Manchester singer-songwriter Nev Cottee’s new album, River’s Edge, is a beautiful, pastoral record that’s influenced by the countryside, ’70s Neil Young, Crosby, Stills & Nash and Tom Waits.
He tells Say It With Garage Flowers why he’s had enough of the city and how he likes to write songs sat in his garden, strumming his acoustic guitar, listening to the birds…
When we last spoke to Nev Cottee, in 2017, the Mancunian singer-songwriter with a rich baritone voice that plumbs the same depths as Lee Hazlewood, had just made Broken Flowers – his darkest album to date.
Written in the aftermath of a failed relationship, it wasn’t an easy listen. Heavy at times, it was moody, melancholy and psychedelic, with lengthy songs swathed in dramatic orchestral arrangements and haunting vintage synth sounds.
This time around, for his fourth album, River’s Edge, he’s in a much better place emotionally, and the music reflects that. A pastoral record, it sees Nev getting back to nature and at peace with himself. It’s much lighter than its predecessor.
Produced by regular collaborator Mason Neely (Wilco, Edwyn Collins), it’s a beautiful album. Opener, the nocturnal, Tom Waitsian piano and brass lullaby Nightingale takes the listener down to the river’s edge and from there we’re on a journey into gorgeous, Nancy and Lee-style balladry with Roses, which is a duet with guest vocalist Veronica, who sounds like Nico; and then plunged into cinematic psych-rock, with the first single, Hello Stranger.
The sublime I’m Still Here is laced with late-night pedal steel by Chris Hillman (Billy Bragg, Ethan Johns), while The Hollywood Sign recalls vintage Neil Young, The country-folk of You Can Help Me, featuring James Walbourne (The Rails, The Pretenders) on guitar, also mines ’70s Laurel Canyon, with its Crosby, Stills & Nash three-part harmonies, and the chilled-out, optimistic Morning Sun sees Nev leaving the darkness behind to embrace a brand new day… “Here I am, back in the game,” he sings, over a warm backing of simple acoustic guitar and tinkling piano.
In an exclusive interview, Say It With Garage Flowers quizzes him about the making of the new record…
Q & A
This album is a lot mellower and much lighter than its predecessor, Broken Flowers. You sound more contented on this record…
Nev Cottee: If you compare it with Broken Flowers, this album is easier on the ear – it’s less arranged and orchestral, and the songs are shorter. It’s more concise – the songs follow a traditional pattern. I wanted to get away from that Broken Flowers thing – I’d done that – and the songs just came that way. It was time to move on.
The four albums are a bit of journey – out of a relationship and reaching a promised land, a place of sanctuary. I had that idea in mind – the river’s edge is a place where everyone wants to be, whiling away the afternoon, as the water trickles by.
I’ve reached a plateau where I’m content, but that doesn’t necessarily create great art, does it? Let’s see… I can only do what I can do.
So how did you approach this record?
NC: In a way, I just wanted to make a Neil Young record. I was listening to Comes A Time, On The Beach, Zuma and After The Goldrush – that classic ‘70s Neil Young period.
Comes A Time is a really underrated album – it was a massive inspiration. Some of the songs aren’t finished on that record – on first listen, you think it’s a bit throwaway, but the songs are so good…
I wanted to do something that was acoustic-based and had a few piano songs – to take it into Neil Young territory, but, in the end, it didn’t end up like that, as other influences got in the way. Ultimately, what I found out is that only Neil Young can do Neil Young songs and I’ve got to do mine.
With Neil Young, it’s all about the voice. Obviously the tunes are great, but once you put his voice on them… It would be interesting to see what his songs would sound like with a normal range vocal on them. Would they be as good? Probably not – they wouldn’t be as unique, would they? Anyway, I digress…
Would you say River’s Edge is a concept album?
NC: It’s not a concept album – they always run away from you… There are those classic ones, where the mood is maintained and it’s a concise piece that all adds up, but, if you’re just writing songs, you have to restrict yourself if it’s going to be a concept album. In the end you just go off in several directions… It’s loosely based on a pastoral, bucolic idea behind the songs, but then you’ve got Hello Stranger, which is completely different to the title track… You’ve just got to follow each individual song to where it takes you.
