Murder ballads, magic and Morricone

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Amerikana Arkana, the debut album by The Magic City Trio, is a haunting record, in more ways than one…

Its wonderful orchestral arrangements recall the dramatic ’60s pop of Nancy Sinatra and Lee Hazlewood, (Black Dog Following Me), the moody Spaghetti Western soundtracks of Ennio Morricone (Cousins’ War) and Mexican Mariachi music (Trav’ler), but these story songs are also steeped in the dark traditions of murder ballads, old country and folk laments, outlaw tales and hillbilly blues.

This band of London renegades comprises Frank Sweeney (guitar, vocals and fiddle), Annie Holder (guitar,vocals and autoharp), Adi Staempfli (bass and vocals) and Charlotte Burke (drums and percussion). Guesting on the album are Johnny Butten (banjo) and Eddy Dunlap (pedal steel).

In an exclusive interview, I spoke to Frank, who was a member of ’80s indie pop outfit The June Brides, and played on records by Primal Scream (Imperial) and Felt (Space Blues), to find out the full story behind this magnificent and, er, magical album…

Q & A

Amerikana Arkana is one of my favourite albums of the year. It’s a big-sounding record – I love the orchestrations…Musically, it often harks back to the lush ’60s pop of Nancy Sinatra and Lee Hazlewood, and the Spaghetti Western soundtracks of Ennio Morricone. There’s also folk, country, hillbilly and murder ballads.

When I first heard it, it was like someone was going through my record collection and referencing some of my favourite artists… I guess that, like me, you’re big fans of Nancy & Lee and Morricone? Why do you love them so much?

Frank Sweeney: I think Lee Hazlewood was a genre all to himself. He ploughed his own particular furrow and didn’t really care if it was fashionable. He was a great songwriter and producer, but he never felt the need to be in step with current trends or the mainstream. And he still managed to make a lot of classic hit records. Although he always maintained that his main motivation was to make money, he still managed to make great art sometimes.

Ennio Morricone uses a very ‘pop’ sound in his orchestration with unusual instruments. A whistle and a twangy guitar and you immediately evoke his western soundtracks. And loads of his soundtracks have at least one great catchy and evocative tune. I also love Nino Rota, who, in my view, is the other great Italian soundtrack composer. His stuff with Fellini is just as evocative, but on a less epic scale.

‘The amount of inter-band romances were comparable to Fleetwood Mac, and led to us going our separate ways’

How did The Magic City Trio first come together?

FS: During the tail end of indie-dance and the dawn of Britpop, I was playing viola in a band which played Eastern European music, when there were only two bands doing it in London. Adi Staempfli played bass, and Annie joined after I had left. The amount of inter-band romances were comparable to Fleetwood Mac, and led to us going our separate ways. I met Annie a few years later, and we eventually married in Las Vegas.

We hadn’t done any music together for a good few years. I was (trying to) learn Blind Blake [blues and ragtime guitarist and singer] stuff to up my game on the guitar, and from there we got interested in other pre-war music, what became known as ‘the old weird America’. From there we did a set of pre-war music (Carter Family, Hawaiian, Emmett Miller) at the Easy Come, which is a well-established open mic night in South East London. But we didn’t take it any further than that. We began including our own songs – Oliver Curtis Perry Part 1 was an early one. It was mainly so we could do stuff that other people did not have in their set. Adi returned from Switzerland and joined us in 2013.

We had a gig in Berlin – that was our first as The Magic City Trio. The name originated from a pre-war fiddle band called Dyke’s Magic City Trio. I had one of their records on a 78 rpm.

We thought that we would only use the name for the Berlin gig, as people were more likely to go and see a band, rather than just Frank and Annie. We didn’t intend to keep the name, since Dyke’s Magic City Trio are relatively famous, it would be like calling yourself The Kinks or The Who in about 2045, but the name stuck…

Let’s talk about your album in more depth. I admire your grand ambition and the fact that you’ve gone all out with the orchestral arrangements. How did you approach this album when you came to record it? What did you want it to sound like? 

FS: Black Dog Following Me was completed before our 2015 EP [A Funnel Cloud In Albuquerque]but I didn’t like the orchestral sounds, so I scrapped it all, apart from the singing. Once it was redone, we decided to follow suit with the rest of it, instead of making it just an acoustic LP.  The orchestral sounds are a mix of samples, live instruments and recordings of actual notes that are stitched together. Oliver Curtis Perry had the least amount of strings and things, as Johnny Butten playing banjo was an orchestra in itself.

‘I was looking for the Chet Atkins ‘Nashville sound’, which is stylistically unfashionable now’

The arrangements all began with a basic piano track with chords, and then we added everything else. I‘m a huge fan of baroque ‘60s pop, so a harpsichord nearly always got in there. Once all the orchestral stuff was done, we put on the live instruments, which is the opposite way it would be done with a live orchestra.

The other sound I was looking for was the Chet Atkins ‘Nashville sound’, which is kind of stylistically unfashionable now – the song 22 was my attempt at that.

Now you mention it, the album does have a lot of different styles of orchestration on there. Trav’ler is like the stuff David Angel did on Love’s Forever Changes, Down In The Willow Garden was looking for a Pearls Before Swine-type of sound, and Billy Strange and Jimmy Webb all are referenced on there somewhere.

With The June Brides and the other stuff I did for Creation Records, I was trying to do large string parts, but limited by budgets and my lack of skill on the viola. But on those records you can hear me trying to do something that I just can’t quite pull off. I nearly got there with This Town (June Brides), Space Blues (Felt) and So Out of Touch (Joe Foster).

The dramatic opening track, Black Dog Following Me, is pure Nancy & Lee. I’m guessing it’s about depression? ‘Black dog’ is a term that Winston Churchill used to describe his dark moods. What can you tell me about that song?

FS: Yes that’s it, more or less – a dialogue where one person can’t see a way through, but the other won’t let it get on top of them. The arrangement is pure Billy Strange with Nancy & Lee. I didn’t think they did enough stuff like Some Velvet Morning, so this was my addition. In the same way that Jeff Lynne didn’t think The Beatles did enough stuff like I Am The Walrus.

Cousins’ War has a definite Ennio Morricone feel, but with a country edge…

FS: Annie started that song, after reading a book about the Wars of the Roses Originally it sounded a lot more folky. I thought of it more like the Hatfield-McCoy type of scenario. I did the last verse after seeing a Twilight Zone episode where all the American Civil War dead are walking on a road. That’s why in the LP booklet, there is a picture from a Civil War bubblegum card called Painful Death. The line about the sowing the hydra’s teeth is from Jason and the Argonauts, which explains the fighting skeleton picture in the booklet.

The chorus is adapted from [folk song] Darlin’ Cory. The instrumental sections do give it that Morricone sound – it’s the low male vocals that do it I think, which are reminiscent of Story of a Soldier [from the soundtrack of The Good, the Bad and the Ugly].

I love the descending twangy riff that kicks off Dust of Mars – it sounds like a nod to Nancy Sinatra’s These Boots… and The Kinks’ Sunny Afternoon…

FS: At the time, I didn’t think that sequence of notes was particularly unique to Sunny Afternoon – it must have been used in loads of other places. So I didn’t think I was taking anything from that song that hadn’t been used somewhere before. But as time has gone on, I have to conclude that the sequence is not particularly common in pop music, and is more or less unique to Sunny Afternoon. I’m glad I made it so obvious, but it’s a bit like using the opening riff from Day Tripper on a song…

Oliver Curtis Perry Part 1 has a hillbilly vibe. Where did this outlaw song come from? What was the inspiration?

FS: Oliver Curtis Perry was the first person to rob a train single-handed, in New York in the 1890s. The song tells his story, with a little bit of artistic license. The words are on our website. I first read about him when I was 11 years old, in a book by James D Horan, a noted Western writer. There wasn’t much detail given. The –  wonderfully named – writer Tamsin Spargo read the same book as a child, and years later published Wanted Man, which tells the whole story.

The song 22, which sounds like a Johnny Cash and June Carter country duet, also reminds me of Kirsty MacColl… 

FS: I didn’t think of that – I’m only familiar with her hits. It’s probably the vocal harmony that gives it that. She was a great singer and writer, with a unique voice.  This was our attempt at getting the Chet Atkins Nashville sound. The demo we did sounds like the Carter Family – we recorded it on a four-track cassette using pre-war Gibsons to sound as old as possible. The demos are interesting as they show how the song developed – each version is different. The plot is from a short story by Daniel Woodrell about someone who suspects his neighbours of murdering his child.

Talking of murders… Down In The Willow Garden is a classic, traditional murder ballad. I know it from The Everly Brothers album, Songs Our Daddy Taught Us. Why did you decide to cover the song for your record?

FS: My grandmother’s name was Salley – I was looking for the origins. I came across a poem by Yeats called In the Salley Garden, which is adapted from Willow Garden, and I found the various versions. Most of which sounded a bit too jolly melodically.

The Everly Brothers recording sounded suitably bleak. So we worked on a minor key version. We had to change the harmonies as we were still smokers and couldn’t reach the notes – since we have now quit we can get there!

I wanted to do a Pearls Before Swine-type arrangement. Songs Our Daddy Taught Us is a brilliant album. They recorded it to get out of their contract without giving away any hits, and they ended up with a masterpiece.

Where did the title of the album, Amerikana Arkana, come from?

 

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FS: I always loved the album cover of Agents of Fortune by Blue Oyster Cult, with a man holding Tarot cards. Though the real agents of fortune are the 52 standard pack of cards, the Tarot decks are called the lesser and greater arcana. The greater arcana features all the well-known picture cards. The songs were going to be very loosely based on the Tarot cards – death, confusion, fortune, justice, the sun, change etc, but they all didn’t quite fit with that… I like a rhyming title like Nilsson Schmilsson. The presence of the K always implies a slightly twisted ‘bizarro superman’ type version of the actual thing. The LP booklet also has all sorts of clues and images that link in some way with the songs.

