‘I didn’t want this album to be an easy listen…’


Manchester singer-songwriter Nev Cottee’s new album, Broken Flowers, is his best yet. His darkest record to date, it was written in the aftermath of a failed relationship. 

Nev’s rich, baritone voice – think Lee Hazlewood and Scott Walker – is backed by lush, cinematic strings and the album moves from twilight country music to bluesy psych-rock and spacey, hypnotic grooves. 

I spoke to him about writing songs in India, ’70s drum sounds and descending into madness, and asked him if this album is his Blood On The Tracks

How the hell are you?

Nev Cottee: I’m good and I’m excited to get this album out, as the process seems to have taken a while. The record was finished in November last year and has been delayed due to record label stuff, artwork and admin. It was frustrating not to get it out earlier, but now it’s out, I’m completely happy. I’d rather do an album every year, because I seem to be able to write that many songs. Back in the day, bands would do it – The Beatles and The Stones and The Beachboys – put out an album every year and a few singles that weren’t on the album.


I think Broken Flowers is your best album yet. Do you agree?

NC: Yes – I do. It’s a more consistent record. The album was intended to be a unified whole. It’s not a concept album, but it’s got themes. I wanted to take the listener on a journey. Where that journey begins and ends, I have no idea…

When you released your last album, Strange News From The Sun, two years ago, I said that the first single, If I Could Tell You, sounded like Lee Hazlewood on a space walk. This time around, I’m saying that your new single, Open Eyes, sounds like Lee Hazlewood hanging out in Cafè del Mar. This joke’s going to run and run, isn’t it?

NC: Lee Hazlewood hanging out in Cafè del Mar? I’m always going to have the same voice – that can never change – so I’m always going to be coming at it from a Lee Hazlewood kind of angle. The sound of it does have a bit of modernity – that Cafè del Mar thing. Incidentally, I was on a Cafè del Mar compilation album, so I’m just awaiting my private jet to be sent over, so I can do a six-month residency in Cafè del Mar. I’m still waiting on that email…

Open Eyes is very chilled-out. It’s one of the lighter songs on the album and has a country feel…

NC: Open Eyes has got the wonderful Chris Hillman playing pedal steel on it – he’s a fantastic musician and a great lad. I was very lucky to have him play on one of my albums again. I’ve played with a lot of musicians and Chris is the best. He’s so intuitive and a born natural.

Initially, the song was influenced by Neil Young’s Harvest Moon. I was listening to some of the amazing songwriting on that album, which is very simple – some of the songs have two chords. Neil Young is fantastic at creating a mood with very little. Two chords, an acoustic guitar, a pedal steel, a light drum sound and his voice. He creates a whole world out of some very basic elements.

I wanted to keep it simple, but to evoke something – you don’t need a lot to make it sound special.

Open Eyes sets the tone for the album, without going too dark early on. It’s a twilight moment that lets you know that you’re going somewhere – the sun’s setting and you’re going to be in for a dark ride. There’s still an element of sanity that you can hold on to before you plunge into the next track, which is quite dark and foreboding and has a deeper meaning.

‘I wasn’t interested in writing verse, chorus pop songs. I wanted to delve into the songs a bit more, indulge myself and see where they went’

Let’s talk about the sound of the album. It’s a very dark record in places…

NC: I didn’t want it to be an easy listen – that was a conscious decision. I wanted to make the listener have to work – I wasn’t interested in writing verse, chorus pop songs. I wanted to delve into the songs a bit more, indulge myself and see where they went.

Me and Mason Neely, who produces my albums, made a very conscious decision for this album not to sound like a ’60s record, which my second album did – it was aping Lee Hazlewood, Scott Walker and a few other choice references.

For this album, we got a very, tight and clean ’70s drum sound. I’m not a big Fleetwood Mac fan, but it was that kind of drum sound – you hear it on modern recordings by Beck, who uses it quite a bit. It’s a cool sound and it was Mason who brought it to the table. We instantly felt that it would change the whole sound of the album. Saying that, there aren’t a lot of drums on the album, but the sound infused the feel of it.

I wanted to make a modern record.Yeah – it has elements of the ’60s and the ’70s, but there are also a lot of synthesiser sounds and strings. It’s not completely modern or completely retro – I wanted to leave it open. It’s sat in a weird place and I’ll let the listener decide where that place is.

What was the writing process for the record? How did the songs come about?

NC: I was out in India for four months. I set aside time to write and demo the songs. Looking back, it was an amazing time. I was able to get so much work done there. It was a beautiful place to be – there were no distractions. I was leading a nice life and the weather was good. It gave me the distance to reflect on things and some of the stuff that I wanted to write. I was coming out of a relationship with the person I thought I was going to be with for the rest of my life – the rug got pulled from under me. Everyone’s been there and it’s a bit of a clichè to write about it, but I felt I had to do something to get it off my chest. I wanted to explore what that meant. It was more lyrically-based than I’ve previously looked at things. I was spending a lot of time thinking about the lyrics.