Let’s talk about Hello Stranger. It’s the first single from the album. Ironically, it’s one of the moodier songs on the record. It sounds like it could’ve come from Broken Flowers, with its cinematic, psych-rock feel…
NC: Yeah – I had a few two or three tracks that were quite acoustic and piano-based, but I wanted a few songs that we could go for it on and get the electric guitars out! In the end, I lost a couple of them because they didn’t sit well on the album – they’re in the vaults, so I might drag them out.
Hello Stranger really worked – I love it. It’s one of my favourite songs on the album. I like the lyric – it explains the moving on from Broken Flowers – it’s all about the past fading away and all those memories becoming less intense…
I think the song has real power. We got the guitar nailed on that – we were taking inspiration from Neil Young and trying to channel him. The guitarist is Alex Foote, who played on the last album. He’s American and a friend of Mason Neely’s – he just gets my thing.
Nick McCabe from The Verve played on the album sessions. Is he on the record?
NC: He’s on the two tracks that I dropped – he did some amazing stuff, that was classic McCabe, but he’s not on the album. I’ve spoken to him about doing some gigs – he’s always up to something. Fingers crossed – that could be one for the future. Get him up on stage and see what happens. Watch this space.
‘The river’s edge is a place where everyone wants to be, whiling away the afternoon, as the water trickles by’
Earlier, you mentioned the pastoral and bucolic feel that some of the songs have. You live in a city – Manchester. Are you a country boy at heart? Was this album a deliberate reaction to your urban living?
NC: It definitely was. I’ve lived in Manchester for 20 years on and off. I’ve had enough of the city – I think it’s an age thing. The city is a young man’s game – I want to get out. I don’t really go out much – I do like the hustle and bustle of the daytime, but more often than not, when it’s a decent day, I get out of Manchester. It’s a very dark, foreboding and shadowy city – you’ve got to get on a bus or a train and get out of there. I’m a child of nature – I’ve got a garden and I love going walking in Derbyshire. It’s definitely more of an inspiration at the moment, but who knows?
You wrote some of Broken Flowers while you were in India. Where did you write this album?
NC: In Majorca and in my garden, which is out of town [Manchester] – there’s no river there, but that’s my equivalent place. I like playing the guitar outside – it’s different from strumming in a room and you get the birds singing. A lot of the songs were written out in the open, so maybe that was an unintentional influence.
‘Manchester is a very dark, foreboding and shadowy city – I want to get out. I’m a child of nature’
Let’s talk about some of the songs on the album… Nightingale opens the record. It’s gorgeous and has a late night, Tom Waits feel. I love the brass and the piano…
NC: Yeah, Tom Waits, as well as Neil Young, is a massive influence. There’s a triple album he did called Orphans: Brawlers, Bawlers & Bastards. For me, it’s one of his best albums. The Bawlers part of the album is up there with anything else he’s ever done – there are some stunning tracks on there – loads of outtakes that he had never released. I always listen to it late at night. I kept listening to it and listening to it. He’s one of the great songwriters. I wanted the opening song to set the scene and take you down to the river’s edge, with the moon, the nighttime and birds singing.
Roses is one of my favourite songs on the record. It’s a duet with a mysterious girl named Veronica and it reminds me of Lee Hazlewood and Nancy Sinatra. I also think the female vocal sounds like Nico…
NC: Roses is going to be the second single – a 7in on Wonderfulsound. I was going to get Tess Parks to sing on it. She did a vocal on an early incarnation of the song, but it didn’t have the right flavour. I befriended the mysterious Veronica, of whom we know very little, other than that she is a Nico-inspired chanteuse from Madrid. I got her to sing on it – it’s a really delicate, sweet vocal. I really like the juxtaposition. It’s the first time I’ve done a duet, but there maybe more to come from Veronica…
I’m Still Here is a country song and features Chris Hillman (Billy Bragg, Ethan Johns) on pedal steel…
NC: This was originally supposed to be a Dylanesque jazz boogie like Spirit On The Water [from Modern Times]. We had a nice version and then Chris Hillman got his hands on it and ruined it! Hah! No – he slowed it all down and did an amazing version that was even better. It’s lovely and it’s a great performance – the best one on the album.