Can you talk me through the songwriting process and the arranging and recording of the album?

FS: We had not got together as a band to do our own songs – we were doing pre-war country and other songs from the ‘20s and ‘30s. We didn’t want to write songs in that style, lest they sounded like a pastiche.

In 2011 I read a biography on Blind Willie McTell and in the book he revealed his method for writing and I followed it.

Cousins’ War was started by Annie, but discarded, as we couldn’t figure out a proper narrative, but we brought it back and worked on the chords.

Trav’ler was originally called Chinese Traveller – it had also been discarded, due to the lack of a decent tune, but Annie pushed on with that because it had a good story. But it’s usually one of us kicking off an idea and then discarding it. And if it’s halfway good, Annie will resurrect it and suggest improvements. We’re not the most prolific of writers, but work in fits and starts.

I write out the orchestrations on a music score writing [software] package, which plays samples of string and brass, and we put the real instruments on top of that.

Recording at home is cheap, but it gets slow – there is no clock ticking and no budget being eaten up. So you can spend all day recording a track and edit 10 versions of a guitar part into the best one. Dust of Mars ended up with 40 tracks, which produced its own set of problems trying to mix it. Recording is the easy part…

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Frank Sweeney and Annie Holder

You recorded and mixed the album in London and Hove. What was that like?

FS: It was a long process. With a few exceptions, all the recording was done at home over a two-year period, which began after completing our first EP. But some recordings were started a lot earlier – Black Dog… and Oliver Curtis Perry were first demoed in 2012, with no plans to release them other than on Soundcloud.

The 2012 version of Black Dog... was stripped back to the vocals and all the other tracks replaced, and with Oliver Curtis Perry all we kept was the drums. The banjo, trumpet, pedal steel and washboard were recorded remotely and the tracks sent to me. The orchestral sounds are a mix of real players and sampled instruments, but the whole thing was written out on a score rather than played on a keyboard. Nearly all the recording was completed by the end of 2016.

I started mixing it early 2017, and gave up due to the complexity of the task. In Easter 2017, I took it to Bark Studios, in London (where Primal Scream’s Screamadelica was done), with Brian O’Shaugnessy mixing it.

So, it was mixed once, with a full set of backing tracks. Then most of it was mixed again. The mixes were much better than mine, but I wasn’t happy with the balance of some of the sounds. I thought if I went back to Bark Studios again we would end up playing whack-a-mole with the mix,

In-between that time we put the steel drum on Sun Comes Shining Through, and stuck the slow intro on Cousins’ War, so it could join up with the end of Black Dog...

So I started mixing it again myself, Having learned a thing or two from Brian, my mixes were OK, but lacked oomph. In summer 2017, I approached Paul Pascoe in Hove, for whom I had done some strings for, and asked him to master some of my mixes and the Bark mixes. Paul liked it enough to offer to mix and master it. This time I stayed away from the studio, which was a much better idea. We used the Bark version of Oliver Curtis Perry, but, other than that they are all Paul Pascoe’s mixes. Sonically there isn’t much difference. So, excluding my mixes, there are a couple of alternate mixes of the LP, plus the backing tracks and also Paul’s mix of Oliver Curtis Perry.

I admire your effort and dedication. The album is full of ambition and drama – it sounds great and it soars. Would you agree that so many modern pop records lack ambition? They just sound so bland and unadventurous when you compare them with some of the pop music of the ’60s…

FS: I think people are always going to write great songs, Pharrell Williams’ Happy is a great song, and the Curtis Mayfield sound makes it even better. But production-wise, most of the envelopes have been pushed, so commercial productions are going to end up sounding very homogenised.

It’s like the thing that Frank Zappa said, that in the ’60s, the record companies were still being run by cigar-chomping execs who were hoping to find the next Frank Sinatra. They signed bands and released music that they didn’t understand, in the hope that they would sell some records. The profit motive was still the driving force, but you had more of a chance of producing art.

Nowadays companies are releasing music that is similar to stuff that was recently successful, so it can all start sounding the same. Particularly when you have producers, accountants, advertisers and product placers having a financial interest in the music sounding attractive and familiar to the masses. It’s the same sort of thing in the film industry, where films that can be turned into a brand seems to be where the money goes.

‘Record companies in the ’60s were being run by cigar-chomping execs who were hoping to find the next Frank Sinatra. They signed bands and released music that they didn’t understand’

The common factor is that cinema audiences and music buyers have decreased dramatically over the years, so the studios are less prepared to take any risks.

In the golden age of cinema, you could release a film like The Best Years of Our Lives and it would be a blockbuster in terms of the people who saw it. Nowadays, a big studio would not put the money into a three-hour film about war veterans returning home. Cinema audiences were much bigger then, and were loyal to the stars in the film. Under the studio system everyone was on salary, so you could churn out loads of films, and sometimes they would produce art, And although the films were censored and bowdlerised, they showed a lot less but told a lot more. Look at films like Sunset Boulevard and In A Lonely Place – they were churned out under the studio system but are really dark and deep films.

American TV seems the place where you are seeing really original stuff, most of it does at least one season which is still around 13 hours of drama. If you pitched a 13-hour film called Freaks and Geeks (a much loved show that only did one season) you would not get very far. British mini-series seem to all be stuck trying to remake Prime Suspect. I digress…

So what are the band’s plans for the rest of 2018? Any thoughts on a follow-up album?

FS: We need to get more gigs, as a lot of our record sales are done in person. But a third of them have gone in a few months already, and they are still selling, so that’s encouraging. Our first EP has nearly sold out, I have to be careful to make sure I don’t sell my own copy!

As far as another LP is concerned, there were quite a few stage favourites left unrecorded. The original plan was to have a double LP, but it would have taken too long to record and we wouldn’t have a hope in selling it at gigs. We have another LP’s worth of songs, but it might be worth waiting to see if we come up with something better. Ive got to write a score without repeating myself, or other people. Ha ha ha.

our guitars

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

FS:  Old music: Ogden’s Nut Gone Flake, by The Small Faces, which I have recently discovered, after not being that interested in it up until now. The Everly Brothers’ Songs Our Daddy Taught Us –  the Bear Family Records reissue – and Neil Young’s Tonight’s The Night: Live at the Roxy.  

New music: Boarding House Reach by Jack White and Fake Sugar by Beth Ditto.

Amerikana Arkana by The Magic City Trio is currently available on Kailua Recordings. For more information, go to http://themagiccitytrio.com/

 

 

 

 

Worcestershire Source

Worcester waterways (13) (1)

After 23 years living in Manchester, singer-songwriter Vinny Peculiar moved back to Worcestershire, where he grew up. His relocation inspired him to write a concept album, Return of the Native – a brilliant collection of witty, reflective and deeply personal songs, featuring a whole host of weird and wonderful characters, including a burnt-out rock star, the ghost of a Civil War re-enactment enthusiast, Eminem hopelessly lost in Droitwich, ’70s M.O.R. singer Clifford T.Ward, DJ Tony Blackburn and comedian Rik Mayall.

Musically, the album takes the listener on a journey through Worcestershire that’s soundtracked by glam-rock, jangle-pop, psych, Pet Shop Boys-style electro and New Order-esque, Northern melancholy.

In an exclusive interview, I ask Vinny to give me a track by track guide to the record.  “It was a learning curve and cathartic,” he tells me. “I was putting some old demons to bed…”

Q & A

Hi Vinny. Let’s talk about your new album. The songs were inspired by you moving from Manchester back to Worcestershire, where you grew up. How and why did relocating inspire you when it came to writing songs and making this album, which is the follow-up to 2016’s Silver Meadows?

Vinny Peculiar: Hi Sean – good to speak with you. Moving back has been cathartic. Return of the Native was inspired by the changes, reflections and, up to a point, the memories I have of former times here. The ideas seemed to ebb and flow into songs soon after the move. I suppose, in some ways, I was writing to make sense of the changes, the end of a long-term relationship, the start of a new chapter…

How are you finding it living in Worcestershire? Is it good to be back?

VP: I’m settling in. It feels good, but it’s taken longer than I expected to connect. I still seem to spend a lot of time on the M6 – the lure of the North is never far away.

Is Return of the Native the first Worcestershire concept album? I can’t think of any others, can you?

VP: I’m not aware of any, but I wouldn’t be surprised to find some obscure folk singer got there before me…

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Picture of Vinny Peculiar by Trust A Fox Photography

Where did you make the record and who worked on it with you?

VP: The recording of the drums and bass and some of the noisier guitars was done in Whitby Studios, Ellesmere Port, with my Liverpool band Paul Tsanos [drums] , Bobby Kewley [bass, cello] and Rob Steadman [ex-Parlour Flames] on keys. The vocals were recorded and edited at home, as were the acoustic guitars, percussion and keyboards.

The serious sheen was added in UNIT 31, in Pershore, by co-producer Dave Draper, who turned a half- decent record into a great sounding one, I like to think.   

Was it an easy album to make? 

VP: It was something of a learning curve for me at times – the challenge of mic placements, street noise and the neighbours’ dog were all sent to test me – but it felt emotionally cathartic, like I was putting old demons to bed, especially in the more intimate, confessional songs.

