shows, with everyone from Deep Purple and Metallica to Kiss and Paradise Lost having had a crack at it, it’s a less common event for bands who operate within the more ramshackle realms of punk. That said, while both the Levellers and Ferocious Dog pack their anthems with plenty of anarchic ire, the focus on melody and the deployment of a variety of Celtic instrumentation does lend itself more readily to the orchestral than most, and so it transpires on this stunning live disc, which features the band playing alongside a six-piece string section. Thankfully, the band opted for close collaboration when scoring the show, with Sarah Huson-Whyte from the string section working alongside Dan Booth, Sam Wood and Nick Wragg to make sure that neither side overpowers the other. The results are frequently astonishing, with standout moments including the utterly gorgeous A&B and the slinky dub reggae of Class War.
Arriving on stage to a brief “how are you doing Leeds, are we good – it’s a bit different isn’t it?” Ferocious Dog open their orchestral show with surprisingly little fanfare. As they kick off with a sprightly Landscape Artist, you’re immediately hit with the quality of the sound. Everything is captured with detail and separation, the band ringing out loud and clear, and the strings providing a lush backdrop for the song’s rich melodies. It’s a cracking start and it paves the way for a show that is packed with highlights. We get one such moment early on, with the utterly lovely A&B, which offers greater scope for the string section to take the lead. It is arguably the definitive take on an already special song and, as the strings swell, so the already exquisite melodies take on a whole new meaning. However, while songs like A&B lend themselves to such an interpretation, the band also opt for songs in their catalogue that don’t necessarily fit the typical expectations of an orchestral show and so we get a brilliantly vivacious take on Class War, the pizzicato strings working perfectly with the dub reggae vibes of the song. A more predictable moment, although no less lovely for it, Mairi’s Wedding pt3 is a heart-breaking tale of a love decayed. In contrast, while Yellow Feather has a poignant undercurrent, the taut beat gives it an engaging swing that is irresistible, even as the strings swirl around the vocal. A calmer, quieter piece, 1914 tells a story of wartime love, and it also provides the perfect showcase for Lizzey Joy Ross’ gorgeous vocals which, while present throughout, come very much to the fore here. Closing out the first half of the show, the powerfully political Justice For 96 reminds us that the protest song, in the right hands, can still pack one hell of a punch, even in these cynical times. It really is a special piece, and Ferocious Dog tackle a difficult subject with a quiet force that is simply breath taking.
Opening the second side, the short, sweet The Demon is aired (apparently for the first time), with the band sounding somewhat uncertain as their work their way through it. The explosive Broken Soldier gets things back on track, however, with its vocal harmonies and bouncy beat. Similarly driven is Lacey-Lee, an acoustic-led piece that receives a hefty cheer, before we get a stunning rendition of Criminal Justice, the explosive track giving the string section one hell of a workout as the audience roar in appreciation. After so exciting a set, the band simply take a moment to thank the audience and their amazing string section (featuring Sarah Huson-Whyte, Claire Stanley, Nia Bevan, Katy Ord and Liz Hanks) before closing with the wonderful Blind Leading The Blind. An emotional finale, it’s hard to imagine a single person not finding themselves drawn in by the swooping strings and simple, yet addictive chorus. It’s a brilliant conclusion and, with just a brief farewell, the band leave the stage.
What a show! It’s such a powerful document that it’s almost a shame the band decided to add an updated version of Too Late (2022) at the end. Not that the bonus is not appreciated, but its just that the live set is so perfect in terms of pacing and delivery, that the (brilliantly recorded) studio track just feels out of place. Perhaps, with a longer gap between the live set and the recording, it would have worked better, but I digress. Ferocious Dog on stage are aptly named and, thanks to a very clear collaborative spirit between band and string section, the orchestral show is a magnificent success. With the melodies given extra heft by the strings, the band putting in a stunning performance and the mix providing remarkable depth and clarity, it is the perfect document of a very special night. As such, even if you have the debut album, this is worth the price of admission alone (and you get the album remastered as a bonus anyway) 10/10
Disc 1
Still here? OK, so if you somehow haven’t caught up with the band’s fantastic debut album, here’s what you’ve been missing…
When you think about introductions, The Glass is up there with the likes of The Levellers’ World Freak Show as an opening gambit. Rich in melody and texture, it’s a great start and it sets the tone for an album that has aged remarkably well. Next up, the short, sweet Lee’s Tune starts out as a folk ditty that suddenly explodes with punk energy – it may now be the band’s hallmark, but it still feels incendiary, even ten years on. The cracking melodies and folksy elements of On the Rocks are as suited to the dancefloor as they the mosh pit, and the sparkling remaster allows for plenty of power – push the volume and you’ll find yourself unable to stay still when the chorus kicks in. In contrast, the reflective acoustic strum of Too Late features some lovely, picked guitar and a punchy bassline, only to absolutely explode when you least expect it. Then there’s the brilliant Freeborn John which shakes up the well-worn folk-punk template with a slinky dub bass line that works its way effortlessly under the skin. The pace shifts again with the dynamic Hell Hounds. Starting out as a folk lament, it soon picks up the pace, telling a fearsome story over a rampant folk-punk backdrop guaranteed to get the blood flowing. The first half concludes with Quiet Paddy, a track that neatly wrongfoots the listener by segueing from simple lament to full-blooded rocker within the first thirty seconds.
Opening the second half, the unexpectedly sentimental Lyla provides a moment to regroup and reflect, the band taking their time to truly build up a head of steam, although when they do, the momentum proves unstoppable. More [ahem] ferocious is Criminal Justice, a poignant commentary, which recalls The Levellers’ Battle Of The Beanfield. Next up, the acoustic-led Pocket of Madness sticks a toe into folk-ska territory, a surprisingly effective genre-clash that might just be the best thing on the album. Another gorgeous melody follows with the addictive Blind Leading the Blind, and although the track has plenty of feral energy, it is the central hook that remains firmly embedded (it’s also a highlight of the live CD). The propulsive Freethinker sets its sights squarely at the dancefloor, although it’s almost immediately upstaged by the ramshackle delights of Mairi’s Wedding Pt II. With the album coming to an end, the ridiculous Paddy On The Railway sounds like a band simply having a blast in the studio, veering between open-mic-night folk ballad and punk white-out. It leaves the sweetly simply Verse For Lee to see the album out.
Debut is a whole heap of fun – an energetic album packed with puppy-dog enthusiasm and considerable variety. Whether dabbling in ska, dub, folk or punk, Ferocious Dog have a twinkle in the eye that you cannot help but to warm to, and the songs have more than stood the text of time. If you’ve not got this album already, then this is an essential purchase. If you have, then you should seriously consider rebuying it, as there’s still a second disc to explore… Original album: 9/10
