Snoot Ferdinand revisits 'that' album.

Snoot Ferdinand, Erstwhile associate, and sometime manager of the Ferret's utility-player, John Beck, relives the hectic time that was spent recording the album, and offers his own unique interpretation of each track..

INTRODUCTION:

"This song, as well as -or possibly better than* - any other song in the FF canon {'FF' being delicious musical parlance meaning 'very loud', a term that at least occassionally describes the mood, if not the volume of the band, thus making it a reasonably apt, and delightfully convenient acronym/abbreviation, saving valuable time that could be better spent listening to the music itself}, encapsulates the whole ethos surrounding the sessions. Although largely a confident songwriting ensemble, the band entered the sessions unsure of how the record-buying public at large would receive them (something that, to this day, they are still unsure of).
Hence this witty take, which at once exudes confidence and deep soul-searching doubt, mystery yet absolute clarity, and joviality yet a deadly seriousness.
The lyrics are made up of a series of deeply penetrating questions that the band demand the listener to answer before proceeding with the rest of the album. These questions embody the works of Nietzsche, and to a lesser extent, Sartre, approaching levels of both nihilism and existetialism that are rarely considered by their contemporary musicians. This is only to be expected of the band: They put their all into the music, they ask nothing less of the listening audience.
Although possibly bleak in lyrical content, the music almost undermines the dark texture, creating yet another contrast that might not be clear on the initial listening. Considering the piece both musically, and lyrically, it should become clear after about a dozen listens, that the bands outlook is more positive than many lesser-minded critics have said.

Mystery surrounds the identity of the voicalist, but despite constant rumours, the track was recorded several years after the death of Freddy Mercury, and two full years before the birth of Brooklyn Beckam. The debate rages on, and the band would have it no other way.."

* though concievably, a bit worse than.

The Diamonds of Monte Carlo#:

Felix came into the studios, perspiring ever so slightly, his handsome face shining in the half shadow created by the quarter moon that hung low in the late-Autumn night's sky. He stopped. He sat down. He collected his thoughts whilst sucking playfully on a Jolly Rancher, little realising that by the time the internet revolution had reached full swing, Jolly Ranchers would be just one of its many casualties.

"John" he said.
"Yes" I replied.
"Are you ok?"
"Yes, not bad. You?"
"I'm not too bad either."
"Thats good. Been up to anything exciting?"
"Not really"
"No. Me neither"
"Who is actually even speaking at this point?" One of the two enquired.
"I'm not sure," the other replied, "but we were just talking about what we had been up to lately".
"Oh yeah, I remember now..."
"Anyway, enough of the small talk" Felix said, calmly. I remembered at the time thinking that he was perhaps a bit TOO calm for the earthshattering announcement he was just about to give me. Although thinking back, I guess I probably couldn't have been having retroactive thought processes about an event that had yet to take place. But hindsight is 20/20.
"I've just met that guy from Suede. You know, Brett Anderson."

I lit up. Suede had never been a favourite band of mine. In fact, I could probably only name one of their songs and would probably sing the wrong tune if you asked me. Nonetheless, the least I could do was have a cigarette, a filthy habbit I readily admit, and one which I have since quit. Twice.

Then my EYES lit up. Ahhh. The possibilities.

"Could I meet him?" I asked, nonchalantly.

"Not really, but he would like to sing on a song I've been working on."

"But you're recording the song at the moment. In my back room. Surely I'm probably going to bump into him eventually, if only to offer him a cup of warm (or cold - dilute to taste) lemon squash."

"No. He specifically asked that you shut the door and waited upstairs whilst he put down his vocals."

"Oh."

"But he is here."

"I never said that he wasn't."

"And it is him singing on the song."

"I know. I didn't say that he wasn't. Anyway, its his voice."


And that was how Snoot Ferdinand, the 'I' in this story, acquired the catchy - and legally accurate - moniker Snoot "Friend of The Star's Friends" Ferdinand.

Looking back at the writing and recording of the album that needs no introduction (ferret) I sometimes wonder how it all came together to be what as one person (Sam, and no I don't feel he is biased) has described as; 'genius'. They were indeed heady and turbulent times, the makers of Tango had recently launched several new flavours onto the market and everyone was talking about how they would be received. They were times of pushing ones mind to the limit, stretching it places previously unimaginable, during the albums recording substances were consumed, we dabbled with 7up and Sprite and experimented with waitrose old fashioned lemonade but usually decided on a nice crisp glass of lemon cordial. The world seemed to be waiting for something and I knew I had to deliver. The following words will hopefully enable you to get inside the head of a songwriter, a band and help you to understand what (or who?) it is that drives the Folly Ferret bus, if it is a bus, and is it being driven? Maybe it's on cruise control, who knows? These are the stories behind the music...