When I came back from India, I went to Mason’s studio in Cardiff – I used a lot of the musicians I’ve used before, but they were supplemented with a lot of string work by friends of Mason’s. There were some amazing viola players and cellists. We made a decision to use real strings. You can get away with a lot on the computer, but these songs were too good to not use the real thing.

What were your musical influences for this album?

NC: I was listening to a lot of Tom Waits while I was away – I went through his entire back catalogue very slowly, which was an amazing journey. He’s a genius – all those different phases of his career, of which I think the latter period – like Dylan – stands up against – and even betters – some of his earlier work. The Waits album Brawlers, Bawlers and Bastards, which is a triple album, was a major influence – and also Blue Valentine.

He writes confessional songs with a great lyrical turn of phrase. I can only dream of getting near what he achieved.

Leonard Cohen’s last album was a revelation and I was also listening to Mark Lanegan’s covers album Imitations, which is brilliant.

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You mentioned Dylan earlier. Is Broken Flowers your Blood On The Tracks? Most of – if not all – the songs on the album are about the end of a relationship…

NC: I guess it is. Looking back, it was a long time ago and things move on, but I had to document it. it. You’ve got to write about what’s happened in your life and in the world and explore those themes, otherwise you’re just writing about nothing. I wanted to go deep and explore what it meant. Without sounding too pretentious, I was reading Baudelaire and I’ve quoted some of his poems on the back of the album cover – it’s about looking at the darker side of the human condition and what that means. When you’re truly alone and what you can do with what you have. Do you descend into madness? On some of the tracks, I’ve tried to mirror that anguish and inner turmoil that you go through. I hope that’s reflected in the songs that appear later on the album – it’s a descent into abstract madness, when everything’s turned upside down.

The track I’ll Sleep When I’m Dead is stunning – a big, melancholy song, with sweeping, dramatic strings. Richard Ashcroft would kill to have written it.What’s the story behind it? It seems to deal with the death of a relationship and also finds you and the song’s other protagonist listening to Prince… 

NC: I wanted to write a song with a disjointed story – not a narrative – that was completely non-linear and confused. When you do split up with someone, you question everything and you lose your grip and all your bearings. Your take on reality seems to go out of the window, yet you still have moments of clarity when you remember conversations and situations.

Be On Your Way is another moody, orchestrally-aided song. It reminds me of Richard Hawley’s last few records. The big, bluesy electric guitar solo is awesome! Is that you playing it?

NC: It’s not me playing guitar – I wish I could play like that. It’s a guy called Alex Foote, who’s a friend of Mason’s.

What were you channelling with that song?

NC: It’s a straightforward melody – Hawley is a good reference and he will always be an inspiration, but I was looking more to Serge Gainsbourg and trying to tap into that Histoire de Melody Nelson vibe. We got into a groove where we wanted to take it musically into a bit of madness – so you can drift away. It builds and builds into a beautiful, confusing mess.

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Tired of Love is an epic – almost nine minutes. The wonderful, haunting arrangement reminds me of John Barry or Ennio Morricone – it has a cinematic feel. What can you tell me about that song? 

NC: For me, that was the big one for the album.The whole album was moving towards it – it’s the culmination of the journey. I said to Mason, ‘it’s a simple song, but we’ve got to make it go from nothing to everything’. It’s tapping into a hypnotic vibe that you get with some dance music – you lose where you are in the song. It’s a repetitive psych vibe – I wanted it to confuse people. You start hearing weird noises – maybe the noises are there, or maybe they’re just in your head. We spent a lot of time making that track – I’m really proud of it. Mason’s string arrangement is absolutely phenomenal.

You’ve also been moonlighting as a DJ on Soho Radio, with your own monthly show. I’m really enjoying it – you play some great, eclectic tunes, there are seasonal themes, gardening tips and also advice on birdwatching and flora and fauna. Is it fun to do?

NC: I love doing the radio show and the interaction – there’s nothing better than turning someone on to a record. It brings me a lot of joy. Soho Radio is a great station – they let me just get on with it and do what I want to do. I’ve got mates who do shows on it. Everyone should check it out.

Any live shows coming up?

NC: I’m playing in Liverpool on May 27 and then I’m DJing at Spiritland in London on May 28 – that’s an album playback. On June 9, I’ll be playing at The Deaf Institute in Manchester – that’s the album launch – and Lee Southall, who used to be in The Coral, will be supporting me. There will also be Aficionado DJs – it will be a great night. All are welcome.

Finally, what’s on your hi-fi at the moment?

NC: The new Mac DeMarco album – This Old Dog –  is superb – well worth checking out – and Mark Lanegan’s new album, Gargoyle, is great. I’m spinning that.

Nev Cottee’s Broken Flowers is released on May 26 on Wonderful Sound.

For more information visit : https://wonderfulsound.bandcamp.com/album/nev-cottee-broken-flowers


Sweethearts of the Rodeo


CarouselsWhat is it about Scottish guitar bands and their love of The Byrds?

