‘We jammed a version of The Ballad of El Goodo and I collapsed afterwards’

ATH197810

 

The sound of the summer is here! 

Oxford’s jangly-pop maestros The Dreaming Spires are back with a new eight-track EP/mini-album called Paisley Overground, which was partly recorded at the legendary Ardent Studios, in Memphis, where Big Star made their seminal albums.

The record features four songs from The Dreaming Spires (Paisley Overground, Harberton Mead, Silverlake Sky and The Road Less Travelled), as well as four from other acts – Sid Griffin & Tony Poole, Co-Pilgrim, The Hanging Stars and The Raving Beauties.

I asked Robin Bennett – who, with his brother Joe – are the main members of The Dreaming Spires – about the new EP, recording in Memphis and the band’s plans for the rest of the year…

 

It doesn’t seem that long ago that we were talking about your last album Searching For The Supertruth, which was nominated for this year’s UK Americana Awards.  Now you’re back with another new record – the Paisley Overground EP. You’re unstoppable. What’s the secret to being so prolific?

Robin Bennett: Thank you for calling us unstoppable. We’re more like a swan, paddling frantically under the water. There are a few factors – I try to write songs every day, even if I only have a few moments, or I’m on the bus, typing things into my phone.

I also have a well of songs written a few years ago with my friend Daniel Power from New Orleans. Silverlake Sky [from the new EP]  is one of those, but updated. Our drummer, Jamie, has emigrated to the US, so when he is over here, or if by some good fortune we are there, we try to get some recording done.

Joe and I have our own studio – Truck Studios – where we recorded overdubs for this EP, and we are very lucky to have Tony Poole and Rowland Prytherch on hand to mix our recordings to the amazing standard that they do – it’s really a team effort. That said, we are nowhere near as prolific as Co-Pilgrim, Joe’s other band.

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Three of the new songs were recorded at the legendary Ardent Studios, in Memphis – the home of cult power-pop band Big Star. How was that experience?

RB: When we were in the US for AmericanaFest last September, we slightly extended our stay to fit in a visit to Memphis – our fans will know we had never been there before. It was viable to record for nearly a whole day at Ardent Studios, so we made sure we had rehearsed some material and cut it mostly live. When we got home, we added some overdubs to some of them, including Joe’s recently purchased pedal steel, finishing three tracks.

Big Star were a formative influence for The Dreaming Spires’ sound, undoubtedly. When our previous band Goldrush were in the US, we were introduced to Big Star via The Ballad of El Goodo, which I learned to play before I even knew who it was by. It became a really special song for us.

Soon enough we got into all the Big Star albums. For me, Memphis is the place where the music we love came together, whether it’s Chuck Berry, Elvis, Johnny Cash, Otis Redding, Stax… All of that is hinted at in the music of Big Star, and their style is accessible for us because they were trying to emulate British groups.

Memphis has a very different style to Nashville – there’s more of an edge. It’s the melting pot of American music. All kinds of stuff has been recorded at Ardent, including REM’s Green, which was another formative album for us as teenagers. It’s a very well equipped studio, where you can set up and record live – which is what we did.

The room we used was actually designed for ZZ Top! Jody Stephens, the drummer and surviving original member of Big Star, is the studio manager. We thought perhaps he might drop by, and he did, even singing some backing vocals on a version of Dusty in Memphis, which we recorded the same day.

We kept teasing Jamie, our drummer, that Jody would have to step in if he didn’t play the songs right. Are we really that mean? Maybe that’s why he emigrated.

At the end, we jammed  a version of The Ballad of El Goodo with Jody and it was almost too much. I slightly collapsed afterwards.

Four of the songs on the EP are by The Dreaming Spires and four are by other artists. I’m confused… What’s the concept behind the new record?

RB: Paisley Overground was a throwaway phrase that almost demanded some kind of scene to be built around it. Much as the Paisley Underground was (mostly) LA bands reconstructing The Byrds’ sound with some modern attitudes, this is our British version in 2016.

We had also worked with Sid Griffin [The Long Ryders, Coal Porters ] on a gig showcasing the songs of David Crosby a couple of years ago, which was a really fun experience.

Tony Poole, who worked on our last album and mixed the first two tracks on this EP, had actually worked up a track with Sid called Tell Her All The Time, which is on side two. Rich from The Hanging Stars is an old friend, The Raving Beauties are on our manager’s label, and of course Co-Pilgrim is Joe’s excellent other band.

The proof of concept is that side two hangs together really well – it almost sounds like a Buffalo Springfield album, but with different singers.

The title track is an instant, chiming jangle-pop classic, with a touch of country. It’s a paean to your love of the Paisley Underground scene and the 12-string guitar sound. How did the song come about? Why do you love the Paisley Underground scene so much?

RB: Ever since I heard Turn! Turn! Turn! And A Hard Day’s Night as a kid, I’ve instinctively loved the sound. You can hear it on some songs from the Goldrush catalogue too.

I think there’s something about a 12-string, where you have two strings for each note, which creates an automatic, psychedelically-enhanced effect – you get a drone from the low strings in octaves, and the high E and B strings are the same pitch, but tuned slightly differently. A lot of music from different cultures uses drones and resonant strings, and a 12-string guitar has a bit of that.