The song The Hollywood Sign mentions ‘prairie wind’ in the lyric. Is that a nod to the Neil Young album and song of the same name?
NC: It’s my homage to Neil Young – it also has a Crosby, Stills & Nash Helplessly Hoping vibe, with the guitar picking. It’s a nod to the great man, Neil Young – everyone goes on about Dylan, but if you look at Neil Young’s back catalogue, he’s definitely the greatest rock ‘n’roll singer-songwriter there is. No one else has written a song like Old Man and a song like Like A Hurricane – a well-crafted country tune and a rock ‘n’ roll song with amazing wig-out guitar.
‘I befriended the mysterious Veronica, of whom we know little about, other than that she is a Nico-inspired chanteuse from Madrid’
You Can Help Me has a Neil Young and Crosby, Stills & Nash feel, too, and James Walbourne (The Rails and The Pretenders) plays guitar on it…
NC: I wanted to get that Crosby, Stills & Nash three-part harmony. James was playing in Manchester and he managed to whack an overdub down. I’d love to do something live with him, but he’s the busiest man in showbiz – he’s in about 40 bands! Let’s see, eh? One day…
You’ve been working with some great musicians recently….
NC: You’ve got to search out the great players – Hillman, McCabe and Walbourne… That’s not a bad line-up, is it? We need to get a supergroup off the ground and call it Hillman, McCabe and Walbourne – keep it old school.
You recorded the album in Manchester in two weeks. How were the sessions?
NC: I had the demos for quite a while. I’m quite meticulous, in that I’ll demo, then I’ll do another demo and fine tune it… I keep going, crafting it… I sent the songs to Mason and he said we had two weeks to do it – 9 to 5, clocking in. We worked throughout the day, drinking loads of tea – we worked really hard, we kept it real and we got a lot of stuff done. We did it at Vibe Studios in Manchester, which is owned by Martin Coogan [The Mock Turtles], who’s a mate of mine. It’s New Order’s old rehearsal room and Doves used to rehearse there, as well. It was great – Mason is a grafter and I trust him implicitly in that he will know where to take a song. That’s the job of a great producer – to make suggestions, throw you ideas and see if you can do them. The man came up with the goods.
What are your plans for the rest of the year? Any gigs?
NC: Yes – there will be gigs. I’m hoping to play Glasgow, Liverpool, Manchester and London. There’s a gig in Madrid lined up and I think I’m going to go to Paris.
You contributed to the recent Monks Road Social album, Down The Willows, – singing a Dr Robert [The Blow Monkeys] song called Still Got A Lot To Learn. Any more collaborations in the offing? How was the Monks Road Social project? The album has a lot of great musicians on it, including Matt Deighton (Mother Earth), Dr Robert, Steve White and Mick Talbot (The Style Council)…
NC: They’re a good crowd – all really nice people. We recorded it in Wales, in Monnow Valley Studio and I’ve also done another song with Dr Robert – he sent it over and I added the vocal. I don’t know what the plan is with that yet. I think there’s going to be another Monks Road Social album and there’s talk of doing a gig with guest singers. Robert’s great – it’s kind of weird, having grown up in the ’80s and seen him on Top Of The Pops. He’s a genuinely talented, warm and nice geezer.
What music are you listening to at the moment, old and new?
NC: Good question. I was listening to Aldous Harding the other day and getting into that. I’ve been listening to a lot of Gruff Rhys – he never gets the credit he deserves, does he? His last album [Babelsberg] was brilliant. I’ve also got into Kurt Vile’s last album [Bottle It In] and Kevin Morby, and I got into a bit of Joni Mitchell recently. Also, check out Matthew Halsall – a jazz guy from Manchester. He’s good.
Finally, you’re stood at the river’s edge – do you jump in?
NC: Never jump in – you don’t know what’s in there. It could be dangerous. For me, it’s safety first, fun later. I’m a side of the river guy – I’m sat there watching and listening. I’m not one of those wild swimmers. You won’t catch me naked in a river.
River’s Edge by Nev Cottee is released on June 7 on Wonderfulsound.
Q & A
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