From Teenage Fanclub to Primal Scream, Cosmic Rough Riders, BMX Bandits and Whiteout, there are plenty of acts – past and present – from north of the border that owe their existence to Roger McGuinn and co’s Rickenbacker-led jangle-pop.

To that list we can add The Carousels, who hail from the town of Keith in north east Scotland.

On the band’s gorgeous second album, Sail Me Home, St.Clair – out now on Sugarbush Records – it’s largely the sound of The Byrds in 1968 that The Carousels have, er, taken under their wing. It’s clear that they’ve been seduced by Sweetheart of the Rodeo – the seminal country-rock album that The Byrds released when Gram Parsons joined their line-up.

Lap steel and pedal steel are the order of the day – opening track, the jaunty Josephine sounds like The Beachboys’ Barbara Ann slowed down and reinvented as a rolling country blues song.

Lord Speed My Hurricane has echoes of vintage Neil Young (and not just in the title), but adds some fiddle, while Lake Eloise doffs its cowboy hat to The Flying Burrito Brothers.

There’s a ’60s folk-girl-pop feel to Little Darlin’ – it could easily have come from Nico’s Chelsea Girl – while New Morning (which shares its title with a 1970 Bob Dylan album) is cosmic Americana, and the travelogue lyric of By Your Side mentions the Nashville skyline – another Dylan reference.

Sail Me Home, St. Clair is a wondrous voyage – like taking a trip upon a magic swirling ship…kontiki suite.jpg

Also out on Sugarbush Records this month is another record that owes a large debt to The Byrds. Available on vinyl for the first time, On Sunset Lake is the 2013 debut by Kontiki Suite, who come from Carlisle.

Living on the outskirts of the Lake District has rubbed off on songwriter Benjamin Singh – the album’s first track, Down By The Lake, is shimmering and beautiful – a sunset soundtrack, with haunting lap steel guitar.

Watching Over Me is blissful jingle-jangle pop, while on the yearning Hollywood, Singh is [California] dreaming about being part of the LA scene.

See You in the Morning takes a trip into the psychedelic country-rock territory that The Byrds explored on The Notorious Byrd Brothers, and In My Head has some great, acid-fried, electric guitar solos.

The album ends in a magnificently mystical fashion with the raga-rock epic Magic Carpet Ride.


Fellow Byrds lovers GospelbeacH  – the US outfit formed by ex-Beachwood Sparks member Brent Rademaker – can also be found hanging out in the desert. In fact, the opening song on their second album, Another Summer Of Love (Alive Naturalsound Records) is actually called In The Desert, although, strangely,  it references The Jam’s In The City.

Another Summer Of Love is a record that’s in love with ’70s FM rock and it sounds like it was great fun to make. It’s full of killer power-pop tunes (Hangin’ On, (i wanna see u) All The Time and California Fantasy) – Rademaker is a huge fan of Cheap Trick and The Cars.

There’s also a Tom Petty sound-a-like song (Strange Days) and a glorious country-rock track called You’re Already Home, with some tasty, twangy guitar licks and groovy flute sounds.

The album features keyboardist Jonny Niemann playing a Mellotron that was used by rock band America on their ’70s recordings. You can clearly hear it on the big ballad I Don’t Wanna Lose You, which would sound great drifting out of a car stereo while driving along the Pacific Coast Highway.

Another Summer Of Love is here – it’s time to soak up some California sunshine.


Sail Me Home, St.Clair by The Carousels and On Sunset Lake by Kontiki Suite are both available now on vinyl from Sugarbush Records.

For more information, please visit:



Another Summer Of Love by GospelbeacH is released on Alive Naturalsound Records on June 15 – vinyl/ CD and download







The power of good


Things may be seriously amiss in the corridors of power, but, thankfully, all is well in the world of power pop. In fact, it’s in rude health.

If you need proof, look no further than some of the latest releases on UK vinyl-only label Sugarbush Records and Spain’s You Are The Cosmos.

If you’re unfamiliar with Sugarbush’s output, then a good place to start is the new compilation album, A Spoonful of Sugarbush – a 13-track sampler LP that brings together a whole bunch of tracks by various artists that are otherwise unavailable on vinyl.

Limited to only 300 copies – 150 on green vinyl and 150 on red – this is an essential collection of hook-laden, retro guitar pop.

There’s no messing about – things get off to a great start with the jangly Stormy Skies and Starry Nights by Caddy from Norway, which reminds me of classic Teenage Fanclub.

It’s hard to pick out highlights, but here are a few: Algernon by Detroit’s The Hangabouts – essentially, Fountains of Wayne doing psych-pop; Ticket With No Return, by English act The Orgone Box – think Revolver-era Beatles – and the irresistible Take It From Me by US singer-songwriter Chris Richards.

