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

Jerry-Leger-360x360

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…

 

DSC_9558-2

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’

jls 2017 colour (3)

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/

 

‘Any singer-songwriter who says they’re not influenced by Bob Dylan is lying through their teeth’

Alex Lipinski

I first heard West Country singer-songwriter Alex Lipinski in November this year – he kindly invited me to the launch of his new album, Alex, at the Pretty Green clothes store in London’s Carnaby Street.

With his brother Adam on guitar, he played acoustic versions of several tracks from the record and I was really impressed – so much so that I bought a copy of the album on vinyl. Since then, it’s been on heavy rotation on my turntable and is one of my favourite albums of 2017.

Recorded and produced by Anton Newcombe of the Brian Jonestown Massacre at his studio in Berlin, it’s a raw and bluesy album and it sounds like Bob Dylan meets The La’s.

Dealing with the darker side of life, the songs are stripped-down and lived-in – the moody Dandylion Blues has a cool organ and electric guitar groove over which Alex warns of ‘dark skies on the rise’ and tells us that he’s ‘got to keep on keeping on’.

The folky strumming of Carolyn lightens the mood, but those dark skies soon return with Hurricane – one of my favourite songs on the album. Recalling Heartbreaker-era Ryan Adams and Dylan circa Blood On The Tracks, it’s a stunning country ballad (acoustic guitar and harmonica) that’s a vicious put-down of an ex-lover: “You had it all worked out. All you do now is scream and shout, spilling worthless words from your mouth.”

I spoke to Alex to find out how the album came together, what it was like working with Anton Newcombe, and to see what his plans are for 2018…

Q & A

Hi Alex. It was great to meet you a few weeks ago, when I saw you play at Pretty Green, in Carnaby Street. Thanks for inviting me. I really enjoyed the gig.

Alex Lipinski: It was good to meet you, Sean – we had a really cool night at Pretty Green. It was a nice, intimate space to showcase the new songs and the guys there looked after us.

How does it feel to have the new album out there? It’s your second album – your debut, Lonesome Train, came out seven years ago. Why the big gap between albums?

AL: It’s a good feeling to finally have this album out. After Lonesome Train was released, I was working on the follow-up album, then I started a project with Bonehead [Oasis] called Phoneys & The Freaks, so that kind of took over for a year or so, then by the time I was ready to start the second album, I was working on a new bunch of songs that I felt were stronger. That was when Anton Newcombe contacted me…

Adobe Photoshop PDF

How did you come to work with Anton?

AL: He saw a live video of one of my songs and contacted me saying he wanted to produce me and put my next record out.

We met a couple of times after Brian Jonestown Massacre gigs and discussed the direction. He had in mind these old ‘60s folk recordings, in essence, capturing the songs as stripped-back as possible – the bare bones – letting the voice, the songs and the performance come through.

We recorded the album in about eight hours in Anton’s studio in Berlin. My brother Adam [guitarist] joined me in Berlin and we set-up in Anton’s studio one night, sitting facing each other, with a giant RCA mic in the middle – the same one they used on the old Frank Sinatra recordings.

“We set-up in Anton Newcombe’s studio in Berlin one night, sitting facing each other, with a giant RCA mic in the middle – the same one they used on the old Frank Sinatra recordings”

We bought some beers from the local shop, went back to the studio and recorded a couple of takes of each song, all live with no click track. We added some minimal overdubs later, but the nucleus of the record stemmed from that one night in Berlin.

Anton’s a pleasure to work with. He would give us enough space to let us do our thing, but he’d also suggest things that I would never have thought of, and taught me how to accept perfect mistakes. He’s also arguably the funniest person I’ve ever met.

Are you pleased with the new record?

AL: Yeah – I’m really pleased with it. Going into the recordings, this was the kind of album we wanted to make – the collection of songs work well together.

Some of the songs had been hanging around for a while, whereas a few others were a lot more recent. I think Carolyn may be the oldest song on the album. The lyrics on some of the older songs evolved over time to the point when we recorded them.