Growing up, we also loved the jangle of early The Stone Roses, REM, and Ride. We backed Mark Gardener from Ride between 2003-2006, including several US tours, and I usually played his Rickenbacker 12-string, a custom John Lennon version I believe, so we weren’t the first Oxford band to like them.

The first I heard about the Paisley Underground scene was from Danny  [Daniel Power]. He was also the road manager on those early tours with Mark Gardener and he lived in LA. We stayed with him a lot and got a feel for it, without becoming an expert on any of the bands.

I just liked the phrase, and what it stood for – a kind of contemporary revival of classic sounds and songwriting, sometimes with an edge of psychedelic exploration.

I’m sure in reality it was a pretty small scene, but with a big influence. We’ve done shows with Sid Griffin and Chuck Prophet in recent years and heard a bit more about it.

It’s easy to feel like you miss out on scenes or moments in music, especially when you read too many music books and watch too many documentaries, but I hope the song and the EP as whole create our own shared moment.

The 12-string electrics I use now both belong to Joe – as the song suggests, I still don’t own one. One Danelectro and one Rickenbacker.

You are right in spotting a touch of country in the recording too – Joe made a purchase from Pedal Steels of Nashville when we were there, and this was his first attempt to play it on record.

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Let’s talk about the other Dreaming Spires songs on the EP. What inspired Harberton Mead and The Road Less Travelled? 

RB: Harberton Mead is a road in Oxford. I lived in Oxford for years and never knew the road – it’s full of gated mansions.

Some friends ended up living in a shared house there owned by the university, and the name stuck with me. It has a mystery to it, like Itchycoo Park or Penny Lane.

The Road Less Travelled was a song I had left over from the last album, but I wanted to record it at Ardent because it had a hint of The Ballad of El Goodo about it. The lyric is quite mysterious – even to me.

I think it’s almost a conclusion to the narrative on the first two albums, but not in any obvious way. It’s quite a trippy lyric.

I’ve read that the song Silverlake Sky was written on Sunset Strip, the heart of The Paisley Underground, and recorded in Oxfordshire using a ’60s Eko 12-string acoustic guitar. Can you tell me about how you wrote and recorded the track?

RB: Between 2004-2007 I wrote a lot of songs with Danny, my friend mentioned previously. He lived between Echo Park and Silverlake, at “the house on Elsinore”.

Our whole band would often stay at his house, with much drinking and many evening sing-alongs, but we also developed a songwriting partnership – both there and when he’d visit the UK.

I found the lyric in my notebook from those sessions but I couldn’t remember the original tune properly, so I approximated it and added the vocal part at the beginning.

When we wrote it we were envisaging a struggling Hollywood actor or musician with too much of a focus on the lifestyle. There were plenty of those around.

I can still recall the warm aromas of a Silverlake evening, and the glory of the Californian sunsets. Pretty exciting when you’re from Oxfordshire.

The allure was too much for our drummer, Jamie, who has moved to LA. He actually lived there before, when he was in another band.

We found a moment to record the song when he was here last summer, and the acoustic 12-string ties it in nicely with the other tunes. I actually bought it on impulse at one of Clubhouse’s Record Store Day events in Amersham a couple of years ago. A real bargain.

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The new EP is coming out on 12in vinyl. Are The Dreaming Spires vinyl junkies?

RB: We’ve always loved it, whether playing our dad’s collection as kids, collecting singles in the ‘90s, or picking up $1 classic albums in American thrift stores.

Our music tastes would be completely different without vinyl – the way it has allowed us to stumble upon discoveries. It’s not that convenient, and I probably listen to CDs more, but there’s something that gives you an instant artistic feel from the object. You can pass it around. I don’t get that from streaming, convenient though it is, and I still find the choice overwhelming.

Twelve inch vinyl works so well as an art object – I love coloured vinyl, too. This EP is going to be translucent purple, I believe. It’s a really nice end point for a recording project to see it on vinyl. I don’t agree with those who say they love the crackle of vinyl, though. Modern pressings are usually much better.

How’s the rest of the year shaping up for you? Do you have any festival gigs planned and any shows gigs in the UK or elsewhere?

RB: We’re doing some Paisley Overground shows with the excellent bands from side two of the EP – Co-Pilgrim, The Hanging Stars and The Raving Beauties – in London, Brighton, Didcot and Winchester.There are more extensive tour plans for the autumn coming together.

As you’re so prolific, surely you must’ve written another album by now?

RB: I have, or perhaps two! It’s certainly a new chapter. I think this EP is my sign-off from jangle. But I’m probably wrong…

Finally, what music – old and new – are you currently listening to and enjoying?

RB: I’m enjoying lots of the current crop of US songwriters, like John Moreland, Austin Lucas, Jason Isbell and Sam Outlaw.

I’m also listening to the Simon and Garfunkel box set, The Everly Brothers. Jimmy Ruffin’s Greatest Hits – when I can get it not to skip). The Lovin’ Spoonful. Crosby, Stills, Nash & Young and The Byrds – Untitled.

I loved the music performed by all our fellow nominees at the UK Americana Awards – it was a special night.

And, of course, the new albums by The Hanging Stars, Co-Pilgrim and The Raving Beauties. There’s plenty of good music out there….

Paisley Overground is out on At The Helm Records on June 10 on coloured 12in vinyl and download.

For more info: http://www.thedreamingspires.co.uk/

 

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