‘The Other Half could be a really interesting TV drama – like a country Pennies From Heaven’

MDC MARK

Husband and wife country music duo My Darling Clementine – Michael Weston King and Lou Dalgleish – have collaborated with best-selling crime writer Mark Billingham on a new album and live show called The Other Half.

Described as “a story of love, loss and murder told in words and music”, The Other Half  is set in a rundown Memphis bar, and centres on waitress Marcia – a former Las Vegas showgirl – and the tragic tales she encounters through her customers, who drown their sorrows in her work place.

Mark Billingham’s story was inspired by the songs of  My Darling Clementine – a band he discovered via this very blog, and then two new tracks were written as the project progressed.

The album features appearances by actor David Morrissey and musicians Graham Parker and The Brodsky Quartet.

I spoke to Michael Weston King to find out how The Other Half came about and his future plans for My Darling Clementine…

Had you heard of Mark Billingham before you collaborated on The Other Half and were you a fan of crime fiction?

Michael Weston King: I had certainly heard of Mark, but not read any of his books. I hasten to add that this was no reflection on Mark, just that I am not really a reader of crime fiction.

I read a couple of Ian Rankin’s books a couple of years ago, but that was mainly because they referenced my dear old friend Jackie Leven.

I was also due to do a gig with Ian, so thought I had better swot up, but, apart from that, the last time I really read any crime was in my late teens and early twenties, when I was on a severe Elmore Leonard kick.

How did your collaboration with Mark come about?

MWK: Well, I actually suggested it to Mark. I can’t recall if it was Mark who told me about the playlist in the back of his book The Bones Beneath [which featured a song by My Darling Clementine], or whether it was a promoter and friend in Stoke, called Craig Pickering, but it was certainly Craig who asked me if we had any thoughts about collaborating in the same way that Jackie Leven and Ian Rankin had done a few years before.

Craig was also a huge fan of Jackie’s and often promoted me and him together in and around the Stoke area.  I forwarded that suggestion on to Mark and that got the ball rolling. He said yes and we pencilled in a few shows.

A few months later, Mark came back with this fabulous story. That was hugely exciting and also very interesting, as it breathed new life into the songs, giving them a location and names to some of the characters that frequented them.

How was the recording process for The Other Half album?

MWK: We cut the narration in London, everyone together around mics, reading and playing the parts. It was just like The Archers! 

It was recorded at RNIB, where Mark records all his audio books, and it was done very quickly indeed – pretty much in one take.

Mark narrated and Lou, David Morrissey and Graham Parker all played various parts. My daughter, the actress Florence King, was also involved. She played two parts and it was a thrill to see her acting opposite someone of the stature of David Morrissey…. and very much holding her own.

After we had that down, I took the tapes up to Yellow Arch Studios in Sheffield, where we cut our second My Darling Clementine album The Reconciliation? – and worked with producer Colin Elliot and guitarist Shez Sheridan [from Richard Hawley’s band].

Given that the live show of The Other Half  is just Lou, Mark and I – so, consequently, the songs are performed in a stripped down way, we decided we would record them like that too for the album, and also, so as to offer different versions / arrangements of some of the older songs.

This approach made a greater focus on the lyrics too, as they are very much part of the story. Colin and I also worked on some sound effects for certain scenes, which was really enjoyable. Prog country? No, honestly, it’s not…

As a touring country band, how does it feel playing with Mark and being part of a show that involves spoken word, as well as music?

MWK: It takes a little adapting, as it is very different from the usual My Darling Clementine show. We are used to being the sole focus of the audience’s attention – we are the ones doing all the interaction with the crowd.

When we first started doing the show, Lou and I were to be found, sitting and listening to the narration, and then coming to the mic to perform the songs. We were not interacting verbally with the audience in the usual way, but now, we have adapted it into two 45-minute performances.

Mark sets the evening up, explains what is going to happen, and then introduces us. We come on and play three or four songs to get the party started, which allows plenty of time for Lou to bemoan that she is married to me, and then we go into The Other Half.

 

Mark Billingham and My Darling Clementine perform The Other Half
Mark Billingham and My Darling Clementine perform The Other Half

 

How would you describe The Other Half?

MWK: I don’t know if you are familiar with Terry Allen. He’s a great Texan renaissance man – a compadre of Townes Van Zandt and Guy Clark – and he’s a piano player, rather than a guitarist, but he’s right up there.

He is also a playwright, an artist and a sculptor, and has made some fabulous albums, a number of which are short stories set to music – check out Juarez. That is how I see The Other Half – as an album/concept in that vein.

We also had a quote after one show which described it as: “part gig / part play/part storytelling – albeit storytelling influenced by Jim Jarmusch”.

I rather liked that.