When I first heard the album, I described it as ‘Bob Dylan meets The La’s’. How do you feel about that description?

AL: It’s funny you say that because quite a lot of people have come up to me and said a similar thing. I guess it’s the kind of juxtaposition of both British and American influences you can hear in the songs.

Let’s talk about some of the songs on your album. Hurricane is a highlight and it’s one of the darker songs on the record. What can you tell me about it? It’s a heartbreaker and it doesn’t pull any punches… 

AL: From what I remember, Hurricane was written very quickly. It’s one of those songs where you pick up a guitar and everything – the lyrics, melody and chords – all seamlessly fall together in about 30 minutes. It is really lucky when that happens. I guess you can say it’s pretty autobiographical. Everything I felt I needed to say about that particular situation is in the song.

Dandylion Blues is one of my favourite songs on the album. What’s the story behind it? It’s another dark song, isn’t it? I like all the depressing songs on the album. I’m not sure what that says about me…

AL: Dandylion Blues stemmed from the groove and the lyrics followed to suit the moodiness of the track. Again it deals with the darker side of things. The lyrics in the verse especially are quite seductive and almost manipulative. It could be interpreted as two people having a conversation, or it could be seen as the voices within someone’s head.

The album is quite a dark record and it’s raw and bluesy – a lot of the songs deal with the darker side of relationships and life, don’t they?

AL: Throughout the album, I think there’s an underlying theme of exploring the darker side of relationships and life in general, which completely works with the nature of these recordings. Capturing these songs in their rawest form gives them a greater power because the song and the performance are laid bare.

Like me, you’re a huge Dylan fan, aren’t you? He’s a huge influence on you, isn’t he? What do you like about him? Do you have a favourite Dylan album – and why?

AL: I think any singer-songwriter out there who says they’re not influenced by Bob Dylan in some way is lying through their teeth. His work is embedded in popular music in so many ways it’s difficult not to be influenced by him in some shape or form.

My brother gave me copies of Blonde On Blonde and Blood On The Tracks when I was 14 and it sparked a fuse and changed the way I listened to music – it opened my mind to a mystical world. I couldn’t pick a favourite record; it changes on a daily basis. The trio of Bringing It All Back HomeHighway 61 Revisited and Blonde On Blonde are pretty hard to beat. The lyrical content on Freewheelin’Another Side of Bob Dylan and The Times They Are A-Changin’ is untouchable.

“Throughout the album, I think there’s an underlying theme of exploring the darker side of relationships and life in general”

Can you tell me some of your other musical influences?

AL: I’m the youngest of four and I grew up in a house where music always seemed to be playing. My parents grew up in the ‘50s and ‘60s, so it was generally always rock ‘n’ roll – mainly The Beatles and Elvis Presley. Those early rock ‘n’ and roll records and ‘60s British bands had a huge influence on me from the start.

This developed into singer-songwriters, as I grew up and started taking songwriting and lyrics more seriously – specifically people such as Springsteen, Neil Young, Dylan and Ryan Adams. Wilco are one of my favourite bands over recent times. The musicianship in that band is incredible. Richard Hawley is another of my favourites.

You grew up in Weston-super-Mare, in Somerset. How was that? You then moved to London… That must’ve been a big change for you – all that musical heritage to explore…

AL: I had a great time growing up in Weston. It’s a small seaside town and as a kid I enjoyed living by the sea. I was a bit of a daydreamer – I had these great visions and big ideas of getting out and making a footprint in the world.

Growing up, my life was completely absorbed by music, and the music I listened to would take me to a different world and spark my imagination. I think growing up in a small town can give you that hunger and desire for something greater, which is a good thing.

I lived in London for five years, which was great. I knew had to get out and start playing. The 12 Bar Club on Denmark Street was my first point of call and I used to regularly play there. It’s a tragedy that venue no longer exists. And, of course, all the rich history that London had was amazing to an impressionable 19-year-old.