Sugarbush Records’ head honcho, Markus Holler, has even included one of his own tracks on the album – a perk of the job, eh? – and it’s a belter – the Cotton Mather-esque Little Pretender.

And all of those songs are only on side one… Flip it over and you get the swirling, psychedelic sounds of Maladantive Solution and Green Pajamas, and the Future Harmonies’ faithful rendition of the theme tune from ‘70s sitcom Whatever Happened To The Likely Lads?

There’s no doubt about it – A Spoonful of Sugarbush is just the thing to help the medicine go down.

And as if that’s not [Matthew] sweet enough, Spanish label You Are The Cosmos has also recently served up some delicious power pop treats.

King Without A Throne by David Brookings is a 12-track Best Of collection on vinyl that includes material from all seven of the US singer-songwriter’s albums released between 2000-2016.

Opener Time To Go is hugely hummable and high on harmonies, the title track is a big, mid-paced, radio-friendly ballad about being dumped – it sounds like it should be on the soundtrack of a romcom or a teen angst movie – the country-tinged Tough Crowd is an ode to playing to unreceptive audiences, and The Greatest Songwriter No One Ever Heard is an anthem for frustrated, undiscovered musicians everywhere.

Funnily enough, Ronnie D’Addario – whose Best Of 1976-1983 LP is also out now on You Are The Cosmos – could be the greatest songwriter no one ever heard.

He’s the dad of brothers Brian and Michael D’Addario, from New York hipsters The Lemon Twigs, and sublime Beachboys and Beatles-inspired pop is his specialty. And there’s plenty of it on offer on this classy 12-track compilation.

The piano-led I’m On To Something is pure McCartney and the gorgeous Falling For Love is a ballad that sounds like it was found buried in Brian Wilson’s sandbox.

Ronnie’s three studio albums – Take In A Show (1976), Falling For Love (1981) and Good For You (1983) are also available in a three CD box set on You Are The Cosmos.

Finally, also out in power-pop land this month – on Buchipluma Records – is Fear The Summer – the third album from one-man band Colman Gota, the former member of Madrid-based act Insanity Wave.

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Colman Gota

The record is co-engineered by Mitch Easter (R.E.M and Velvet Crush), and as someone who suffers from a fear of summer, I was particularly drawn to the superb title track, which kicks off the album with a howl of guitar, before letting loose with a chugging rhythm, spacey New Wave sounds and some serious organ, like Elvis Costello and The Attractions doing fuzz-pop. It’s going to be my anti-summer soundtrack.

Call It Quits, What You Want Me To Be and Make A Stand – which is driven by a cool bass groove – are gloriously defiant, power-pop anthems.

In the press release that accompanies the album, Colman says: “Should you still be rocking in your forties? Yes, you should.”

He adds: “These days you have the feeling, that society condemns you to solitary confinement if you are not young and beautiful and if you don’t comply with some unwritten rules. Well it’s time to rebel against all that…. or write a great song about it.”

With Fear The Summer, he’s written a whole bunch of ‘em. More power to him.


For more information on all of these records – which are out now – please visit:







‘I’ve always enjoyed revenge…’ [Martin Rossiter – February 1999]

Back in early 1999, Gene were about to release their third studio album, Revelations – their most political record yet.  When I spoke to frontman Martin Rossiter, he was feeling betrayed by Tony Blair and New Labour and out for revenge…

Gene’s thumping new single, As Good As It Gets, is a brutal attack on Tony’s Blair’s New Labour.

Over thundering piano, Hammond organ and in-yer-face guitar, frontman Martin Rossiter sings: “We’ve been bought, we’ve been sold, but at least we’re not old. When red became blue, hope denied – our dreams swept away with the tide.”

As the National Health Service fails to cope with the influx of OAPs suffering from flu and has to create makeshift mortuaries to deal with the ever-growing number of fatalities, the song is more relevant than ever.

It’s also the first single from Gene’s third studio album, Revelations –  a record which has far more of a political agenda than the group’s previous releases. Several of the lyrics deal with Blair’s failed promises and highlight that New Labour has well and truly sold us down the river…

“It’s a record that’s not afraid to speak its mind,” says Martin, adding: “but there’s more to it than that. The important thing to remember is that there are other songs on the record, but, certainly, politics is something we’ve never been afraid to talk about.”

Indeed. Last year, Martin cropped up on the BBC’s Newsnight, taking part in a political debate.

“Yes,” he says. “I’m just a media whore.”

‘I’m like Santa Claus armed with a machete’

Two of the songs on the latest album Mayday and The British Disease – are calls to arms that urge us to recognise the new enemy, rise up and storm the gates.

“Both of those songs are perhaps lyrically more optimistic than As Good As It Gets – they’re saying that change can be created,” says Martin. “I have my own little army of helpers. I’m like Santa Claus armed with a machete!”



Revelations is an album which attempts to capture the dynamic, punchy sound of Gene playing live. It’s definitely more ballsy than its predecessor, Drawn To The Deep End, but it still veers between the band’s trademark, swaggering indie-rock anthems [Mayday and In Love With Love] and epic ballads [You’ll Never Walk Again and Angel]. 