Do you have plans to collaborate with Mark on any other projects? How about writing some songs together? That would be great…

MWK: Well, we collaborated on a song for The Other Half, the closing track, As Precious As The Flame, which I am really delighted with. It may even make it on to the next My Darling Clementine album, with a full band arrangement.

We have got a lot of songs in our back catalogue, so if Mark feels inspired to write another story around a series of them, then we would be delighted. Also, as we write new songs, if we feel they could lend themselves to any other projects he is involved in, then all well and good.

When I wrote Friday Night At The Tulip Hotel [from The Other Half], I just wrote it as a new song – not even necessarily one for My Darling Clementine. But as soon as it was written, it felt like it could be right for this project, and Mark agreed, so in it went.

Lou and I feel there is more that could be done with The Other Half, in terms of a treatment for TV or film. I think it could be a really interesting TV drama, like a country Pennies From Heaven.

So, when we can expect a new My Darling Clementine album?

MWK: I think we have all the songs written for the next album. There’s a pretty good squad so far and we also have an idea of where, and with whom, we will record it. We’re just working on the finances right now.

We are quite prepared to wait until we have got what we need to do it, exactly how we want.

The next album is very important for My Darling Clementine – it’s almost make or break in a way, so it needs to be right and given every chance of being a game changer. Musically, it may well be a bit more soul than country, but it will still be very much a duets album.

Lou has written three or four fabulous songs for it so far, and I am very excited about hearing how they will turn out.

Finally, as we’re talking about music and fiction, what are you currently listening to and reading?

MWK: This is what I am listening to and reading right now:

Music

O.V. Wright – The Soul of O.V. Wright

Memphis Minnie – Hoodoo Lady 1933-1937

Charlie Rich – Rollin’ With The Flo – RCA and Epic Country Hits

Aretha Franklin – Amazing Grace

The Oxford American Southern Music CD – Tennessee

MWK: I should also recommend something new: Pete Williams – Roughnecks and Roustabouts. I am also getting to grips with David Corley – Available Light. He’s an American singer songwriter in his late forties, who has just released his debut album.

Books

Here Comes The Night (The Dark Soul of Bert Berns) – Joel Shelvin

Lost Highway – Peter Guralnick

Rhythm and the Blue – Jerry Wexler

A Man In Love – Karl Ove Knausgaard

Seeds Of Man – Woody Guthrie

MWK: And a fabulous book that I simply cannot put down called Time Of Death – by Mark Billingham!

 

To read an interview with the other half of  The Other Half, Mark Billingham, please click here.

 

For more information on The Other Half, My Darling Clementine and Mark Billingham, please visit:

http://www.theotherhalfshow.com/content/ 

http://mydarlingclementinemusic.co.uk

http://www.markbillingham.com

 

 

 

 

 

 

‘I’m open to alien communication’

Nev Cottee

Manchester singer-songwriter Nev Cottee’s new album, Strange News From The Sun, sounds like Lee Hazlewood on a spacewalk and also recalls the gorgeous country ballads of ‘60s Scott Walker and the Spaghetti Western themes of Ennio Morricone. 

I spoke to him about retro synths, otherworldly vibes and capturing the sound of sweet sadness…

How are you? It’s been a while since we last chatted

Nev Cottee: I’m good. Cold, but good. Just waiting for the Manchester Ice Age to pass and to feel the sun on my face again.

And talking about sun, you’re gearing up for the release of your new album Strange News From The Sun. Have you heard any strange news recently?

NC: It’s all strange, isn’t it? Doublespeak has won the day – truth is portrayed as fiction and vice versa. What’s strange is how people don’t seem to be that bothered.  Sorry, were you after something light-hearted?

NevCottee_SNFTS_CD_Cover_1400px

It’s a great album title. Can you explain it?

NC: The title is a reference to JG Ballard and his ability to find wonder in even the most banal circumstances. There’s no need to look anywhere else for inspiration – there’s all you need in your head. Although I am open to alien communication…

On my first album Stations, the lyrics were preoccupied with other things, but with this album they’re more earth bound and more about us lot down here.

You say that, but, musically, the new album does have an otherworldly quality to it. The first track I heard from it – the epic, psychedelic single If I Could Tell You – sounds like Lee Hazlewood on a spacewalk…. Is that a fair description?

NC: I’ll use that one on the poster if that’s ok with you? So the lyrics are more earthbound, but the music is bigger this time around. More cinematic and more synths. I think anytime you use a synth it’s always going to sound like the future isn’t it? Even retro synth sounds – Moogs and the like… That’s why Kraftwerk still sound ‘modern’, no?

I think some of your songs have a Scott Walker feel to them. Annie reminds me of one of Scott’s ’60s country ballads, like Duchess, from Scott  4. Is he a big influence on you?

NC: Without a doubt – and that’s a good reading of that particular track. I wanted to write a song that had that classic Walker vibe – without it being a complete rip off, just a partial one…  If I can get anywhere near those classic Scott albums, I’d be a very happy man indeed.

