From a haunting and cinematic masterpiece about love, loss, grief and existentialism to power-pop, New Wave, pastoral country-rock, Americana, lo-fi Beachboys sounds, psychedelic blues and dark disco, Say It With Garage Flowers chooses its favourite albums of 2019…
2019 was an emotional year for me – I became a dad for the first time. In March, my wife, Susie, gave birth to beautiful twin boys, Ronnie and Roddy, and our world changed forever… I’ve always been over-sensitive, but such a major life event left me feeling even more sentimental and soft-centred, which undoubtedly had a major influence on which album I would choose as my favourite record of the year – Ghosteen by Nick Cave and The Bad Seeds.
The first record he’d wholly written since the death of his teenage son, Arthur, in 2015, and the third album in a loose trilogy, Ghosteen is a haunting and cinematic masterpiece.
Its lyrics tackle love, loss, grief and existentialism and are set to minimalist, otherworldly and ambient soundscapes for synth, piano and strings. At times, the songs are extremely harrowing, but also moving, beautiful and optimistic. A double album, Cave said of the record: “The songs on the first album are the children. The songs on the second album are their parents. Ghosteen is a migrating spirit.”
When I first heard it on an overcast October morning, I was astounded by the stunning opener, the mesmerising Spinning Song, reduced to tears by the second track, the piano ballad Bright Horses, and by the third song, the plaintive and hymn-like Waiting For You, I was in bits…
The album’s closing epic, Hollywood, which clocks in at just over 14 minutes, is one of the most astonishing pieces of music I’ve ever heard. It’s stripped-down, brooding and atmospheric, with eerie electronic effects, a ghostly choir and low, rumbling bass in the background – like waiting for an oncoming storm to strike… Ghosteen is truly stunning – a career high point.
Several of Say It With Garage Flowers’ favourite artists put out great albums in 2019. We’ve highlighted just a few of them below. There’s also a list of our 40 best albums of the year at the end of the article and an accompanying Spotify playlist – we’re really spoiling you…
English husband and wife duo The Rails – James Walbourne and Kami Thompson – released their best long-player yet. Cancel The Sun – their third record – was produced by Stephen Street (The Smiths, Morrissey, Blur) and saw them moving further away from their folk-rock roots – Kami is the daughter of Richard and Linda Thompson – cranking up the electric guitars and embracing power-pop and New Wave, (Call Me When It All Goes Wrong, Ball and Chain, Waiting On Something); ‘60s-style country-soul (Something Is Slipping My Mind) and Beatlesy psychedelia (the title track).
‘Hollywood is one of the most astonishing pieces of music I’ve ever heard. It’s stripped-down, brooding and atmospheric, with eerie electronic effects, a ghostly choir and low, rumbling bass in the background’
Their gorgeous trademark harmonies were still in place and there were some folky ballads (Mossy Well and Leave Here Alone), but this time around, James, whose other job is as the guitarist in The Pretenders, really cut loose and pushed his extraordinary playing to the fore.
Cancel The Sun was very instant and direct – it didn’t mess around and had a harder, poppier feel than their last two records. Speaking to us earlier this year, Kami said: “This time, we didn’t rule anything out – we just wanted to make a bigger record.”
Commenting on working with Stephen Street, James said: “We wanted someone a bit different – who would take it forward – and who had perhaps more of a rock edge. We were thinking of the sound of Graham Coxon’s [Blur guitarist] solo records – in-your-face guitar.”
When we told James that we thought they’d made their best yet, he said: “That’s very kind of you – I appreciate that. After you make a record, there comes a point when just you don’t have a f***ing clue about what you’ve just done. This record is a truer reflection of what we listen to.”