I thought it would be fun to do a track-by-track guide to the new record. Let’s talk about each of the songs individually – I’ll throw in a few of my own thoughts and you can tell me more about the tracks and what inspired them. Here we go…

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Track By Track Guide to Return of the Native

The Grove and The Ditch 

This is a glam-rocking start to the record. We’re taken back to teenage street gangs of the ’70s. What was the inspiration? It’s quite possibly the only pop song to name check Tony Blackburn…

VP: When I was at school, my Bromsgrove friends and I were routinely terrorised by the Redditch Mob – they’d come over to Bromsgrove and pick a fight with us after school. We weren’t very hard and got regularly chased – it became the norm, they’d accuse us of being in the Bromsgrove Gang and we’d leg it!  The song is set in 1974, when Tony Blackburn was dumped by his girlfriend and famously cried in public on Radio 1 – he really was in bits.  Many of the other references in the song are from that time – The Rocky Horror Show, winters of discontent were everywhere. Glam rock was just about alive and kicking, but punk rock was about to confine it to history…

Malvern Winter Gardener

I think this is one of the best songs you’ve ever written. It’s beautiful, wistful jangle-pop and is about an eccentric local character – a once famous rock star, who’s reflecting on the gigs he played in the ’70s, at the Malvern Winter Gardens, and the bands he saw back in the day…

VP: Thanks, Sean. I used to go to the Winter Gardens in Malvern as a young teenager – the bands I mention in the song were some of the ones I saw. It was a magical place to me. The song’s narration is from the point of view of a burnt-out rock star who lives in Malvern, working as a gardener and lamenting the glory days.

The idea of using that voice came from conversations with older musicians in the local music shop and the pub. I understand Ted Turner, who played guitar in Wishbone Ash and gets mentioned in the song, used to live in Malvern. I was also informed the cover of Argus [by Wishbone Ash] was shot in the Malvern Hills, but my subsequent research suggests otherwise…still I’ve included it in the song, anyway. 

Blackpole

The dangers of English Civil War battle re-enactment. Please discuss…

VP: There’s a Civil War re-enactment society just down the road from me – I walk past it when I go to town. I’m fascinated by people who a dress up to re-enact battles – time travellers, if you will. There’s a particular escapism – a kind of discipline that I admire. The song came from a  ‘what if?’ scenario – ‘what if your re-enactment became real and someone got hurt?’ and it grew from there.

The hero of the song dies in battle and returns as a ghost to haunt his girlfriend, who marries the undertaker. I wrote it as a picky little folk song, but it morphed into quite an epic – a twanging, jangling affair. I think it’s one of my favourite songs on the record.

Golden City

What’s the story behind this song? It sounds like it’s named after a Chinese restaurant…

VP: I’d drive past Golden City – and you’re right, it’s a Chinese restaurant here in Blackpole – routinely, when I was in the process of moving from Manchester to Worcester. It’s a rather striking, modern, detached roadside building and I was intrigued. It’s also the name given to San Francisco, which is one of my absolute favourite places to be. The song is about change, hope and moving on, as well as addressing doubt and uncertainty…

Return of the Native 

This is the title track and it name checks Rik Mayall, alongside a whole host of other people and local characters who’ve come from Worcestershire…

VP: Yes – there are a lot of name checks in this song – they’re affectionate recollections. The song is derived from a ‘making a list’ approach, I’ve done this with a few songs before where there’s no linear story – a more random approach. Many of the characters are fabricated, but all have local reference points…and Rik Mayall was born just down the road from me, so that has to be worth celebrating. Many of the other landmarks were significant to me when I lived here, all those years ago. I suppose you could say it’s a spontaneous memory song, in the Kerouac tradition of bop prosody, or was it Ginsberg? I digress…

A Girl From Bromsgrove Town 

More jangle-pop… This is a sad tale of a girl who left you for the girl next door! Care to shed any more light on this affair?

VP: After visiting my father in his Bromsgrove nursing home, I found myself loitering outside a former girlfriend’s house, waiting for my mother. It was a flashback-type moment, and it set me reminiscing. It’s a true story…

‘Clifford T. Ward taught me for a year – we spent a lot of time distracting him and he was happy to talk music’

The Singing Schoolteacher 

This is a very poignant and reflective song, which is about your English teacher, who found brief fame as ’70s M.O.R. singer-songwriter, Clifford T. Ward. It talks about the influence he had on you and how pop music shaped your early life. I guess he was the first famous person you knew and he had a major impact on you… How did he inspire you?

VP: Clifford T. Ward taught me for just a year. He took a less than typical approach to teaching. If we didn’t fancy poetry, he gave us permission to opt out – nobody did – and he had long hair, very long hair, so he was immediately one of us. I don’t remember much about the actual lessons – we spent a lot of time distracting him and he was happy to talk music. He was on John Peel’s record label, Dandelion Records, and he wrote songs for Bronco. All of this was incredibly exciting. When I told him I had musical ambitions, he was the only teacher who took me seriously. I never got to know him as an adult. The song tracks my relationship at a distance, but it’s very much a tribute to his memory and his inspiration when I was young.

Detroitwich

The first time I heard this song, I laughed out loud! Eminem ends up in Droitwich by mistake and mayhem ensues when the locals get their hands on him. There’s even a ‘Vinny Peculiar-doing-the-Pet-Shop-Boys’ West End Girls’ rap vocal! How the hell did you come up with this? It’s bonkers… 

VP: I first heard the ‘Droitwich-meets-Detroit’ naming aggregation from my daughter. It amused me no end, setting off some flight of fancy, whereby Eminem, befuddled by endless touring, ends up in Detroitwich, where he’s abducted by the mob, before being rescued by P Diddy. I worked at a plastic mouldings factory in Droitwich when I knew no better – it was rather grim and I suspect its influence has crept into the song somehow. It is sort of bonkers, yes – I can’t really argue with that…

‘I worked at a plastic mouldings factory in Droitwich  – it was rather grim and I suspect its influence has crept into the song’

 On Rainbow Hill

We’re plunged back into more familiar Vinny Peculiar territory – this is another poignant, reflective, melancholy ballad of lost love. Can you elaborate?

VP: It’s a readjustment song – it’s all about moving on. End of a relationship stuff.

David Swan Riverman

Another song about a local, eccentric character… David Swan Riverman regularly feeds the local swans and ducks and looks out for them. Do you know him? Is there a nod to Nick Drake’s Riverman in the title? I like the haunting, psychedelic feel of this song….

VP: There are a lot of guitars on this song and cellos, too – beautifully played by Bobby Kewley. The haunting Nick Drake-ish-ness is kind of accidental, but I can see what you mean. It’s a droning, root note affair. I don’t actually know David Swan, but I’ve seen him at work and it’s kind of mesmerising and dazzling seeing so many swans assembled at feeding time on the river. Crowds gather around – it’s a beautiful spectacle.

Game Over

This is one of my favourite songs on the album. It sounds like your years living in Manchester have influenced this elegiac song of lost love. I think it has a Joy Division / New Order feel and it references Ian Curtis lyrically…

VP: This was a cathartic song to write, too. Sometimes songs write themselves and you look at them and think ‘is that really me?’ This was such a song. It’s a final acknowledgement – a song that’s hopefully fit to end a record. I wasn’t that aware of the Manchester influence, but I can hear it now you’ve mentioned it. I suppose it’s hard to ignore it after living there for the best part of 23 years.

‘I’ve started making demos for a new album –  it’s going to be a very noisy, dissonant wreck of a record’

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Picture by Trust A Fox Photography

Thanks for sharing your thoughts on the songs, Vinny. Finally, what’s next for you? Any projects in the pipeline?

VP: I’m currently working on a collaboration with the poet Anna Saunders, writing music for poetry. We hope to perform live in the future.

I’ve also started making demos for a new album, which we plan to record and mix live in just five days – the very opposite in many ways to how I typically put records together. It’s not going to be a singer-songwriter album – it’s going to be a very noisy, dissonant wreck of a record. It’s a collaborative project with the musicians formerly known as Parlour Flames – the file sharing has commenced. I have no idea how long it will all take, nor under which name it will emerge, but it feels kind of exciting and new, which is a good sign, I think…

Return of the Native by Vinny Peculiar is released on June 1 (Shadrack & Duxbury Records). 

http://vinnypeculiar.com/

https://vinnypeculiar.bandcamp.com/

 

 

‘I wanted to produce something that was a document of the times – the world through my eyes’

 

 

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British singer-songwriter Ian Webber, who is based in Nashville, Tennessee, has just released his most political album to date.

Op-Eds tackles social issues including women’s rights, fake news, war-torn Syria and the Dakota Access Pipeline controversy. 

Musically, it’s very stripped-down – mostly just Ian and his acoustic guitar – and it makes for intimate and sometimes uneasy listening, as he shares people’s stories of hardship and struggle. 

Opener Follow Me and its parent song, The Regime, are haunting tales inspired by reading news stories about families suffering in Syria, while Frontline is a protest song that has its roots in ’50s rockabilly.

First single, Radio Zero, is an ode to the healing power of great music – while the world is going crazy, sometimes you just need to switch off from all the doom and gloom and crank up some classic rock ‘n’ roll tunes. Ian sings the song in a Bowie-like croon that sounds like it’s been beamed in from outer space.

In an exclusive interview, I spoke to Ian to find out why he’s made such an overtly political record and what it was like recording it in Nashville…

Q & A

Your new album Op-Eds totally surprised me, as it’s a lot darker and much more political than I was expecting. Did you deliberately set out to make a political record? And if so, why? What was the starting point for this album?

Ian Webber: The starting point for this album, and pretty much all my projects, was the music I was listening to and absorbing before I began writing it. This time it was The Velvet Underground and Lightnin’ Hopkins. That’s a strange combination, but both were essentially using blues-based chord sequences, keeping it fairly simple, so the vocal melody could take the priority.

The first couple of song ideas were very New York Warhol/Reed inspired. ‘Late night, up on the corner’-type songs, so that’s where my head was to begin with.

I also had a really great hallway with excellent reverb, so that was a good place to stand and sing ideas in a low vocal key.

I had no idea that the record would turn political at all – that really only started when I took breaks from strumming to catch up on daily news. I was intrigued by articles in the New York Times and Washington Post. I discovered really compelling stories, which in turn inspired me to create mini stories as lyrics.

