Joyous anthology of songs from Wigan collective. Unashamed pleasure for the senses in these difficult times

This website was set up primarily as a progressive and hard rock resource, but in common with many prog fans who discovered music in the 1970’s, folk and folk rock play a very important part in my life. There is a great deal of crossover between these musical genres, and for those hardcore prog fans wondering what on earth they would find to enjoy in a Wigan-based folk-rock collective, then I would remind you that the northern UK working class music tradition encompasses a broad spectrum of influences and artists – Barclay James Harvest for one. Indeed, those who enjoyed said melodious wonders will find much to enjoy on this compilation of six album releases. Intelligent music comes in many forms, and this website is dedicated to the best of it.

Merry Hell were born from the ashes of folk-punk collective, The Tansads. I was introduced to The ‘Sads by a trade union colleague back in the early 1990’s when we were trying our best to change the world. The album was Up the Shirkers, and they and like-minded acts such as The Levellers became very important influences on the political journey I have taken over the years (I still Rage Like Thunder!). I saw them at their heartland live venue, The Citadel in St. Helens, a couple of times – they were bonkers, a demented bunch of energy with a collective bouncing up and down on the stage and I lamented their demise until by way of some post I saw on an internet forum somewhere heard that they were reuniting for a 20th anniversary show in 2010 – my wife & I took ourselves off to watch an incredible evening, and I was even more heartened when I heard that the Kettle family were forming Merry Hell, with a move into the folk rock space, but still with that anti-authoritarian attitude I loved so much. For no better example of that continued two fingers up, Stand Down on this collection is supreme.

So, to the band. Firstly, Virginia Kettle, the lone female in the collective would, I am sure, acknowledge that she had some very big shoes to fill when Janet Anderson of The Tansads no longer wished to continue recording and playing music. Virginia is shortly supporting as a solo artist no less a band as Lindisfarne, and she has stamped her musical and lyrical authority all over Merry Hell – sassy, intelligent, born of a feminist tradition which pokes fun at both authority and ourselves. Have a listen below to her Rosanna’s Song, an utterly gorgeous piece of music, sung in the main by Andrew; so beautiful, it defies description, and written by a supremely talented artist.

John Kettle, her husband, plays guitar and he and his brother Bob on guitar & mandolin join Virginia as the core writers, whilst Andrew provides vocals which are capable of grit and beauty in the same breath and has forged a harmonious relationship with Virginia.

On violin for this compilation, we have the extremely talented Neil McCartney, who for personal reasons has now left the UK and has been replaced by Simon Swarbrick, whose relative, the late Dave, will be familiar to older readers of this review from Fairport Convention. Live and on record, they are an eight-piece, with Lee Goulding on keyboards, Colin Foster on bass, and Andy Jones on drums completing the present line-up.  

The collective is no better than on Coming Home Song, a piece of music written by Bob which brings us all together in a joyful chorus holding our hands out to the vulnerable – every member of the band takes turns to exhort fairness in humanity.

The album opener is a blast. Drunken Serenade did, in fact, first appear on The Tansads final album, Reason to Be, which took a harder rock approach as compared to previous albums. It was great, but the reformed Kettle family as a collective make this, the first Merry Hell release, a better version and the video is embedded below. The lull when Andrew sings about singing our truth aloud, singing it proud, because in my darkest hour, these songs have carried me is a passage which resonates strongly with me, and I believe with every music lover, whether as a fan or an artist. Music is a healer and a release from life’s travails and sadness. Oh, and a bit of a sing song whilst under the influence can certainly help. The close is raucous, and if you are not nodding your head, tapping your toes, and screaming out Drunken Serenade with them at the end, you need urgent medical attention.

Andrew and Virginia harmonise on Lean on Me, Love a simply gorgeous piece of music. The live version below was recorded during the crazy lockdown times, when our collective worlds were turned upside down. The track talks about real life experiences and the need to lean on somebody you love, but in terms of lines such as “when they blow us all to Kingdom come”, the band show they have lost none of their touching humour. Fans of the violin in their music will love McCartney’s contribution here, and underneath all of this, there is a distinct thump to the rhythm section. Rock n’ roll does, indeed, shake the room.