Where are you based now?

AL: I turned 30 last month and I’m currently living back in the West Country. The last year I lived in London I was pretty much out all the time, having too much fun, and I wasn’t as productive as I wanted to be. I moved back to Weston, where there’s not a great deal happening, and I’ve been far more productive. It’s a strange mind-set but it works creatively.

IMG_1821 (1)

Alex Lipinksi and his brother, Adam, at Pretty Green in London

It’s almost the end of 2017. How’s the year been for you? What are your plans for 2018? Can we expect another album and, if so, what’s it going to sound like?

AL: 2017 has been a productive year and I’m glad this album has seen the light of day. We’re in the process of booking dates for next year and the plan is to be on the road for most of it. I’m currently working on demos for the next record, which I’ll be recording with my full band.

Finally, what music – new and old – have you enjoyed this year?

AL: I tend to go back when searching for new music – there’s so much to discover. There’s a great Dion album produced by Phil Spector – Born To Be With You – that I heard recently and it’s amazing. Scott Walker’s Scott 3 and Scott 4 are both late discoveriesI was also late to the Big Star party, but what a band.

To be honest there hasn’t been a great deal this year that’s really excited me. I thought The Shins album was really good and the new War On Drugs record is phenomenal.

Alex by Alex Lipinski is out now on A Recordings.

http://alexlipinski.co.uk/

 

 

‘We didn’t want any fiddles or sailors on this album’

JF1_4934b (1)

Husband and wife folk-rock duo The Rails – James Walbourne and Kami Thompson – are back. Their much-anticipated second album, Other People, is out on September 1.

Recorded in Nashville and produced by Ray Kennedy [Steve Earle and Lucinda Williams], it’s a darker, heavier and more electric record than their critically acclaimed 2014 debut Fair Warning. 

Moving away from the band’s traditional folk roots – it has ‘psychedelic’ tinges and groovy ’60s organ – it’s an album of 10 self-penned songs and isn’t afraid to speak its mind and deal with modern social issues.

The title track is a rallying call against those who are out for themselves, while Brick and Mortar is an angry protest song that laments the death of London – it’s part funeral march, part Kinks. 

The album feels like a record that’s about people who aren’t at ease with the world in which they live…

I took James [guitars, vocals, keyboards] and Kami [vocals and guitar] down the pub to find out more…

Rails-Packshot

Q & A

You recorded the new album in Nashville, at Room & Board Studio, with producer Ray Kennedy, who’s worked with acts including Steve Earle and Lucinda Williams. Why did you decide to make the new album in Nashville?

James: It was because Ray was there – I just wanted to work with Ray. Nashville had no bearing or influence on the record in any way.

You haven’t made a ‘Nashville country album,’ have you?

James: It honestly had nothing to do with country – it was cheaper to make the record with Ray in Nashville than to fly him over to the UK. We didn’t see any of Nashville. We got there, we drove to a house where we were staying and then to the studio – and that’s what we did for about a week. It was bloody hard work.

Kami: It was quite stressful – we had a small budget and very little time.

Why did you want to work with Ray Kennedy?

James: We were struggling with whom we were going to get to produce it, as we wanted to do something different, and then he came to mind. One morning, I thought, ‘It would be great if Ray could do it’…

Ray had worked on a 1998 album called Domestic Blues by my friend Bap Kennedy – I spoke to Bap about him – and then Ray Davies also said that I should work with Ray. It all came together. Ray Kennedy is a genius…

And so is Ray Davies…

James: He is! Ray Kennedy had also worked on some of my favourite records, like Steve Earle’s Transcendental Blues, which sounds heavy. We wanted to do a heavier record that was less folky. We wanted this album to be more of a rock band approach – more of a psychedelic thing. Maybe ‘psychedelic’ is too much… we wanted a whittled-down approach, with two electric guitars, bass and keyboards. We didn’t want any fiddles on it…

Kami: Or sailors.