Lyrically and thematically, the album deals with social and political issues past and present, including protesters affected by the Dakota Access Pipeline, women’s rights, the plight of families in Syria, politics in Virginia and immigration issues… This is heavy stuff.

Was it difficult to write such political songs? How did you tackle the issues without sounding trite, or patronising? Was it a worry or a risk?

IW: The universal theme was a common bond that I felt with other humans – all of us moving through life.We all start out the same way, wanting the simplest things, and that gets lost as we grow up.

The world as a whole is a small place. I’ve travelled a lot and you find, whatever language, whatever culture, people are generally the same. I wanted to express that in these songs and, in a small way, shed light on the bigger issues, too.

I don’t proclaim to be a learned scholar, but I really wanted to produce something that was a document of the times. This was the world through my eyes in 2017, living as a Brit in a very American, southern culture.

‘I’ve travelled a lot –  whatever language, whatever culture, people are generally the same. I wanted to express that in these songs and shed light on the bigger issues, too’

Musically, it’s a very stripped-down album –  it’s mostly just you and your acoustic guitar. Was that how you wrote the songs?

IW: Yes – I certainly had this idea that I would try to do the whole record alone.

I always have voice memos lying around, and when I played them in the car, or through headphones, they sounded great to me. I guess that made me want to make the album in essentially the same way, but obviously, with a better mic than the one on my phone.

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Historic RCA Nashville Studio A

Where and how did you record the album and who did you work with?

IW: I recorded the record at Historic RCA Nashville Studio A, thanks to my ex-band mate Dave Cobb, who runs the place, and who helped make time between projects for me to go in and record

There is a huge tracking room that’s big enough for an orchestra. I basically set up in the middle and sang live and played guitar. The natural reverb in the room is insane, and there were minimal overdubs. It was a cathartic way to record – no drums, no bass, no other souls around except me and Gena Johnson, Dave’s engineer, who produced the record.

‘It was a cathartic way to record – no drums, no bass, no other souls around except me and the engineer’

One of my favourite songs on the album is The Regime – it’s very haunting…

IW: The Regime started as a chord sequence that was similar to the ideas on my last record [Year of the Horse, from 2015] – walk down progressions and minor chords, of course!

The lyrics were based on an interview that a family in Syria gave to the New York Times, about trying to survive war in the city.

When you grow up, you have this romantic idea of the place you were born, and its streets and sounds, and fond memories. I could never imagine living somewhere you call home and watching it fall apart. That song is a kind of companion to Follow Me, which deals with leaving that kind of scenario behind and having to find a new home in a foreign land.IMG_1746

Another standout track for me is Frontline – it has a ’50s Sun Records feel.  It’s an acoustic, rockabilly protest song… 

IW: That’s a cool observation, Sean! The love of ‘50s rockabilly music seems to be a recurring theme on my records, but I can’t say I had it in mind when I was writing the song… I have been having a Lightnin’ Hopkins obsession lately, so certainly that was in my brain at the time…

The song Spirit of Houston comes from a similar place, doesn’t it? What’s the story behind it?

IW: That’s the only collaboration on the record. I started the year chatting, via email, to an old singer friend of mine, Sam Smithwick. I was inspired and jealous of his ability to write blues songs. We had been sending each other finished ideas, kind of like a pen pal would write letters. One song he sent had no vocal, just a guitar riff. I took the idea, added words, looped the riff, and sang to it live in RCA Studio.

Lyrically it’s about the 1977 National Women’s Conference for women’s rights. Last year, I went to the Women’s March in Nashville, and the signs I saw and the voices I heard made me want to become more educated.

‘When you grow up, you have this romantic idea of the place you were born, and its streets and sounds, and fond memories. I could never imagine living somewhere you call home and watching it fall apart’

In the last couple of years, you’ve moved from L.A. to Nashville and you’ve become a father – congratulations! How much did relocating and having a son have an influence on this album?

IW: There were a few reasons for the move from L.A. to Nashville. I started out in Atlanta, playing music in the ‘90s, before moving to Seattle and then L.A. Coming back to the South was a way to reconnect with the culture and some amazing musicians I had played with. I got to do some touring for the last record with some former bandmates that still lived here, so it was kind of a homecoming of sorts.

My son, Wilder, was still inside his mum Meg’s belly when I was writing and recording, so his influence was there, but in little kicks. He did get to hear Fire on the Water being recorded, when Meg sang the backing vocals while pregnant!

You’re an English guy living in the U.S. What’s your take on Brexit and US politics at the moment? Is this album your chance to try and make sense of it all?

IW: I have my British passport, my Green Card, and am hanging on to my accent. Living abroad definitely makes you more nostalgic and somewhat patriotic.

One thing about living here is that the news is generally US-based, so Brexit is something I feel like a tourist talking about. From what I hear, it’s going to affect a lot of musicians from touring as freely in Europe. I would rather see a world without boundaries and barriers.IMG_2153 (1).jpgOne of the least political songs on the album is the first single, Radio Zero. It’s about escaping fake news and bad news and listening to classic rock ‘n’ roll instead. I think your vocal on the track has a slight Bowie feel to it…

IW: At the end of it all, I am a music lover, and so Radio Zero is a nostalgic look back at when I was lying on my bed as a teenager, late at night, scanning the radio for a good song. John Peel was still around, and also some AM pirate radio stations, so cracking rock ‘n’ roll was something I tuned in to and fell asleep to. David Bowie was one of my first musical loves, so maybe he was sending me messages through the wavelengths on that one. I hope so.

Finally, on that note, it seems apt to ask you what music – new and old – you’re currently enjoying?

IW: I like that you added the old and new line there… Currently in my mind – new:

Charlotte Gainsbourg – Rest

Ryuichi Sakamoto – async

David Sylvian – A Victim of Stars

Nick Cave – Skeleton Tree

Devendra Banhart – Ape in Pink Marble

And some older – and loved…

R.E.M – Reckoning

Prefab Sprout – Swoon

The Smiths – The Smiths

 

Op-Eds by Ian Webber is out now.

For more info, visit: https://ianwebber.bandcamp.com/album/op-eds

http://www.ianwebbermusic.com/

 

‘We love Morricone and melancholy’

My Sweet Movida, the new album from Staffordshire four-piece Alfa 9, is one of my favourite records of the year so far – I love its retro rock, cosmic-psych-country road trips, Spaghetti Western soundtracks and ’60s-inspired jangle-pop. 

Produced, written and arranged by the band, it was recorded at Tremolo Studios, in Newcastle-under-Lyme, and The Room, Stoke-on-Trent. I spoke to guitarist Leon Jones to find out why it’s taken five years to come out.

While we were chatting, the subjects of love, sex, betrayal, coincidence and chance also came up in conversation, which was nice…

Q & A

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Alfa 9

Hi Leon. Alfa 9 have been on my interview hit list for a while and now we’ve finally found the time to sit down and have a chat… How do you feel about it?

Leon Jones: I feel that you’re a perceptive man, Sean, and one of more than good taste. I know you’re a Byrds, Bond and Morricone fan. Do we need to get deeper?

Ha! Let’s see how things go… Do you feel that Alfa 9 are part of a UK scene? There are quite a few current bands doing the rounds whose influences include The Beatles, The Byrds, Big Star, ’60s psych and soundtracks, aren’t there? I’m thinking of  The Hanging Stars, Dreaming Spires, El Goodo, The Raving Beauties, Kontiki Suite, The Carousels... to name but a few.

LJ: It’s flattering to be talked about in the same circles as those bands. It’s got to be encouraging hearing others who are aiming at something similar and making it sound relevant. It does feel like there’s a momentum building. Our album’s out, The Hanging Stars and El Goodo have new records out… I really like The Carousels as well…We’re playing with The Hanging Stars in Leicester on June 30 [at The Firebug].

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Your new album, My Sweet Movida, is one of my favourite records of the year so far. How does it feel to have it out there? Are you pleased with it?

LJ: It’s been a long process to write, record and do everything to release the album, but that’s kind of how we work…we like to let songs meld and develop, so it takes time. Maybe for our next record we’ll do the whole thing in one take…

It’s your third album – the follow-up to 2013’s Gone To Ground. Why has it taken five years to come out? 

LJ: We were doing a lot of gigs following the release of Gone To Ground and then there were babies and cats and stuff like that happening…We’ve got 15 songs written already for the next album, so we’re aiming to be a bit quicker next time

How did you approach this album? 

LJ: Well, I think we felt really comfortable with things – we’ve found a great mix in the band and really play off each other, plus we had moved on as songwriters, so it was exciting. After we got a couple of songs going, the album started to get a character of its own. We weren’t afraid of allowing our influences to come through, but we were also confident that it still sounds like us.

We’ve got 15 songs written already for the next album, so we’re aiming to be a bit quicker next time’

You wrote, produced and arranged the album yourselves. How was the experience of making this record? Was it an enjoyable one?

LJ: Yes – we love being in control of the process and we’ve always had our own recording set up, starting with a four-track Portastudio. Technology gives us a lot of flexibility that 20 years years ago would not have been possible.

We’re lucky that there’s a studio about a mile from my house with a great old 16-track tape machine. We’ve recorded there on and off for years, so it’s a very comfortable environment for us. We did the basic tracks there, then recorded guitars and other stuff at our place – The Room – then went back there and did vocals.

What can you tell me about the first single, Smile Dog? It’s very psychedelic… 

LJ: That was kind of the start of the new album – a jam that took on a life of its own. Those kind of songs are the purest expressions of the band – they just happen.

What influences shaped the songwriting and the sound of the new album?