James also cropped up on two of Say It With Garage Flowers’ other favourite albums of 2019 – he played guitar on two tracks on Spread The Feeling, the long-awaited new record by the Pernice Brothers, which was a brilliant mix of Smiths and New Order-like jangle-pop, ’80s US New Wave and melancholy Americana, and also turned in a neat guitar solo on the country-folk song You Can Help Me, which featured on Manchester crooner Nev Cottee’s latest album – the superb River’s Edge, which was influenced by ’70s Neil Young, Crosby, Stills & Nash and Tom Waits, and had an optimistic, mellow and pastoral feel. Produced by Mason Neely (Wilco, Edwyn Collins), River’s Edge was a beautiful album. Highlights included Nightingale, a nocturnal, Tom Waitsian lullaby with piano and brass, and the Nancy and Lee-esque ballad Roses – a duet with mysterious guest vocalist Veronica, who sounded like Nico. The first single, Hello Stranger, was cinematic psych-rock, with a [Cortez the] killer, Neil Young-style electric guitar solo.
‘Nev Cottee’s latest album, the superb River’s Edge, was influenced by ’70s Neil Young, Crosby, Stills & Nash and Tom Waits, and had an optimistic, mellow and pastoral feel’
Talking to Say It With Garage Flowers about the album, Nev said: “I wanted to do something that was acoustic-based and had a few piano songs – to take it into Neil Young territory, but, in the end, it didn’t end up like that, as other influences got in the way. Ultimately, what I found out is that only Neil Young can do Neil Young songs and I’ve got to do mine…”
Cottee was part of the stellar cast of artists who contributed to this year’s two albums by the Monks Road Social collective – Down The Willows and Out Of Bounds – headed up by Blow Monkeys frontman Dr. Robert.
Recorded over two 10-day sessions in the residential Monnow Valley Studio in Monmouth, Wales, the records are two of the most eclectic collections of songs you’re ever likely to hear – from jazzy comedown ballads to Balearic beats, to soul, psych-rock, folk, drum and bass, country, blues, indie-rock and funk, they’re a melting pot of musical ideas and feature a seriously impressive line-up of guests.
Over the two albums, Dr. Robert’s collaborators include – wait for it, take a deep breath… singer-songwriter Kathryn Williams; Matt Deighton, guitarist and frontman of ‘90s acid-jazz outfit Mother Earth, who’s played with Paul Weller and Oasis; keyboardist Mick Talbot of The Style Council; drummer Steve White (The Style Council and Paul Weller); UK blues singer Angelina; Dick Taylor of ‘60s rockers The Pretty Things; Northern Irish artist Pat Dam Smyth; Brand New Heavies vocalist Sulene Fleming; London-based singer Samantha Whates; Midlands mod-soul band Stone Foundation; Nev Cottee; orchestral arranger Ben Trigg (Richard Ashcroft and Dexys Midnight Runners) and percussionist and programmer Steve Sidelnyk – to name but a few…
Dr. Robert oversaw the production of the albums and was also responsible for writing – and co-writing – many of the tracks, some of which are new versions of songs that have appeared on his solo albums, while others were penned especially for the project, or brought to the table by those involved. The Monks Road Social collective are playing their first ever live show, in London, at the Jazz Cafe, in 2020, and Say It With Garage Flowers hopes to be there.
‘The Monks Road Social records are two of the most eclectic collections of songs you’re ever likely to hear – from jazzy comedown ballads to Balearic beats, to soul, psych-rock, folk, drum and bass, country, blues, indie-rock and funk, they’re a melting pot of musical ideas’
Telling us about the making of both the records, Dr. Robert said: “We recorded both albums in separate 10-day sessions in Monnow Valley Studios, down in Monmouth.
“They were pretty intense sessions, but since my only vice these days is coffee, I was up for it! I did quite a bit of preparation beforehand, because I knew it would be crazy, and, if I didn’t have a plan, it could have all gone a bit Pete Tong…”
He added: “As we began to assemble the players, something kicked in and we were drawn together by intrigue and a mutual love of playing music for its own sake. That bit was important – there has to be joy and a spark – the gold dust is in the groove…”
Isle of Wight-based singer-songwriter Angelina – part of Monks Road Social – released her second album, Last Cigarette, this year.