On some songs, Martin seems to possess more vigour than ever before, such as the wonderfully-titled The Police Will Never Find You, in which he, shockingly, threatens to take a Stanley knife to someone’s face and smash their kneecaps with a hammer!

“Aren’t I awful?” he says, coming over all Kenneth Williams. “There’s always been a little bit of grit and gristle in my lyrics. I’ve always enjoyed revenge and I’ve always enjoyed imaginative uses of bicycle D-locks.”

One of the highlights of Revelations is Fill Her Up. It celebrates the joys of drinking and contains several bizarre musical influences, including rockabilly, Cossack chanting and El Mariachi brass.

“It’s a Polish-Mexican hybrid,” says Martin. “It’s a very geographically confused song – it doesn’t know where it fits in. If you get a map of the world and plot out the various influences, you actually end up in Slough.”


Revelations was recorded at Rockfield Studios, in Wales – the home of the piano that Queen’s Freddie Mercury played on Bohemian Rhapsody.

“It still has the stains to prove it, ” says Martin.

So did he use it on the new album?

“What? The stains or the piano? The piano is all over the album – all the piano that you hear has Freddie’s sweat on it.”

‘The piano you hear on the album has Freddie Mercury’s sweat on it’

Can we expect Martin to be sitting behind the old Joanna when Gene head out on tour later this month?

“No, because I don’t want to become Bruce Hornsby – that’s a frightening thought.”

Gene are a band who are in their element when they’re playing live…

“I’m always amazed why people are surprised by that,” says Martin. “They come along and they think, ‘oh my God, instead of whipping out poetry, you’re more likely to whip out your nob!”

It’s fair to say that Gene haven’t really achieved the critical acclaim and commercial success that they so richly deserve. How does Martin feel about that?

“We’re human and we want to be successful. Our drummer, Matt, has his little dream of being able to walk out at Walthamstow dog stadium.”

He adds: “We like the songs – we love them. After a while, they cease to become ours and they exist independently of us. We want them to do well.”

So will Gene be able to survive in this current, post-Britpop climate?

“I think there’s life in the old dog yet,” says Martin.

What does he ultimately want to achieve with the band?

“I’d like to lead them and make them realise that I’m far more important than they are. I’d like to rule them with a rod of iron.”

The original version of this article was first published in Splash! magazine in February 1999.




‘I’m not a fan of streaming. As a music fanatic, I would prefer people to buy records and CDs…’


Singer-songwriter Daniel Wylie, who was formerly frontman of Glasgow jangle-popsters Cosmic Rough Riders, has recently released a vinyl-only compilation album, Best of The Solo Years (2004-2014), on Spanish label You Are The Cosmos.

As the title suggests, it brings together some of the highlights from his solo career, including the irresistible, Byrds-like Consoling The Girl, the gorgeous, unabashed love song That Was The Day, the folky strummer Brighton Beach, uptempo space-rocker Unwind and the jaunty Car Guitar Star, on which Daniel takes a swipe at those people who steal music rather than pay for it… 

It’s a superb collection that is soaked in ’60s California [melodic] sunshine pop and recalls the chiming, 12-string sound of R.E.M, Teenage Fanclub and, of course, Cosmic Rough Riders – some of the tracks were penned for Daniel’s old band, but ended up on his first solo album, 2004’s  Ramshackle Beauty.

I spoke to Daniel, who’s off to record his brand new studio album, Scenery For Dreamers, this month, to find out the stories behind some of the songs…

Why did the time feel right to put out a new solo compilation album?

Daniel Wylie: It was the label’s idea [You Are The Cosmos]. They wanted to release a compilation focusing on the albums I released under my own name, rather than my Cosmic Rough Riders releases.

I hadn’t released a compilation album for eight years, so it felt like a good time to remind people that I’m still recording and releasing albums on a regular basis.

This Best Of… is my twelfth album release, counting Cosmic Rough Riders and solo records, since 1999. That’s a lot of music…

How hard was it to choose which songs went on the record?

DW: Pedro Vizcaino, who owns You Are The Cosmos, presented me with a track listing of his choice. I had a look at it and pretty much agreed with the songs he’d chosen…although I did insist on The Cello Player and Everything I Give You being on there.

When I released the last compilation, I got some interesting feedback from fans who were disappointed that I left off one of their personal favourites. I’m getting some similar feedback again with this new compilation, but you can’t please everyone.

The album is available on vinyl only. Why did you choose to release it in that format?

DW: I’m a big fan of vinyl, but because of the dominance of the CD era, much of my music never got a vinyl release. This was a good way for me to get more of my music out on vinyl. The artwork’s bigger and more aesthetically pleasing. I’m getting old and I can’t read the tiny text on CDs now…

The album has been released under license by Spanish label, You Are The Cosmos. Why have you teamed up with them? 