LJ: It’s pretty clear who we like – The Byrds, The Beatles, Rolling Stones, Paisley Underground, Neil Young, Ennio Morricone, Nuggets, Pink Floyd, Stone Roses, Creation Records – that hasn’t really changed since we’ve been together. That stuff’s the bedrock. I think with this album, we felt confident with the songs and getting them to sound how we wanted them to.

The second single, Movida, continues Alfa 9’s penchant for Ennio Morricone-esque soundtracks, doesn’t it? It has a Spaghetti Western feel…

LJ: Yes – definitely. We love Morricone and that kind of melancholy there is in a lot of his work. I’m fascinated by the Mojave desert in California and the Joshua Tree, particularly. For someone from the Midlands, it’s a very strange environment

The song Darkest Sea has a country feel. How did that track come about?

LJ: I wrote an opening theme for an imaginary western soundtrack-type thing that we wrote ages ago and then we eventually added words. We tried a few different arrangements. I think we were listening to a lot of the Handsome Family at the time we recorded it.

I love the song Different Corner – it’s gorgeous jangle-pop and very Byrdsy. What can you tell me about that song?

LJ: It’s about love, sex, betrayal, coincidence and chance…the dark end of the street.

‘I’m fascinated by the Mojave desert in California and the Joshua Tree. For someone from the Midlands, it’s a very strange environment’

Fly – the final track on the album – is an epic closer. Were you aiming for a ’70s Pink Floyd-style, psych anthem? It certainly sounds like it… 

LJ: That was another song that wrote itself – we were aiming for nothing, but it just kind of appeared in the room. We’re massive Floyd fans, but I think there’s also a Crosby, Stills, Nash & Young thing happening on it as well.

You have a few gigs coming up this year. What can we expect?

LJ: It sounds like a cliché, because it is, but I think we sound better now than we ever have done. We’ve got a lot of songs worked up – we could do about four hours!

What’s on the Alfa 9 hi-fi at the moment? Any musical recommendations – new and old?

LJ: Michael Head and the Red Elastic Band, The Hanging Stars, Gene Clark, El Goodo, Cowboy, Rain Parade, The Gosdin Brothers, The Easybeats, Spindrift, New Riders of The Purple Sage…

Finally, will we have to wait another five years for your next album?

LJ: Nope – life’s starting to feel very short…

My Sweet Movida by Alpha 9 is out now on Blow Up. It’s available on heavyweight vinyl, CD and download.

The band play The Troubadour in London, 263-267 Old Brompton Road, SW5 9JA on April 7, supported by Usselman.

 

 

‘The first thing I do when I wake up is put a record on – I don’t love silence…’

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Canadian singer-songwriter Jerry Leger’s brilliant Nonsense and Heartache – out now on Latent Recordings and produced by Michael Timmins of Cowboy Junkies – is a double album, but, essentially it’s two distinct collections of songs.  

The first half  – Nonsense – is a raw, primal, bluesy, electric rock ‘n’ roll record, while the second instalment – Heartache – is a stripped-down, alt-country affair, with intimate ballads, lap steel, piano and fiddle.

Put them together and you have an album that reminds me of those classic early Ryan Adams long-players Heartbreaker and Gold – yep, it’s that good. 

I spoke to Jerry, who with his band, The Situation, is on a tour of Europe and the UK, to find out why he decided to release a double album and to gauge if his current mood is nonsense, or heartache…

 

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Jerry Leger: photo credit – LPPhotographs

Q &A

Nonsense and Heartache is a double album of 18 tracks, which is quite a brave move, isn’t it? You don’t hear of many double albums being released these days…

Jerry Leger: Yeah, it’s usually the artist who fights for a double LP, not the label, but, in this case, it was Mike Timmins and Latent who suggested it.

I dug that and I had more than enough songs and we had a bit of a concept behind it. I think it was a cool move, I mean why not? It seems these days a lot of people are gonna listen to it, or they’re not, whether there’s two or 200 songs. A lot gets lost – I just wanna make albums I like while I’m here.

How were the recording sessions for the album? Was it an easy or a difficult album to make? Did you have a lot of songs written before you went into the studio?

JL: They were easy – we all knew what we were there to do. Heartache was recorded first – that took about four or five days. Nonsense was recorded four or five months later – I think that took two days. I can’t quite remember how many songs I had lying around, but we recorded about 29 and chose 18.

‘I just wanna make albums I like while I’m here’

The album has a raw, live sound – Michael Timmins , who produced, recorded and mixed it, also worked on my favourite album of last year John Murry’s A Short History of Decay, which is another raw, live-sounding record. How do Michael and you and your band manage to get that feel and sound in the studio? What’s your working relationship with Michael like?

JL: We just play live together in the studio. I also try to keep all the live vocals, but sometimes it’s not possible. There may be technical issues, or, if the band were cookin’ and I flubbed something that I really wanted to fix instead of leave in. Sometimes we just leave it in, though. Mike and I have a great working relationship – we like making the same kind of albums and we also like a lot of the same albums. He doesn’t get in my way creatively and when he makes a suggestion in the studio, it’s usually the right one. I respect what he does and what he has to say

One of my favourite songs on the Nonsense side of the album is Baby’s Got A Rare Gun – I think it channels ’65/’66 Dylan. Do you agree? It’s heavy, electric blues. What can you tell me about that track?

JL: Well, I love Chess Records – stuff like Muddy Waters, Little Walter and Howlin’ Wolf. I think it came from that sort of place, but, of course, I love Dylan, too, and that period is ingrained. When we recorded it, I wanted to get that over-driven vocal and band sound that’s on those records and early Bobby Bland.

The Big Smoke Blues – another of my favourite tracks on Nonsense – has a bit of a New Wave feel to it. It reminds me of Ryan Adams fronting The Strokes. Is that a fair comment?

JL: That’s fair, but I’d say it’s more Lou Reed and The Velvets rock ‘n’ roll, just ‘cos I listen to and love those records. I did really like the first Strokes album when it came out. I was 14 or 15 and thought they were here to save the day! I never really followed their career after, though. The Big Smoke Blues is a reference to Toronto, but it could be a lot of different places for the listener.  It’s a tune for outsiders.

‘I really liked the first Strokes album when it came out. I was 14 or 15 and thought they were here to save the day!’

Let’s flip the record over and talk about the Heartache side. It kicks off with the first single, Things Are Changing Round Here, which sounds like a classic country-rock song. What inspired that track?

JL: The East End of Toronto, where I grew up, was the initial inspiration. I’m only 32 and the area I grew up in is a strange land to me now. A lot of the personality is being sucked out of it – they’re knocking down blocks of old homes to build up to the sky. The unique shops and bars that can’t make the inflated rent are being replaced by boring chains.

Another Dead Radio Star – I love that title – is one of my favourite songs on the album. What’s the story behind it? I’ve heard that it was inspired by the 1930s radio show The Shadow, which was voiced by Orson Welles…

JL: I was listening to a compilation of radio stars from the ‘30s. The song I’d Give A Million Tomorrows (For Just One Yesterday) was playing and it sparked the idea – it’s referenced in the song. I also had another record of old radio shows by The Coon-Sanders Nighthawks of Kansas City, so they got a plug.

Things come and go, but their shadows remain in one way or another, and I’m the kind of person that looks for them. My dad used to listen to The Shadow, The Creaking Door and others as a boy and that has always stayed with him. It’s theatre of the mind.

The last song on the album, Pawn Shop Piano, is a great way to close the record – a gorgeous piano ballad. Was it written and played on a pawn shop piano?

JL: Some of the lines and ideas I’d written down before, or had floating in my head just waiting to be used. The first time we toured in the States we stayed at a dingy motel called the Travel Lite Inn, or something like that… I just liked the way it sounded and we survived.

We played Johnson City in Tennessee a couple of times and I remember this pawn shop called Diamonds and Guns and it had this great hand-painted sign, too. I jotted that title down in a notebook and figured I’d use it for something some day. It’s one of my favourites on the record and it just has a lot of truth in it for me.

Who are your main musical influences?

JL: There’s a lot, but Hank Williams I’ve heard for as long as I can remember and I just don’t think it gets better than that. Bob Dylan changed the way I wanted to write, Lennon and The Beatles made me wanna start playing, and Lightnin’ Hopkins was the coolest. When I was 13, my grandparents’ neighbour was giving away blues records. I just thought Lightnin’ looked cool – I hadn’t heard of him. When I listened to it, it was just wild – so natural, no bullshit. Leonard Cohen was also an early influence – my dad came home one day and gave me the first Cohen album and a book of poetry called Death of a Ladies’ Man.

‘My dad came home one day and gave me the first Leonard Cohen album and a book of poetry called Death of a Ladies’ Man’

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Jerry Leger & The Situation: photo credit – LPPhotographs

You’re heading out on a European and UK tour. What can we expect?

JL: I’m really looking forward to it – it’ll be my first time overseas in general. They’re all full-band shows and this line-up has been together for over 11 years, so it’s nice to do this together for the first time. What can you expect? I don’t know – I’ll just be singing my songs. I’m not ready to do anything flashy yet.

What music – new and old – are you currently digging?

JL: Lucinda Williams – Down Where The Spirit Meets The Bone; Ronnie Lane – See Me; Graham Nicholas – Dial Tones And Pretty Notes, and Ann Peebles – I Can’t Stand The Rain.

If I’m home I listen to a lot of music – the first thing I do when I wake up is put a record on. I don’t love silence.

So, what next? Can we expect a triple album?

JL: Why stop there?

Finally, what kind of mood are you currently in: Nonsense or Heartache?

JL: I’m in a Nonsense and Heartache selling mood.

Nonsense and Heartache by Jerry Leger is out now on Latent Recordings. For a full list of European and UK tour dates, go to https://jerryleger.com/

 

‘I was convinced I’d be an international superstar by the time I was 21!’