There’s more of a country feel to this album than its predecessor. What was your intention with this record? What sounds were you after? At times, it has a more expansive sound than the first one, doesn’t it?

NC: I didn’t particularly want a country sound. I think a few of the tracks go that way because of the pedal steel – it’s the opposite of a synth, no? Put a pedal steel on a track and it instantly becomes a country song… The guy playing those wonderful parts by the way is Chris Hillman – not the Chris Hillman [from The Byrds], but a great musician coming out of Manchester. I’ve got him in the band as well, which I’m very happy about. They’re a rare breed – the ones who can actually play as well as he does.

Me and Mason Neely, who produced the album, decided pretty early on that this album was going to have a more expansive sound and have a lot more instrumentation going on. He’s done a great job on the album…

 

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Last year, you went to San Francisco for a while. Did that rub off on the new album? Did you write any songs while you were there?

NC: I wrote some of the lyrics out there, but, if anything, I wanted them to be more English than American – it can all get a bit clichéd if you’re looking to California for inspiration. Before you know it, you’re singing about highways and the like. Maybe it gave me a good contrast – writing about ‘cold English lanes’ [on the song Follow The Sun] while wandering around Big Sur. I love it out there, so maybe the freeway album is one for the future…

Musically it’s kind of inevitable that it seeps into the record, because I love all those classic west coast bands – The Byrds, Neil Young, Love etc.

Can you talk me through the recording & writing process for the new album?

NC: I had about five songs ready by the time Stations was released [in 2013], so I knuckled down to get five more finished. Just me at home with my acoustic guitar. Then last July I went to Cardiff where Mason has a small recording space. We got the main structures down to tape with Carwyn Ellis popping in to do some keyboard parts here and there. Then we had a period where Mason sat with the songs for a while and we started a back and forth process of adding and fine-tuning what we had.  It’s a collaborative way of working that I like – you just have to be open about something and not rush to a judgement. Sometimes it can take a while, but it’s worth it.

Who did you work with on this record – musicians, engineers,  producer?

NC: So, Mason is all of those things… As I’ve said Carwyn Ellis on keyboards, Chris on the pedal steel, plus Rod Smith, who is my right hand man in the band, on guitars and backing vocals.

Follow The Sun is my favourite track on the record – a gorgeous country-pop song that reminds me of Lee Hazlewood, The Velvet Underground and Glen Campbell. I love the twangy guitar solo, the gospel-tinged backing vocals and the pedal steel. Can you tell me more about this song?

NC: I guess it is the most traditional, straightforward song on the album – just a simple chord sequence – and I definitely had the likes of Glen Campbell in mind. Rod really brings a lot with his backing vocals. He’s way up there, which is the perfect counterpoint to my low tones…

Lyrically it’s got quite an uplifting sentiment. The girl is going but I’m just saying ok, good luck, go follow the sun. There are loads of Neil Young songs I like which have the same sentiment. Have you seen the film  Inherent Vice? There are lots of Neil Young on the soundtrack and I read that the director Paul Thomas Anderson was trying to make a film that felt like a Neil Young song – so it had that sweet sadness to it. That’s the vibe on Follow The Sun – sweet sadness.

Opening track When I Was Young is very dramatic and cinematic, with a nod to film soundtrack composer Ennio Morricone. What was the inspiration for this song?

NC: Rod wrote this song and we used to play it with his band – completely differently. I had an idea to make it more cinematic, dramatic and, yes, Morricone it up. Morricone conducted at the O2 recently and I missed it. You can’t go wrong taking inspiration from all those wonderful compositions. I’m just trying to convince Rod to really go for it live with those shrieking vocals Morricone had on his records…

What are your plans for the rest of the year?

NC: We’re going to do an album launch – one in Manchester and one in London. Then there’s a few festivals later in the year. All to be confirmed…

What music – new and old – are you digging at the moment?

NC: Ryley Walker’s Tim Buckley vibe is good. I also like Hiss Golden Messenger’s new album. I saw him live and it was even better – JJ Cale southern rock and roll.  To be honest, though, I’ve been going through Tom Waits’ career, album by album – about a week on each one. It’s just unbelievable how good he is and how he always keeps moving forward.

Have you started thinking about your next record already? Any ideas?

NC: I’m stuck into it already. As soon as the last one is recorded, you have to move on and start writing again. I’ve actually got two on the go. One is acoustic, looking towards John Martyn, Nick Drake and Bert Jansch, just with a guitar and double bass, and the other is more electronic with long repetitive loops. Maybe the two will come together. It’s early days…

Nev Cottee’s new album, Strange News From The Sun, is out on June 1, on Wonderfulsound. 

http://wonderfulsound.bandcamp.com/album/strange-news-from-the-sun

http://www.nevcottee.com/