Written in the aftermath of a failed relationship, it was raw, visceral, menacing and angry – a heavy and psychedelic, garage-rock blues record that was a lethal cocktail of dirt, dust, diesel and Louisiana swamp juice.
Scorching opener, Throw Petrol At The Sun, had an oily, clanking rhythm and manic, trippy flute, first single, Devil’s Wishing Well, was built on a funky, Beck-like groove, See Through Dress was a smouldering, late-night tale of getting revenge on a soon-to-be ex-lover – she takes his last cigarette and stubs it out on the dress he bought her – and the riotous, rock ‘n’ roll gospel-soul of God Bless The Road was inspired by playing a gig in a Berlin biker bar, with bonfires burning outside.
‘Written in the aftermath of a failed relationship, Last Cigarette was raw, visceral, menacing and angry – a heavy and psychedelic, garage-rock blues record that was a lethal cocktail of dirt, dust, diesel and Louisiana swamp juice’
The album saw Angelina reunited with Rupert Brown (drums, percussion, auto harp and backing vocals), who worked on her debut album, 2016’s folky and rootsy Vagabond Saint, but this time around she recruited ace electric and slide guitarist Barrie Cadogan (Little Barrie, Primal Scream, Edwyn Collins), and The James Hunter Six’s Jason Wilson on double bass.
Session musicians Joe Glossop (keys) and Gary Plumley (flute) were also along for the ride, as were five singers from the People’s Choir of St Louis.
Speaking about the influences behind the album, Angelina said: “I love the sound – and the truth – of those early blues artists, like Blind Willie Johnson, Ma Rainey and Charley Patton, but it wasn’t a conscious design to make a blues record – that was just what came out naturally…”
Another artist who is no stranger to the darker side of life is gravel-voiced Mark Lanegan, who released his eleventh studio album, Somebody’s Knocking, in 2019.
On the track Penthouse High, he sang: “There’s ghosts inside this house…” It sounded as if the place was haunted by the spectre of Joy Division’s Ian Curtis, as the Manchester post-punk band – and the outfit they morphed into, New Order – were two of the most obvious influences at work on this record. Name and Number was powered by a doomy, Peter Hook-style bassline, which also sounded like The Cure, Playing Nero was all ’80s synths and drum machines and Dark Disco Jag had a sinister electro groove.
Lanegan also made another album this year – Downwelling, which was attributed to Not Waving and Dark Mark. A collaboration with experimental producer Alessio Natalizia, it explored dark electronic territory and served as a great companion piece to Somebody’s Knocking.
Now for something a bit lighter… Summer Deluxe, the fifth solo album by Hampshire-based, UK singer-songwriter and multi-instrumentalist, Mike Gale, was one of the most gorgeous records Say It With Garage Flowers heard this year.
‘On the track Penthouse High, Lanegan sang: “There’s ghosts inside this house…” It sounded as if the place was haunted by the spectre of Joy Division’s Ian Curtis…’
Adding samples of strings, piano and organ to drum machines, synths, guitars and harmonies, Mike, formerly of Americana band Co-pilgrim and, before them, cult noughties indie-slackers Black Nielson, crafted a blissed-out, lo-fi summer soundtrack that was heavily influenced by The Beach Boys.
There were pure pop moments (Jump Start My Heart and Shoot Shoot The Needle), wonky synth sounds (You Know How I’m Feeling Now) and jazzy tinges (Every Cloud Has A Cloudy Lining), but lurking beneath the sunny, surf’s up melodies, there was an undertow of sadness and world-weariness.
Say It With Garage Flowers has been championing Canadian singer-songwriter Jerry Leger since we first heard his brilliant double album, Nonsense and Heartache, which came out in 2018. It was one of our favourite records of that year.