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John Howard at Sala Apolo in Barcelona: photo : Eva Fraile

Singer-songwriter John Howard – who turns 65 this year – is publishing his autobiography, Incidents Crowded With Life, has his 1975 debut album, Kid In A Big World, being re-issued on vinyl, along with a collection of ‘70s rarities, and is planning a new album this summer. 

Earlier this year, he put out a five-track EP, Songs From The Morning, on which he paid tribute to some of his favourite songs by ‘60s and ’70s artists, including Nick Drake, Tim Buckley and Sandy Denny.

In an exclusive interview, he tells me why he’s looking forward to becoming a pensioner and why recording music keeps him young and agile…

John Howard - Songs From The Morning

Q & A

Your latest release, Songs From The Morning, is a five-track EP, which features your versions of songs by artists that you admired when you were growing up. The tracks are Morning, Please Don’t Come (Tom Springfield), You Get Brighter (Mike Heron), The Lady (Sandy Denny), Morning Glory (Tim Buckley/Larry Beckett) and From The Morning (Nick Drake).

Can you tell me why those songs inspired you so much? What do you like about them and what memories do they bring back?

John Howard: They all bring back different recollections really, and all inspired me for different reasons. You Get Brighter, written by Mike Heron, was the first song I saw The Incredible String Band perform in Manchester in late ’69 – when I was 16 – at The Free Trade Hall. It was the first concert I’d ever been to. The song completely hooked me as soon as Mike sat at the piano and began singing it, and has always stayed with me. I’d been planning to record it for years.

From The Morning by Nick Drake blew me away the first time I heard it, on his final album, Pink Moon. Nick’s version features just him and his guitar, as does that entire album, but I always felt it was a great pop song that would suit a full backing. Some people refer to Nick as a ‘folk singer’, which is not entirely untrue, but he was also a great writer of hook-laden pop songs.

The truly uplifting lyric of  From The Morning, written when Nick was at his lowest ebb, touches me deeply. What spirit that boy had. I tried to capture that innate, feel-good vibe of the lyric – Nick’s sense of wonder at everything in nature around him – with my interpretation.

‘Some people refer to Nick Drake as a ‘folk singer’, which is not entirely untrue, but he was also a great writer of hook-laden pop songs’

Sandy Denny’s The Lady impressed me when I heard it on a friend’s LP in 1972, but when I got a CD box-set by Sandy, a live version was on there and I loved that even more. Her introductory comment to her audience that “this song has a lot of chords” made me smile. She wrote it, and yet it daunted her. It’s the perfect pianist’s song, having as it does some very strange chord changes and progressions.

Morning, Please Don’t Come was a 1970 single by Dusty & Tom Springfield, which I heard on the radio at the time. I thought it was truly lovely, displaying Tom’s great songwriting skills, but by then the pop scene in the UK had radically changed and artists like Dusty, Cilla, Lulu and Sandie Shaw, who’d been so huge in the ‘60s, seemed to have lost their market.

I heard the song again only a couple of years ago, when DJ Rodney Collins played it on his weekly show – on ABC Oldies – and that inspired me to have a go at recording my own version.

I actually met Tom Springfield in 1975, at his flat, with a friend of mine who knew him quite well. It’s a visit he would want to delete from his memory I would imagine as, in ’75 – ’76, I was going through a heavy drinking period and behaved appallingly, like a really ranty queen, which makes me cringe now when I think about it. Tom very quietly asked my friend to take me home, which he did. If anyone who knows Tom reads this, please convey my abject apologies! Mea culpa!

The Tim Buckley song Morning Glory is on an LP I’ve had for years, Goodbye and Hello, and its lyric has always intrigued me. I’m still not sure what it’s about – and even the lyric writer, Larry Beckett, couldn’t fully explain its meaning in an interview a few years ago.

I interpret it as about the way some people can’t settle anywhere – they always have to be on the move, like a hobo, going from ‘fleeting house’ to ‘fleeting house’. I’m probably wrong but that interpretation does for me. It’s a wonderful song, whatever it’s about…

How did you approach the songs on the EP? What did you want to do with them? Is it hard to strike a balance between being respectful to the originals and also wanting to put your own stamp on them?

JH: Yes – that’s always a slight dilemma when recording other people’s songs, especially songs that are rooted deeply in many people’s minds and hearts by the original writers. I treat any recording the same way – I routine it on the piano until it starts to take shape, and then ideas begin pouring into my head for arrangements, vocal approaches and harmonies.

It’s never clear what I want from a song – whether it’s one of mine or someone else’s – until I begin the process of getting to know it really well, playing it many times until it feels like it’s reached the point of initial completion, before I start to build up the backings in my studio. I always sing a song in my own way, never trying to imitate or copy the original versions.

You actually can’t be too respectful when covering songs, or else you’d be slightly frightened of them, so you have to believe what you’re doing is working as a track. Once you’re in the studio, it’s no longer the song, it’s the recording you’re working on, getting the best out of a track that you can. What came before is what came before. You can only do what works for you now.

‘I always sing a song in my own way, never trying to imitate or copy the original versions’

How was it recording the EP? How did you play, arrange and record the songs? 

JH: As all the songs were already very dear to me, I felt extremely close to them, like old friends. And, of course, as I record usually on my own, I can change things as I go along and try other things quite easily, I often spend weeks on a track, living with it for a while, then going back into the studio and either building on what I’ve done, or starting again from scratch. Happily, it’s the former usually…

Let’s talk about Nick Drake – one of my favourite singer-songwriters. A lot of people only discovered Nick’s music years after his death, which was in 1974 – a year before your debut album, Kid In A Big World, came out. Were you a fan of Nick’s during his lifetime? Isn’t it such a shame that he only got the recognition for his talent after he’d died? Why do you think that’s the case?

JH: I was aware of Nick’s music when I was at art college, as people played his stuff – certainly his first two albums – in the common room, and I liked what I heard. Back then he reminded me a little of Colin Blunstone [The Zombies] vocally.

‘I remember seeing Five Leaves Left in Javelin Records in Bury, pondered over whether to buy it, but then plumped for Joni Mitchell’s Clouds’

I never bought any of Nick’s releases, as funds were obviously limited at that time, and with the money I had, I was buying albums by my current heroes Roy Harper, The Incredible String Band, Laura Nyro, Joni Mitchell and – belatedly – Dylan.

I remember seeing Five Leaves Left [by Nick Drake] in Javelin Records in Bury, pondered over whether to buy it, but then plumped for Joni’s Clouds instead, which my school friend Pauline had played me a few nights earlier.

I think that was Nick’s main problem – when his albums had just been released, in terms of getting his music across to people, you never heard him on the radio – or at least I didn’t. He didn’t perform live – again, if he did, I wasn’t aware of it – and I’ve since read he hated doing live performances. If I wanted to hear his albums they were usually lying in a pile beside the common room record player. The artists I spent my money on were those I’d seen and loved on stage, heard on the radio or watched on things like the In Concert TV series.

In the ‘80s, I think it was, I bought the four-CD set of Nick’s albums and outtakes and fell in love with him. What a talent and what a waste of a talent – to lose him so young. His songs really touched me and still do. When you read his life story – his sister Gabrielle’s biography of him [Remembered For A While] is superb – you realise what a fascinating guy he was.

I loved how he performed impromptu for The Rolling Stones in Tangiers in the late ‘60s, and he was a huge fan of Donovan’s – when Mr Leitch was no longer very cool to Nick’s mates. He’d been a really happy ambitious lad until the ‘black dog’, as he called it, came to rest on his young shoulders. Very sad.

His music has now benefitted from social media spreading the word among a wide, record buying-public, and is happily now loved by a large slice of lovers of good music. Good songs will out. Talent will out. I believe that. Sadly, we can never predict how long that will take…
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I mentioned your ’75 debut album, Kid In A Big World, earlier. It’s being re-released on vinyl soon, isn’t it? How do you feel about that and how’s it come about? There’s also an album of John Howard rarities – from’73-‘79 – coming out, too, isn’t there? What can we expect? 

JH: Yes! You Are The Cosmos, a great and highly-respected Spanish label, run by Pedro Vizcaino, is releasing Kid In A Big World and The Hidden Beauty – a new compilation of demos, outtakes and singles from my ‘70s back catalogue, both on LP. I’m, to say the least, thrilled. For many years people have been asking me if Kid… would ever be re-released on vinyl, and at last I can reply, “Yes, it is.”

Pedro contacted me last year about releasing Kid… on LP and then he suggested an additional vinyl album of some of the demos and stuff I’d recorded from ’73 – ’79. The LPs look really great – Pedro and his designer have done a stellar job.

‘For many years people have been asking me if Kid In A Big World would ever be re-released on vinyl, and at last I can reply, “Yes, it is”.’

The Hidden Beauty is a very interesting compilation, with some fascinating tracks on there – recordings that, in most cases, have never been available on vinyl before. There’s a Trevor Horn production from 1977 called Stay, which has never had a proper release (apart from online about 10 years ago) – it was the first track I recorded with Trevor and features a storming guitar solo by Bruce Woolley.

There are some of the demos I recorded in 1973, when I arrived in London, at Chappell’s studios in Hanover Square. There are also some late ‘70s demos, too –  a song called Loving You, which I demoed in 1979, and which gets regularly downloaded, so that’s a great inclusion on the LP. Also, there are a couple of tracks I did with Trevor Horn in 1978 – Don’t Shine Your Light and Baby Go Now, which were released on a double A-side single in late ’79. Those two tracks feature the musicians who a year or so later formed Buggles and then The Art Of Noise (Geoff Downes, Luis and Linda Jardim, Anne Dudley, and, of course, Trevor).

Bruce Woolley is also on those two tracks, doing backing vocals with Linda. He co-wrote Video Killed The Radio Star with Trevor in 1979, and was signed to CBS when I returned to the label in 1980.