James: If you’re in Nashville, you’ve got to watch the fiddle because it then becomes a country fiddle…

There is a pedal steel guitar on the album…

James: Yes – Eric Heyward played on one track.

‘We wanted to do a heavier record that was less folky – more of a rock band approach’

Can you tell me about the musicians you worked with on the new album? They weren’t Nashville guys, were they?

James: It’s funny – I knew we were going to get asked about the Nashville thing, but everyone that was involved – apart from Ray – wasn’t from Nashville. Cody Dickinson was on our first record – he’s the drummer in the North Mississippi Allstars and he lives in Memphis – he’s an old friend, so it was a no-brainer.

Jim Boquist [on bass] is another old friend of mine and he was in the first incarnation of Son Volt – he’s from Minneapolis. He has a punk-rock edge, ‘cos he used to hang out with The Replacements – he’s a good friend of Paul Westerberg’s. We had a different mix of people – from Memphis to Minneapolis is a huge world away and then there was us with the English folk thing…. we wanted to see what it would sound like.

Your first album was recorded in London with Edwyn Collins as producer. How was it working with Ray on this album? How did it compare?

James: It was as bonkers – they’re both as bonkers as each other.

Kami: It was a whole different substrata of bonkers…

James: They’re both in analogue mode – everything’s old and analogue…. This time [in Nashville], there were compressors that were used at MGM for Hank Williams and there were thousands of guitars – it was amazing.

Kami: You couldn’t let your gaze rest on anything for too long, because Ray would say, ‘Are you looking at that compressor? That’s the compressor that The Beatles used…’

Let’s talk about some of the songs on the new album.

You’ve said that this record is a move away from the more traditional folk sound of your debut, but there’s still a folk feel to some of the tracks, particularly the opening song The Cally and the title track and first single, Other People…

JamesYes – that’s true.

Other People has a pretty, folk-pop melody, but, lyrically it’s quite an angry song, isn’t it?

James: (laughing) I keep hearing that from people – I didn’t mean it to be that angry!

The opening line is, ‘crazy people, money-grabbers, old religions and new regimes, back-stabbers, heart-breakers, psychopaths with evil schemes….’

It sounds to me like a comment on the state of the world – a rallying call against selfish people and those who are just using others to further their own means…

James: It started with me being pissed off about people who should get off their high horse. It’s when you walk down the street…

Kami: It’s that huge lack of social manners.

James: It seems to be everywhere now. It’s about the internet and all the other stuff – it’s this (he points to his mobile phone) all the time…

But the song feels like it’s about bigger issues…

James: It grew into that – it got angrier and angrier as we were writing it. It’s a selfish world… I get the feeling that everyone’s out for themselves – they should care about their fellow man a little more.

Kami: It’s a theme on which you can easily zoom in and out.

It’s got a gorgeous tune, though…

James: You’ve got to be able to whistle it – you can’t give it all away.

‘There’s more of ourselves in this album… It definitely feels darker, but it wasn’t intentional’

It’s lighter than some of the other songs on the album, which I think is a very dark record, lyrically…

James: I guess it is.

It’s darker than the first album…

James: There’s more of ourselves in this album… It definitely feels darker, but it wasn’t intentional.

Kami: I can’t remember the last time either of us wrote a particularly cheerful song.

JF1_4757 crop

I think there are recurring themes on the record – the title track, Late Surrender, Leaving The Land and Brick and Mortar all seem to be songs about people who aren’t at ease with the world in which they live…

Kami: That’s a good way of summing it up.

There’s a line in the song Other People that seems to sum up the whole record for me – ‘we’re all strangers in our own time.’ Have the songs been shaped by current political and social issues?

Kami: Yes – absolutely. A lot of the album was written at a time when we were going to have to move out of London because we couldn’t afford to buy somewhere to live, so that was playing on our minds. And also maybe it’s the age we are – I think that plays a part. The song Leaving The Land was written about thinking we would have to leave London.