DW: I own the rights to all my own music, which means I get to choose whom I do deals with. It’s a good position to be in.

You Are The Cosmos released my last studio album, Chrome Cassettes, and they did a great job, so when they approached me with the compilation idea, I was happy to get involved with them again.

The label is a labour of love and Pedro Vizcaino is passionate about music. His enthusiasm rubs off on you and you want to be a part of what he’s doing. It’s a very cool label with a growing reputation for releasing quality music.

Let’s talk about some of the songs on the album. Opener, Consoling The Girl, is one of my favourite tracks. What’s the story behind it? It’s classic jangle-pop / country-rock and it’s very Byrds-like…

DW: That song is partly about the trials of separation – having to go away on tour and leave behind the ones you love.

Cosmic Rough Riders toured constantly. In fact, one year I was only home for 16 days and I really missed my wife and children.

I wrote Consoling The Girl for what was to be the follow-up to Enjoy The Melodic Sunshine [Cosmic Rough Riders’ third album]. When we were in Japan on tour, I played a bundle of my new songs to the Sony Music execs and they were all saying that Consoling The Girl sounded like a single – that and Unwind.

Car Guitar Star is a message song – it deals with the subject of people stealing music and ripping off musicians. What’s your current view on that issue? You’re not a fan of Spotify, are you?

DW: I would prefer people to buy records and CDs. As a music fanatic, I want the lot – the great music, the beautiful artwork… I want to read who produced, engineered and mixed the album and who wrote the songs. I want to read the lyrics of the songs while I listen – it’s a whole experience that shouldn’t be allowed to die out. A file is nothing and MP3 sounds terrible, too.

I’m not a fan of streaming. I understand that it makes it easier for people to listen to music on the move, but until it pays artists and songwriters a proper royalty rate, then it’s not something I would promote as a good idea.

It might be that one day, streaming services will offer good financial rewards for the music they use, but, at the moment, they’re giving your music away for free in the hope that someone might turn up at your gig, or buy a T-shirt.

Another one of my favourite tracks on your new album is Brighton Beach. Funnily enough, I saw Cosmic Rough Riders play in Brighton – on the beach – at The Concorde 2, back in 2000. If I remember correctly, you played the song Brighton Beach in your set that night. It eventually came out on your 2004 debut solo album, Ramshackle Beauty. What can you tell me about that song?

DW: I wrote Brighton Beach as a B-side for The Pain Inside single [by Cosmic Rough Riders], but decided it deserved better than B-side status.

To be honest, I think the tune is great and the harmonies in the end section are maybe the best I’ve done in any song, but there’s only one line of the lyric that actually says anything… “everybody wants something – that’s the way of the world.” The rest of the lyrics are just rubbish.

That gig you speak of at Brighton Concorde 2…That day I had planned to take a guitar on to the beach and sing the song to the first pretty girl I saw…that was until we stepped out of the tour bus and felt how cold it was outside. There was no one on the beach…

Let’s talk about something happier. That Was The Day, which is on your new album, is a very pretty love song and the lyric mentions ‘that record by January’ – [I Heard Myself In You]. January were label mates of Cosmic Rough Riders when you signed to Alan McGee’s Poptones, weren’t they?

DW: I love that January album. It was my chill-out album on tour. I used to listen to it in the dark in my hotel room every night before going to sleep.

I intentionally wrote a song where I could fit that into the lyrics – that song was That Was The Day. There’s a funny thing about That Was The Day – four different couples have used it as their wedding song, but the song is about meeting my wife. It’s sentimental, I know, but what can I say – the day I met her was the single greatest day of my life.

January made a second album called Motion Sickness. It’s not bad, but it’s not as good as their first…


How do you feel about those days when you were signed to Poptones? Looking back on them now, do you have good or bad memories? 

DW: Poptones was a great label and it was amazing to be a part of it. There were some great people involved in that label and of course working with Alan McGee and Joe Foster is as good as it gets. It’s just a shame it didn’t last longer.

Maybe if I’d stayed in Cosmic Rough Riders and we’d released the follow-up to Enjoy The Melodic Sunshine, things could have been different, as we were definitely on the rise.

We were the second biggest selling act on the label after The Hives and there was a big interest in what we would do next…then I left the band. A lot of people were angry with me and I can see why, but it’s never been about money for me.

I knew I would be selling less records and making music on a low budget and with a much lower profile, but at least it would be on my own terms without interference from people I couldn’t connect with musically – not the folk at the label, they were all great.

I’m proud of every album I’ve released since. I also loved some other bands on Poptones – Arnold were great and so were Oranger and Captain Soul.

Your latest studio album, Chrome Cassettes, came out in 2015. Are you working on a new record? What can we expect and when will it be out? Have you written any new songs recently?

DW: I begin recording a new album on February 9 – it’s going to be called Scenery For Dreamers.

There will be 10 songs on the album – seven full band tunes and three acoustic-based songs. Once I’ve got that album out there, I will be recording an acoustic album called I Am A Golden God.