Introduction: One day, near the end of the recording sessions I was just playing, tunefully -as always- around on a guitar (johns I think), I found a nice little chord sequence and said to john, who was eating a ham, lettuce and salad cream sandwich at the time 'this is good, I like this'. I think those were my very words, very profound and very true as it turned out. John said, and I may be paraphrasing him here, "yes, I like that too". We always like to talk music in this band and it can get pretty deep sometimes. Anyway, would you believe it, John finished his sandwich (no surprise in that you may say), popped out the room for a couple of minutes and when he returned had some lyrics. 2 minutes that's all it took him, and you wouldn't guess from listening to the track now. So we recorded it; john on vocals, me strumming along, one take, bing, bang, bong, thank you and goodnight. What we have now is a very clever starting place that ushers you in gently before the main album starts proper.

Welcome To Ferretland: I'd been thinking that the band needed a song that really introduced ourselves to the world, showed everybody what we were about, a calling to arms for all our brothers, our soul mates if you like. 'Ferretland' was that song. Taking a simple melody and guitar line the aim was to take the listener on a journey to ferretland and the gradual build up of guitar lines and the haunting quality of the vocals set to that trademark Folly Ferret production achieves this goal I think. People who have near death experiences often talk of a bright, white tunnel leading to a meeting with God. I don't think it would be too much of an exaggeration to say 'Ferretland' is that bright, white tunnel before the meeting with the musical Gods, The Folly Ferrets on the rest of the album. Indecently the track features a guest appearance from Caroline, my sister, who does a passable impression of a wailing banshee for the backing vocals.

Crop of Equality: One of the glories of The Folly Ferrets is that we are not afraid to tackle controversial political subjects, we don't shirk are responsibility towards a creating a better tomorrow for the children of the world. We believe that children are the future. We are always at the front of the picket line shouting, "murder is wrong", "racism is bad", "lets be good to each other" and other such controversial slogans. Set to a rustic, raw sound‚ 'Crop of Equality' -or 'Workers Song' as was its working title- looked to build on the many political discussion myself and other founder member of the Folly Ferrets Sam had participated in. The result, which some interpret as slightly tongue in cheek, are lyrics that would go down a storm at a Socialist Workers brunch meeting or if sung by a large crowd at a march or demonstration. Indecently the original lyrics for this song concerned Paul Daniels and his seemingly ever-present presence on the BBC. The chorus was "Paul Daniels is on TV once more/ magic tricks and laughter galore/ Paul runs along to the bank/ though his shows are wank". I'm glad to say time has not been as kind to Paul as it has to The Folly Ferrets and he no longer has a regular evening slot on primetime TV. I would like to think we had something to do with this.

The Diamonds of Monte Carlo: I think what really makes this song the beautiful beast it is a combination of things. Firstly, Johns guitar playing is at top form, can you believe it was all done after only listening to the base track a handful of times! Secondly, the use of the often-neglected hairdryer as a music instrument is very effective. Lastly, the capturing of Brett Anderson from Suede to provide guest vocals adds a touch of slum like glamour. Lyrically the song isn't one of my best efforts but then I knew Brett was going to be singing and he can work magic with the most minimal of efforts. Brett Anderson ; alchemist. Coincidently the track title is also the same as an early Gorky's Zygotic Mynci song that I had been listening to around the time of writing the song. Oh, and for all you percussionists out there, the beat is made up from the use of a comb and Cd rack + the shaking of coins.

100% Big Boy Whoop Ass Action: Growing up on the streets of Bournemouth in late 80's and 90's was a hard experience that only people from Torquay or Eastbourne can fully appreciate. It was inevitable that some of this urban sound of the streets would be reflected in our music. Over a hypnotic, eastern, almost philosophical guitar line Sam channels the hardship one faces growing up in a simple 5 bedroom detached house with moderately sized garden and deploys it into 'the beat'. This song goes out to all our homies back in BO!urnemouth. Keep it real brothers.

Lady Charmer: Now there has been a lot of talk about this particular little number. Many ask how autobiographical the song actually is. Well I'll just leaving you guessing, but will let on that people don't really think I look like Tom Cruise as the lyrics state. That was just artistic license and I wouldn't claim I looked like him at all, instead I look more lie Brad Pitt but that didn't fit the lyrics so well so I used Tom's name instead. Set to a slinky bass with dashings of sensual piano this really is one to woo the ladies too. Not that its autobiographical, ive said its not so it isn't, and I wouldn't lie would I? Yes, modesty is one of the many qualities I possess but....

Lo-Fi Loser in Love: A homage to two musical greats, musically this is our tribute to the often mocked prog rock scene of the mid 70's. There is a spoken poem read by Sam, which, if you don't have a tear in your eye when listening to you just aren't human. His voice haunts me. Also used are robot sample voices, an ironic statement that I trust everyone picked up on; the song contains within it so much emotion yet the most programmed voices. What are we trying to say, that emotions are merely a series of socially programmed responses, it's an interesting idea, which you should dwell on. This is not music for kids. Think. Some of you may also notice the use of the airplane sound affect of a small Casio keyboard, which is also so symbolic of the nature of the song. I wont patronize you by pointing out how. The Smiths also cast a long shadow over the song (a sample of 'How Soon Is Now?' is used) as a cocktail of a song is constructed. This was my intention The Smiths + emotion + loathing + desperation - lady charmer / love * (feeling + great songwriting) = a classic tune. Like taking Lady Charmer and looking at it through a prism. This was the goal. This was the result. 1 - nil to the Folly Ferrets.