‘There were pure pop moments and jazzy tinges, but lurking beneath the sunny, surf’s up melodies, there was an undertow of sadness and world-weariness’
This year’s follow-up, Time Out For Tomorrow, was another album that we fell in love with. From the Dylanesque country-rock of first single Canvas of Gold – with slide guitar and organ – to the melancholy, piano-led ballad That Ain’t Here, the blues-folk of Burchell Lake – inspired by a ghost town in Ontario – and the haunting and cinematic mountain tune, Survived Like A Stone – with fiddle and saw – these were raw, powerful and emotional songs.
Asked about the sound of the new album, Jerry told us: “It’s a nice, short and sweet, lean and mean record. Two records I really dug the sound of that I wanted to capture on this record were Nick Lowe’s The Impossible Bird and one of my favourite Lou Reed albums, Coney Islnd Baby – I love that dry drum sound and the real directness of it. Some of the songs just coast along. I also like a lot of Nick Lowe’s older records with Rockpile, where he doubled the electric guitar solos. I doubled my vocals on some songs.”
Here There’s No Sirens, the debut solo album by Pete Gow (ex-Case Hardin) was a brilliant collection of stripped-down, intimate and very personal songs, with acoustic guitar, orchestral arrangements, brass, piano, drums and organ.
Produced by multi-instrumentalist Joe Bennett, (Dreaming Spires, Co-Pilgrim, Raving Beauties / Paul McClure) at Farm Music Studios in Oxfordshire and released on Clubhouse Records, it was both beautiful and unsettling. Opener One Last One Night Stand set the tone for most of the record – it was a big, honest, relationship ballad with a breathtaking cinematic backing, while the song Mikaela sounded like early Ryan Adams, but with mournful horns and sweeping strings.
‘Here There’s No Sirens, the debut solo album by Pete Gow, was a brilliant collection of stripped-down, intimate and very personal songs, with acoustic guitar, orchestral arrangements, brass, piano, drums and organ’
There were also character songs – the majestic Some Old Jacobite King was steeped in the storytelling tradition and was inspired by a trip to the remote Isle of Skye, while Strip For Me centred on a guy who treats women in a thoroughly unpleasant way – and it name checked porn actress and stripper Stormy Daniels, who was involved in a scandal with U.S. President Donald Trump. Pete Gow also released a limited edition seven-track mini album called The Fragile Line in 2019 – it too was one of our favourite records of the year.
Another Americana album we enjoyed this year was Carousel, by UK singer-songwriter Luke Tuchscherer. A stark and moody solo acoustic record – guitar, voice and harmonica – that was laid down in one day at a studio in New Jersey, it didn’t shy away from addressing political and social issues and was inspired by Neil Young and Bob Dylan.
Opener, My Darling England, dealt with social issues, including class and national identity – the song was written 15 years ago, but, in these troubled times and with the spectre of Brexit looming over us, it was eerily prescient: ‘Now the streets are filled with shadows, every house has its own ghost. The people are growing restless – never getting what they want the most…’
Violets tackled domestic abuse, Potash was penned during the Iraq War and The Night Tom Petty Died documented how one of Luke’s musical inspirations passed away just as he’d moved to New York from the UK: ‘Sitting at the bar in the Tribeca Tavern, on the jukebox was Learning To Fly – a beer cost more than I could spend. I wished that I was home…’
‘A stark and moody solo acoustic record that was laid down in one day at a studio in New Jersey, Carousel didn’t shy away from addressing political and social issues’
Luke cited Neil Young and Dylan, specifically The Freewheelin’ Bob Dylan album, as his reference points for the record, as well as Townes Van Zandt and Elliott Smith, but, at times, it also reminded us of Bruce Springsteen’s 1982 masterpiece Nebraska – our favourite album by The Boss.