I have 22 songs almost written for the acoustic record. I’m hoping that 14 or 15 of them will make it on to the album. By then I’ll be 60 years old and thinking about retiring, at which point my wife starts laughing…

Will you be playing any live shows this year?

DW: I get offered gigs a lot, but to be honest, I can’t be bothered. I’ve toured the world and it kind of wears you down after thousands of gigs. If I got offered enough money to make it worthwhile, then I would tour, but I think that ship has sailed.

Finally, what music – new and old – are you currently enjoying? What can we find on your hi-fi?

I listen to music every day – it’s my one and only drug. I’m teetotal, so I don’t drink, smoke or take drugs… and I’m a better person for all of that.

Redspencer’s Perks is an album I’ve been listening to a lot recently. They’re from Melbourne in Australia and they remind me of Real Estate meets Blur – when Blur were great. I also love a guy called Bibio – his  A Mineral Love album and his Green EP are so beautiful and melodic – it’s shimmering music.

I also love The Goon Sax album – they’re Australian and include the son of The Go-Betweens’ Robert Forster in their line-up. They sound like early Orange Juice meets The Go-Betweens. I like Swiss duo Klaus Johann Grobe – they sing in German and have bits of Kraftwerk, Can and Neu! in their music, but they’re so tuneful and edgy, too…

I also love the latest Black Mountain album, Black Mountain IV, and American band Astronauts, etc – their Mind Out Wandering album is one of the best albums I’ve heard in years.

Other stuff: case/lang/veirs – beautiful country/folk-tinged music that’s ultra-melodic and mellow, Heron Oblivion, Bryan Estepa, The Junipers, Radiohead, Gregory Porter, Murals, Lou Rhodes – great acoustic folk, like Joni Mitchell with a deeper voice – and C Duncan. Both his albums are beautiful.

Daniel Wylie’s new album, Best of the Solo Years (2004-2014) is out now on You Are The Cosmos .

Copies are also available in the UK from Daniel Wylie: wyliebaum@yahoo.co.uk and Sugarbush Records.

Best albums of 2016


Uneasy listening was the musical genre that defined 2016.

The spectre of death loomed large over several of the year’s best albums, namely David Bowie’s Blackstar and Leonard Cohen’s You Want It Darker – both artists died in 2016, shortly after releasing their records – and Nick Cave’s Skeleton Tree, which, in places, dealt with the grief and sadness he felt following the death of his teenage son, Arthur, in 2015.

All three albums were masterpieces and highlights in their creators’ impressive back catalogues, but were difficult to listen to.

Songs such as Bowie’s vulnerable, jazzy Dollar Days – my favourite track on Blackstar – and Cohen’s twangy, twilight ballad, Leaving The Table, were undeniably beautiful, but eerily prescient.

I defy anyone not to shed a tear while hearing Bowie croon “If I never see the English evergreens I’m running to, it’s nothing to me”, or Laughing Len intone, “I’m leaving the table – I’m out of the game.”

When Danish soprano Else Torp duets with Cave on Distant Sky, her beautiful vocals could break even the hardest of hearts.

On a personal note, I had a difficult 2016, having to cope with illness, anxiety and family bereavements, so these three albums often suited my mood, but, strangely, I haven’t chosen any of them as my favourite record of the year.

I so nearly opted for another dark album as my top choice – Richmond Fontaine’s brilliant You Can’t Go Back If There’s Nothing To Go Back To – the final long-player from Willy Vlautin’s Portland-based, alt-country band who’ve now split up – but I didn’t.

Instead, I went for a record that always made me smile and cheered me up whenever I listened to it, thanks to its wonderful arrangements, sublime melodies and unashamedly retro vibe. 

My favourite album of 2016 is Over The Silvery Lake – the debut record from London’s The Hanging Stars. 

Released in March, Over The Silvery Lake was recorded in LA, Nashville and Walthamstow. It’s a gorgeous psych-folk-pop-country-rock record that owes a debt to The Byrds and the Cosmic American Music of Gram Parsons, but also Fairport Convention’s pastoral ’60s English tune-smithery.

It’s laced with pedal steel guitar and shot through with blissed-out harmonies. There are songs where willows weep and ships set sail on the sea, hazy, lazy, shimmering summer sounds  (I’m No Good Without You and Crippled Shining Blues), as well as brooding desert-rock (The House On The Hill], trippy mystical adventures (Golden Vanity) and, on the closing track, the beautiful Running Waters Wide, rippling piano is accompanied by bursts of groovy flute. 


The Hanging Stars

Earlier this year, I interviewed The Hanging Stars about the writing and recording of the album – you can read the article here.

The band have just finished making the follow-up and it will be released next year. I’ve already reserved a place for it in my Best Albums of 2017 list… 

Here’s a list of my favourite 35 albums from this year and a Spotify playlist to accompany it, where possible – some of the albums aren’t available to stream.