One of their longer tracks is the sumptuous Pendle Hill, which is embedded aside. Andrew’s vocal performance is astounding, and Virginia harmonises perfectly – her vocal rising above Andrew’s at the close is incredible, and the guitar work by John here is delicate yet powerful on this extremely intelligent song reminiscing about a childhood and a particular teacher.

The t-shirts I purchased last time we saw them and the next couple of songs discussed exemplify the band’s attitude to this country of ours and its divisive, toxic politics. The shirts read; “Proud to be anti-intolerance, anti-violence, stop the war between ourselves”. We Are Different, We Are One is taken from the exceptional Emergency Lullabies album. The chorus is about as uplifting as it is possible to get, and the “we are NHS” words have a special resonance now given the need for brave public servants to strike for decent pay mere months after the nation was exhorted to clap them on our doorsteps. The song creeps up in intensity before you know it, really, and this is anthemic music at its finest, the harmonies at the end wonderful. Even this, though, is trumped by Come on England! Bob’s paeon to traditional working-class values, a love of our country, and essentially telling the racists and fascists to damn well get their tanks off our lawn, because it is possible to love one’s country without hating others. Those of us who have our hands and hearts open wide should sing it loud and tell it proud. The chorus makes the hairs on the back of your neck stand up, especially the final passage with choral voices joining in the joyous noise. Truly magnificent, this is one of the best tracks I have in a record collection numbering the thousands and it is a personal joy to write a few words about it on this website.

Some of the live highlights, and terrific examples of the earthy folk side of the band, are Baker’s Daughter (the video below is fun), and Virginia’s live tour de force, Violet. Behind the fun on the former, the ghostly voice of Virginia behind Andrew’s vocals is noticeable in the closing segment, and she owns the theatre when she performs the latter track.

Ghost in our House is a very good example of the core folk values combined with rock sensibilities, a track which fairly races along – what about the chugging guitar riff some two minutes in? Turn up the volume to fully appreciate the strength of the bass and drums below the lead instruments.

If it is achingly sad you are after, then Emergency Lullaby (Wasting Time) is the track for you. The video of the sand in the hourglass with time running out exemplifies very strongly the environmental message that we are ruining this lovely planet, and we really do not have much time to change how we consume.

I will finish my review of the tracks on this album with When We Meet Again, a track born of Covid and my most played song during that dark period. It is not an exaggeration to state that I found this piece of music extremely important amidst all the worry and the lies and ineptitude we were subjected to during that time. I sang along to the Social Isolation Choir on many a night, beer in hand, and this track, perhaps above all, cries out to us of how this band’s music and values are firmly rooted in our real world. Yes, I rightly lauded Marillion for Angels on Earth, the tribute to our nurses on An Hour Before Its Dark, and it is deeply moving. This track, though, to these ears, trumps it. It is a vital record of its time and deserves so much more attention commercially. The playing, especially John’s guitar riffs, is magnificent. The video is below – drink it and hope that we never have to face it again.

There is, in truth, so much more here and I could write many more words, but a reviewer must always bear in mind not to outstay his readers’ welcome. So, to conclude, there is not one bum song on this. Merry Hell have got to this point in their career, lauded from the northernmost climes of Scotland to the southern tip of England, via Wales & Ireland, by dint of sheer bloody hard work, continuous gigging, and a dedicated team behind them. Some of you prog fans reading this review will have an opportunity to see them at Cropedy this summer – take it. They are worth every single second, and I can also attest to how approachable they are if you get the opportunity to share a drink and a chat.

This compilation (and I do not review many) is an essential purchase. Even though I have all of their albums, I grabbed the chance to pre-order a signed CD and support an extremely important band to me and the wider music scene.

Wigan is responsible for three major bands. The Verve never really stood a chance when compared to the other two, did they?