Kid… will have the original LP artwork, even including the same lyric sheet that came with the 1975 album. Pedro has done an amazing job – he’s showed a lot of love and respect for the recordings and that’s very nice to see.

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John Howard in Vienna – photo: Georg Cizek-Graf

It’s a busy time for you. … You’re working on your new album – your eighteenth –  which will be out this summer, and you’re already working on the album after that! You’re very prolific. What’s your secret? 

JH:  Ha! If I knew the secret I’d probably stop doing it. I have no idea why I am still so prolific. Songs simply arrive out of the ether into my head and I write down loads of sketched notes and ideas until I’m ready to start recording. The fact is I love recording. I love the whole process, and working as I usually do on my own, I have all the time in the world to work on ideas and try things out, with no pressure from anyone.

‘I have no idea why I am still so prolific. Songs simply arrive out of the ether into my head and I write down loads of sketched notes and ideas until I’m ready to start recording’

I’m not sure yet who will release the new album. If I can’t find a label to put it out, I’ll do a self-release. I did several self-releases – 2009 – 2014 – before the John Howard & The Night Mail album came out on Tapete. Self-released albums don’t get the same exposure, of course, but at least they’re out there if people want to find them. I’ll keep putting stuff out while people want to hear it and – bless them forever – buy it.

A label release would be lovely, there’s no doubt about that, but it’s not always easy to get deals with new material, which is by its very nature, and lack of history or a back story, not as immediate or immediately recognisable as a back catalogue release. I was very happy with how my last studio album, Across The Door Sill, was received. I can only hope this new one will also appeal. But about that I can do nothing. Only hope!

So what can we expect the new album to sound like? How’s it going?

JH: The new album was completed about two weeks ago. It contains ten new songs, and is probably more instantly ‘accessible’ than the stream-of-consciousness material on Across The Door Sill, in that the songs are basically pop songs (i.e. with a verse/chorus structure in most cases), but of course done in the John Howard pop way.

People who’ve heard the tracks in progress so far – friends like Kenji Kitahama from Friedrich Sunlight, Robert Rotifer, Ian Button – who will be mastering the album – and my ‘70s producer Paul Phillips – have all commented how I seem to have a new sound with these tracks, a ‘new palette’ as Paul put it recently. I don’t really – I just use what I have in my studio [in Spain] in different ways, putting together different combinations of instruments and percussion.

I record everything in real time, using real instruments wherever I can – obviously I don’t have an orchestra standing by in my tiny casita! I play everything – the drums, the percussion, the guitars, accordion, and keyboards, but as I’m not a guitarist, or a drummer, it takes me weeks to do just one track, slowly building up sounds. But I love this acoustic way of recording. It’s as old school as it can be using a digital recording set-up – a 15-year-old Yamaha AW16G workstation – and I mix everything in real time, too.

‘I record everything in real time, using real instruments wherever I can – obviously I don’t have an orchestra standing by in my tiny casita!’

If a mix isn’t quite right, I scrap it and start again, I don’t ‘save’ mixes and just tweak things – it’s always instinctive and quite intense, often going to 12 or 13 mixes before I feel it’s right. It’s obviously very time-consuming – ask my husband, Neil, who hardly sees me when I’m in the middle of recording – but I love it and still look forward to trotting across our courtyard and opening the casita door. I say ‘hello’ to all the instruments and pieces of percussion sitting on various shelves, and begin the process of starting work on a new track, selecting this and that, trying them out, deciding what works and what doesn’t on that particular song. It’s a delight that I can still do it, still love doing it, and that people seem to like the results.

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You’ve written your autobiography, too. It’s called Incidents Crowded With Life. When’s it coming out? How was it to write and should anyone be worried? Is there any scandal?  

JH Oooh! Scandal, such a scandal! I don’t think anyone needs to be particularly concerned by Incidents Crowded With Life. My approach throughout the book – which covers my life from childhood to 1976 – was that I would tell things as I saw it and experienced it. I never write about hearsay or situations from anyone else’s points of view. I also don’t comment. That’s for the reader to do as the stories unfold. So I haven’t said things like “What a bastard!” about anyone, I’ve just told what happened and leave the reader to decide what they think.

‘My approach throughout the book – which covers my life from childhood to 1976 – was that I would tell things as I saw it and experienced it. I never write about hearsay’

The book basically covers my life working towards and preparing for what became the recording and release of Kid In A Big World, the build up to it, and the aftermath of its failure to make an impact, up to when I broke my back in an accident at home in late ’76, just as things seemed to be indicating a turnaround for the better.

The only chapter that is constructed as a third-party observation is where I discuss glam rock, its stars, and their career paths and how their music affected and inspired me. I wasn’t sure whether an autobiography needed such a chapter, but I decided that, as glam made such an impact on me and my music, then I should talk about that. It truly changed the way I wrote songs from ’71 – ’73, and how I saw myself in the scheme of things.

The book is due out in the spring, published by Fisher King. I’m pleasantly surprised that the book has found a publisher, to be honest. I never expected that, as I never considered myself well known enough to warrant a publishing deal. I’d been posting it online, chapter-by-chapter, for about 18 months when a friend suggested I should get it published in book form. My reply was “How?” and he duly sent the online links to the managing director of Fisher King, and the rest is my history in print! How fabulous is that? Will there be a second book? Well, I’ve just begun writing it, so we’ll see…

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John Howard in Vienna – photo: Robert Lettner

This year, you turn 65 and you’re showing no sign of slowing down – you’re busier than ever! How does it feel becoming a pensioner?

JH: My husband is thrilled that I’m finally going to be bringing in some proper money! Being a ‘niche recording artist’ means I earn very little from my music, so that monthly cheque from April onwards will be extremely welcome.

I’ll continue to stay as busy as I want to be. As long as my voice holds up – and it seems to have done so far – I’ll carry on recording. I’m physically aware that I’m older, I get tired more quickly, the usual 60-years-plus aches and pains are quite bad some days – due, in part, to my injuries in ‘76 of course – but when I’m recording, I feel extremely young and agile, especially vocally. I can probably sing better now than I did in my 20s. The higher range is not so stratospheric as it once was, but my lower range is much richer now. People tell me I sound very young when I sing, and that’s because I feel young when I sing. 

‘I feel extremely young and agile, especially vocally. I can probably sing better now than I did in my 20s’

Do you still have many musical ambitions left? Are there any songs by other people that you’d like to record, or anyone that you’d like to collaborate with?

JH:  Ambitions? I don’t really have any. Back in my teens, of course, with the arrogance of youth, I was convinced I’d be an international superstar by the time I was 21! That didn’t happen of course, and the realisation that things are not that easy was a big part of my ‘Further Education In Life’ from thereon in. But now, I have no expectations, no ambitions, I just enjoy what I do. Most things tend to happen while I’m busy doing other things.

Kid… was reissued on CD in 2003 because people were discussing it on the internet, which piqued RPM and Cherry Red’s interest. The John Howard & the Night Mail album happened because Robert Rotifer encouraged me to start performing in public again and have a think about us doing something in the studio together.

John Howard & The Night Mail

John Howard & The Night Mail

Across The Door Sill was issued by Occultation because Nick Halliwell told me he thought it deserved to be out on LP and that he’d like to release it. Kid… is being re-released on vinyl because Pedro contacted me to say he would like to do it, and the autobiography is being published because a friend sent it to a book publisher. I’m very lucky that people seem to want to encourage me to do things. They – God bless ‘em – want to spread the word about my music and writing.

Robert Rotifer and I sometimes talk about recording another Night Mail album with Ian Button and Andy Lewis, and I’d love to, but getting us all together at the same time is the difficult bit!

‘I’m very lucky that people seem to want to encourage me to do things. They – God bless ‘em – want to spread the word about my music and writing’

I did contribute backing vocals and piano to The Granite Shore album, Suspended Second, last year, which was fun, and I’ve also contributed piano to other friends’ projects over the last few years – Papernut Cambridge’s Nutlets, Alex Highton’s Nobody Know Anything, Darren Hayman’s Secondary Modern, and Anthony Reynolds’ British Ballads. That’s always a nice thing to do, especially when you hear the finished tracks and go “Oooh! That’s me on that one!”

I’m sure there’ll be more EPs featuring covers of other people’s songs. I quite fancy doing an EP of Rufus Wainwright songs – and even a Marc Bolan EP – gosh! That would be fun. We’ll see…

Finally, what music – new and old – are you enjoying at the moment?

JH: I’m very into Judee Sill – I have been for months. I loved what she did back when I was a teenager in the ‘70s – Jesus Was A Crossmaker was a particular favourite when I was at college, but recently I’ve been given her lovely CD set by a friend and it’s gorgeous. What a superb songwriter and singer she was.

I still play Roy Harper’s astonishing Stormcock album – it still sends shivers down my spine. I recently bought the new version of Sgt Pepper… it’s very good. Giles Martin’s done a great job – he’s really brought the tracks to life again – though, note to Giles, Being For The Benefit of Mr Kite is far too loud compared to the other tracks. What’s that about then?

New stuff? Well, there’s a wonderful singer songwriter on You Are The Cosmos called Daniel McGeever – his album, Cross The Water, is one I play a lot. Excellent songs.

Daniel Wylie’s latest, Scenery For Dreamers, is fab, too, Ralegh Long’s Upwards of Summer is very uplifting guitar pop for the 21st century, and Alex Highton’s newie,Welcome To Happiness, is a synthesiser-fest of loveliness.

John Howard’s Songs From The Morning EP is available to download from iTunes, Amazon, eMusic, etc, and to stream on Spotify, Apple Music and Rhapsody.

For more information, please visit: www.kidinabigworld.co.uk 

Kid In A Big World and The Hidden Beauty – 1973-1979 will be released on vinyl by You Are The Cosmos on April 20: visit http://www.youarethecosmos.com/ for more details.