This year, I interviewed several of the artists featured, so I’ve linked to the articles below. Happy Christmas – all the best for 2017 and I’ll see you on the other side…

  1. The Hanging Stars Over The Silvery Lake
  2. Richmond Fontaine – You Can’t Go Back If There’s Nothing To Go Back To
  3. Nick Cave & The Bad Seeds – Skeleton Key
  4. Peter BruntnellNos Da Comrade
  5. Vinny PeculiarSilver Meadows
  6. David Bowie – Blackstar
  7. Leonard Cohen – You Want It Darker
  8. Iggy Pop – Post Pop Depression
  9. Ben Watt – Fever Dream
  10. Quiet Loner – The Battle For The Ballot
  11. Britta Phillips Luck Or Magic
  12. Nick Piunti Trust Your Instincts 
  13. Cotton MatherDeath of The Cool
  14. Robert Rotifer Not Your Door
  15. Papernut Cambridge – Love The Things Your Lover Loves
  16. Bob Dylan – Fallen Angels
  17. The Senior Service – The Girl In The Glass Case
  18. Cat’s Eyes – Treasure House
  19. The Jayhawks – Paging Mr Proust
  20. Teenage Fanclub – Here
  21. Wilco – Schmilco 
  22. Dr Robert Out There
  23. The Explorers Club – Together
  24. Cool Ghouls – Animal Races
  25. John HowardAcross The Door Sill
  26. The Junipers – Red Bouquet Fair
  27. 8 X 8 – Inflorescence 
  28. Ryan Allen & His Extra ArmsBasement Punk
  29. Primal Scream – Chaosmosis
  30. The Last Shadow Puppets – Everything You’ve Come To Expect
  31. Paul McClure Songs For Anyone 
  32. The Monkees Good Times!
  33. The Coral – Distance Inbetween
  34. Hurricane #1 – Melodic Rainbows [Japan only release]
  35. The Hosts – Moon

Power pop to the people


Here at Say It With Garage Flowers we’re massive power pop fans and we always get excited when we get to hear new releases by UK-based label Sugarbush Records, which specialises in rare and limited edition vinyl, including power pop, psych and cool ‘60s stuff.

Over the last few weeks, Sugarbush has really been spoiling us, so we thought we’d do a quick roundup of some of its latest records.

Detroit singer-songwriter Nick Piunti’s superb 2015 album, Beyond The Static, has been issued on vinyl for the first time – it’s limited to only 250 copies on blue vinyl.

We interviewed Nick when the record was first released last year and you can read all about the making of it here.

Beyond The Static was the follow-up to Nick’s critically acclaimed album 13 In My Head, which we described as ‘an instant power pop classic’.

Fans of 13 In My Head will definitely love Beyond The Static. As we said when it first came out, it’s more of the same – infectious power pop songs with big guitars, harmonies and strong melodies.

There’s also a country influence on the song Six Bands and some vintage New Wave synth on Heart Stops Beating. Nick’s been compared to singer-songwriters such as Matthew Sweet, Tom Petty and Paul Westerberg.

Don’t forget to check out Nick’s latest album, Trust Your Instincts, which is currently available on CD. We’re hoping for a vinyl release of it on Sugarbush sometime soon…


If you like Nick Piunti, you’ll also dig Dom Mariani’s Homespun Blues & Greens. Out on Sugarbush, this ‘lost’ album by the former frontman of Australian garage rock band The Stems is released on vinyl for the first time.

Limited to 300 ‘deep blue’ copies worldwide, it was recorded over a two-year period in the early noughties, but slipped under the radar when it came out in 2004.

Mixed by Mitch Easter (R.E.M and Velvet Crush) it’s top-notch power pop, with fuzzy riffs, crunching chords and some great hooks.

The title track has a brilliant soulful brass arrangement, gorgeous ballad Prove has cool ’60s-style backing vocals and tinges of country rock, thanks to its Faces-style guitar licks, while space-themed Yuri is, er, out of this world, and Bus Ride is power pop perfection.


Finally this month, Sugarbush has another vinyl first – Irish band Pugwash’s second album, Almanac. Originally released in 2002, it’s now available on orange or white vinyl – there are 250 copies of each.

Pugwash’s main man, Thomas Walsh, is clearly a man who’s in love with vintage pop music – even  Almanac’s title is a nod to The Kinks.

For the most part, Walsh channels mid-to late ’60s Beatles and ELO – Everything We Need sounds like George Harrison meets Jeff Lynne, while the lovely acoustic ballad Sunrise Sunset could’ve come off  The White Album.

Keep Movin’ On reminds us of The Hollies and Apples sounds like English eccentrics XTC – it’s no surprise that, in 2002, XTC’s Andy Partridge said it was the most exciting track he’d heard all year.

Almanac is a Fab album and Pugwash are plundering pop pirates. Ahoy there, me hearties…

For more information on all of these albums – and to order them –  please visit http://www.sugarbushrecords.com/