2019 was a decent year for new music, but a bad one for politics, however, some good did come out of the current dire state of the UK, as West Midlands-based singer-songwriter Vinny Peculiar was inspired to write While You Still Can – a socio-political album that took a wry look at the situation the country found itself in. This time around, he made a harder, darker and rockier record with a political edge and plenty of social commentary, but he didn’t dispatch with the vintage pop culture references that we know – and love – him for.
Man Out Of Time was rollicking country-blues with a lyric about the ’70s glam rock years of his youth, while Culture Vulture’s Led Zep-inspired riffs were a nod to his Black Country rock roots. The synth-heavy Ministry Of Fate concerned itself with government media blackouts, Scarecrows was Bowie-esque, robotic funk meets plastic soul and the post-punk, heavy indie-rock of Pop Music For Ugly People tackled political opportunism and personal greed.
‘2019 was a decent year for new music, but a bad one for politics, however, some good did come out of the current dire state of the UK – Vinny Peculiar was inspired to write While You Still Can – a socio-political album that took a wry look at the situation the country found itself in’
Question Time – Say It With Garage Flowers’ favourite track – was a Smiths-like, jangly pop song, but with a lyric about a missing female politician, told from the point of view of a suspect under interrogation.
In an interview with Say It With Garage Flowers, Vinny said: “It’s impossible to avoid politics nowadays – things are so polarised, opinions so righteous, news feeds ever omnipresent… This album is a reaction, in parts, to all that and from speaking to people on the sharp end of this Government’s austerity programme – teachers, nurses and shop workers. These are torrid times.”
With Brexit looming, who knows what 2020 will bring, but, rest assured, I’m confident that, like 2019, it will be another great year for new music. I’ve already had a sneak preview of three albums that are due out in 2020 – no spoilers here – but it’s safe to say that they’ll be high up on Say It With Garage Flowers’ list of our favourite records of next year…. In the meantime, here’s our 40 best albums of 2019 and a Spotify playlist to go with them. It’s been emotional…
Say It With Garage Flowers: Best Albums of 2019
- Nick Cave & The Bad Seeds – Ghosteen
- The Rails – Cancel The Sun
- Nev Cottee – River’s Edge
- Pernice Brothers – Spread The Feeling
- Peter Bruntnell – King of Madrid
- Richard Hawley – Further
- Pete Gow – Here There’s No Sirens
- The Delines – The Imperial
- Jerry Leger – Time Out For Tomorrow
- The Lilac Time – Return To Us
- Morrissey – California Son
- Pete Gow – The Fragile Line
- Vinny Peculiar – While You Still Can
- Those Pretty Wrongs – Zed For Zulu
- Monks Road Social – Out of Bounds
- PP Arnold – The New Adventures of PP Arnold
- Angelina – Last Cigarette
- Mercury Rev – Bobbie Gentry’s The Delta Sweete Revisited
- Mark Lanegan – Somebody’s Knocking
- Monks Road Social – Down The Willows
- Mike Gale – Summer Deluxe
- Luke Tuchsherer – Carousel
- The Rockingbirds – More Rockingbirds
- RW Hedges – The Hills Are Old Songs
- Bruce Springsteen – Western Stars
- Steve Gunn – The Unseen In Between
- Nocturum – The After Life
- Wilco – Ode To Joy
- The National – I Am Easy To Find
- Elbow – Giants of All Sizes
- Jeremy Squires – Poem
- Whoa Melodic – Whoa Melodic
- Not Waving & Dark Mark – Downwelling
- John Howard – Cut The Wire
- Edwyn Collins – Badbea
- Iggy Pop – Free
- GospelBeacH- Let It Burn
- Lucette – Deluxe Hotel Room
- Hannah Rose Platt – Letters Under Floorboards
- Hurricane #1 – Buddha At The Gas Pump
•Please note – at the time of writing, Spread The Feeling by Pernice Brothers, The Fragile Line by Pete Gow and More Rockingbirds by The Rockingbirds are not available on Spotify.