John Howard’s autobiography, Incidents Crowded With Life, will be published by Fisher King on March 26: http://www.fisherkingpublishing.co.uk/

 

‘We haven’t got the budget for playing in full, late ‘60s West Coast regalia and Roger McGuinn wigs!’

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The Raving Beauties – photograph by John Morgan

Late last year, jangle-pop project The Raving Beauties, the brainchild of Belfast writer Brian Bell, who is now based in Brighton, teamed up with Oxford band The Dreaming Spires to release Raving For Bap, a 10in limited vinyl EP dedicated to singer-songwriter Bap Kennedy, who died in late 2016.

The record features five of Bap’s songs, which The Raving Beauties have made their own. The opening track, Walk In Love, is a joyous, chiming guitar anthem that’s befitting of The Byrds, while Moriarty’s Blues is a gorgeous, folky shuffle. The Way I Love Her is infectious, organ-driven power-pop, Hard Street is a down and out ballad with a country feel and Lonesome Lullaby is another Byrdsian belter – 12-string guitars, heavenly harmonies and a life-affirming chorus.

I spoke to Brian to find out more about the EP and to clear up some confusion over how the mysterious ‘fictitious’ band, The Raving Beauties, came into being…

Q & A

Let’s talk about your recent five-track EP, Raving For Bap, which was a tribute to Belfast singer-songwriter, Bap Kennedy (Energy Orchard), who died from cancer in 2016. Proceeds from the record are being donated to Belfast’s Marie Curie Hospice. How did the EP come about?

Brian Bell: I’d known Bap since the early Noughties, when a mutual friend, James Walbourne [The Rails, The Pretenders] introduced us on the basis that because we both came from Belfast, we’d probably get on, which we did, very much so. Aside from being such a talented guy, Bap was a very genuine, kind person and great company – his self-deprecating wit and killer one-liners were something to behold.

Before meeting him, I’d been aware of his music and really admired it. I really loved and connected with songs like Sailortown and Sweet Irish Rose, off the first Energy Orchard album, and I’d bought his Domestic Blues album when it first came out.

In the years that I was seeing Bap most regularly, I’ve fond memories of his legendary Sunday gigs at the Boogaloo in Highgate, North London, where he’d be mixing up his own stuff with Elvis and Hank Williams covers. Everybody would be lapping it up and the craic was tremendous.

In more recent years, I’d kept in touch with Bap when he moved back to Holywood in Northern Ireland and always looked forward to meeting up with him whenever I was back home visiting family.

‘I’ve fond memories of Bap’s legendary Sunday gigs at the Boogaloo in Highgate, where he’d be mixing up his own stuff with Elvis and Hank Williams covers’

When we lost Bap to cancer, in November 2016, it was obviously a very upsetting and difficult time for everyone who knew and loved him. In the months after his passing, he was on my mind a lot and I guess my appreciation of his songs had deepened, which is probably when the idea for a tribute record started hatching. Bap’s widow Brenda has been doing an amazing job of looking after his legacy and continuing to share and celebrate his music, so I hope we can add to that in some way. It was also important from the outset that the record would be a fundraiser for the Marie Curie Hospice in Belfast, as Bap’s family think the world of the staff there for the care they gave Bap towards the end of his life.

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The EP is a collaboration between The Raving Beauties and Oxford band The Dreaming Spires. What’s your relationship? How did you end up working together? 

BB: In 2016, The Dreaming Spires included The Raving Beauties track Arrows on the guest artist side of their Paisley Overground 12in mini album and we were on the same label – At The Helm – at the time. We did a launch gig for the record together in Brighton, which went really well.

My friendship with the guys started there and we ended up doing another gig together as The Raving Beauties at Truck Festival in 2016, which was a lot of fun. I’d chatted with Joe Bennett [from The Dreaming Spires] about recording some new songs together, but with Bap being on my mind so much, I felt a tribute EP was what we should do next.

Luckily, Joe and the rest of the guys – Robin Bennett, Tom Collison and Fin Kenny – were well up for it, so we all got together at Joe’s studio in Oxford last Spring to start working on it, with Joe producing. There was a great vibe and a lovely spirit of camaraderie, which I hope comes across on the record.

With the EP, you and The Dreaming Spires have put your own spin on Bap’s songs – there’s a US West Coast, ‘60s jangle-pop feel to some of the songs. How did you approach the tracks and how did you decide which ones to cover?

BB: Joe, wisely I think, didn’t want to get too swayed by listening to Bap’s originals – he just wanted me to turn up with the chords and lyrics, so we could try to put our own stamp on them. You’re right about the American West Coast influence, and I suppose the idea was broadly along the lines of imagining how Bap’s songs might have been interpreted by a Californian guitar band in the late ‘60s. I can’t be too coy about the likes of Spirit, The Byrds, Buffalo Springfield, The Monkees, Love and The Youngbloods all being an influence.

In terms of choosing songs, it was a case of picking songs I particularly loved that I imagined could also lend themselves to being done in a different way. There are other Bap songs that I love just as much, but I don’t feel would necessarily suit being re-worked in that style.

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I want to ask you about the origins of The Raving Beauties. I’ve heard a rumour that the band doesn’t really exist – it’s fictitious… Can you clear this up?

BB: In the last 10 years, I’ve got into writing fiction – I did a Creative Writing MA and had a pulp fiction novella – Die Hard Mod – published under the pen name Charlie McQuaker.

One of my short stories that I’d read at spoken word nights in Brighton was called The Unsung Classic, which was about an ill-fated retro band of the ‘90s called The Raving Beauties. I remember a lot of ‘60s time warp guys hanging around Brighton, who’d based their whole image on Gene Clark circa 1967 – that scene inspired the story. I then had the idea to make an EP of what this fictitious band might have sounded like and managed to convince Gordon Grahame – an incredibly gifted Scottish singer-songwriter/producer – to collaborate with me on some recordings.

‘I remember a lot of ‘60s time warp guys hanging around Brighton, who’d based their whole image on Gene Clark circa 1967’

In 2015, The Raving Beauties released their debut album of ‘60s-inspired guitar pop….

BB: The original plan was to put a vinyl EP out as a ‘benign hoax’, purporting to be the lost recordings of some long-forgotten retro band called The Raving Beauties, but when I sent the tracks to Jim Walker, after his At The Helm label had just been launched, he said he loved the songs, but would only release something if we made a full album.

That gave myself and Gordon the impetus to go back into his home studio and, in a relatively short time, we came up with something that I’m still pretty proud of.

The finished album was a mix of my songs, Gordon’s songs and a few co-writes that came together really quickly. My abiding memory is of it being a huge buzz, like being a teenager again. We had this in-joke when something was going particularly well, when we’d just look at each other, do the double thumbs-up and say ”Brilliant!” in a comedy Scottish accent.

I knew at the time that Gordon was doing me a big favour by indulging me with this strange project and it was always pretty much with the understanding that it would be a one-off for him, but we’re still mates and it’s totally got his blessing that I’m keeping the project going. The plan is to make another album this year with the musicians from Raving For Bap and other collaborators.

The Raving Beauties have a gig coming up. You’re playing the Ramblin’ Roots Revue festival in April (6-8, Bucks Students Union, High Wycombe). What can we expect?

BB: The plan is to do the Raving For Bap EP, plus some songs from the first album – The ‘Spires boys have kindly signed up to be honorary Raving Beauties.

I wish I could say we’ll be doing the set in full, late ‘60s West Coast regalia and we’ll all be sporting Roger McGuinn wigs, but, unfortunately, we haven’t budgeted for that!

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The Raving Beauties – photograph by John Morgan

Any plans to hold a tribute gig for Bap?

BB: Yes – we’re hatching a plan and hopefully will be able to confirm something soon. Fundraising-wise, we’ve joined forces with Bap’s sister, Marian, who has already raised over £2,000 for the hospice, and we’ve set ourselves the target of raising a grand total of £5,600 by June 17,when Bap would have been 56

What does the rest of 2018 hold for The Raving Beauties?

BB: Some Girls from The Raving Beauties’ first album is getting another lease of life thanks to You Are The Cosmos including it on their next 12 String High vinyl compilation. which is due out in April/May. I always felt that song could make an impact if it reached the right ears, so fingers crossed, it will happen this time around… I’ll also soon be starting work with the guys on the new Raving Beauties album. We want to retain some of the jangle, but get a lot more adventurous, too.

Finally, what music – new and old – are you currently digging?

BB: I tend to mainly listen to instrumental stuff, particularly ‘50s jazz, so the likes of John Coltrane, Oliver Nelson, Miles Davis and Chet Baker are on the stereo a lot. For anyone who likes that kind of thing, I’d recommend the soundtrack to Listen Up Philip by Keegan DeWitt.

‘We want to retain some of the jangle, but get a lot more adventurous, too’

Another soundtrack that I keep coming back to is The Hired Hand by Bruce Langhorne, which is such a sparse, haunting and beautiful piece of music.

I’m always hoping to hear a new killer pop song on the radio, but, to be honest, the last one that really jumped out at me was Mean Streets by Tennis from a few year back.

I think Fleet Foxes are probably the band that has impressed me most in recent years, closely followed by Temples. I’ve loved Nick Drake and John Martyn since I was a teenager and that’s something I’ve been coming back to a lot recently too.

Bap’s album The Sailor’s Revenge has been another constant. It’s his masterpiece and deserves to be in any ‘Top 10 Greatest Irish Albums of All Time’ list.

 

Raving For Bap by The Raving Beauties is out now on Farm Music – more info here.

The band’s self-titled debut album is currently available from At The Helm Records. 

The Raving Beauties will be playing at The Ramblin’ Roots Revue, Bucks Student Union, High Wycombe: April 6-8.

More information here:  https://www.bucksstudentsunion.org/ramblinrootsrevue/