The album’s opening song, The Cally, is one of the more folky songs on the record. It’s about the characters who lived and worked on Caledonian Road in North London and it also mentions Pentonville Prison.

You like a prison song, don’t you? You had two on your first album – Send Her To Holloway and Borstal…

James: We love a prison song!

What was the inspiration for The Cally?

James: It was all down to my granddad, whose flat we’re now living in. He died a couple of years ago – he was 92. One day, we were in the kitchen and he was talking to me about when he lived and grew up around ‘The Cally’ and Almeida Street in Islington.

He liked to talk about the old days – he was telling me about a woman called ‘Woodbine Nellie’ who used to ‘work’ on the street. She was a lady of the night and I thought, ‘that’s a good name’.

I was walking down Caledonian Road one day and I started humming a song and I wrote it when I got home – I did it really quickly.

After The Cally, the next song on the record is Late Surrender. James – musically, it reminds me of some of the tracks you’ve played on with Pete Bruntnell…  [James has been a guitarist for several acts, including UK singer-songwriter Pete Bruntnell, Ray Davies, Son Volt, The Pernice Brothers, The Pogues and The Pretenders – he’s in the current Pretenders line-up]

It has a kind of Americana feel and jangly guitars…

James: Yes – it’s more rock. I can’t stand the term ‘Americana’ – I’ve never liked it.

Kami: I’m fairly allergic to the term ‘Americana’. It’s just English people playing American music – and, most of the time, quite badly.

Drowned In Blue and Hanging On are both melancholy songs – the former has a country feel to it, which is down to the pedal steel guitar.Was that a little bit of Nashville rubbing off on you?

James: It was – we thought we’d better give it a nod and Eric [Heyward] was in town. He’d been up all night, drinking moonshine with Tony Joe White’s drummer and they both rolled in… but he played amazing. He’s one of the best – a pedal steel stylist. No one else sounds like that guy.

Drowned In Blue has some psychedelic moments on it, too…

James: Exactly. We wanted to do what Ray Kennedy had done on those Steve Earle records – suddenly go from country to a Beatles thing. It’s like ‘what the fuck?’ It’s different from the folk thing. I wanted him to do his thing and put his stamp on it.

Kami: With our first album, we set out to make a folk-rock record with a ‘70s vibe, but an updated version of it. The first record was more of a concept – we had an idea and we worked towards making that happen. We wrote a few songs for it that were in that vein and we arranged some traditional songs in that style. With the new album, we wanted to make a heavier record – it felt more natural to us and it’s more of a reflection of the things that we like to listen to. We don’t listen to any folk music.

‘I’m fairly allergic to the term ‘Americana’. It’s just English people playing American music – and, most of the time, quite badly’

So do you feel like you’ve been tarred with the folk brush?

James: Not now, because we’ve got the new album…

Is folk a dirty word?

Kami: Not at all… I just hate anything that hasn’t got balls – I like things to have a bit of grit.

James: That’s what it’s about. It doesn’t matter whether it’s folk, or rock… we just wanted to make some great songs that had some grit. We wanted to sound heavier and for it to be electrified.

Drowned In Blue and Hanging On both seem to share a common theme – they’re songs about people who are at the end of their tether… maybe even suicidal…

Kami: James is regularly at the end of his tether!

James: That’s how I feel constantly! It’s funny talking about the themes of the songs because I hadn’t given it that much thought – I didn’t think about how dark it was. You’re right.

Kami: James is more the homicidal side of our marriage – I’m more suicidal! We should get some-T shirts made…

rails pub new

We’re talking about how dark the album is – there’s actually a song on it called Dark Times. It’s about an abusive relationship…

James: Yes – it’s another abusive relationship song. It’s meant to be like one of those old ‘60s songs – a Dan Penn-type song. It’s Dann Penn-lite.

And it ends with some groovy ‘60s organ….

James: Organs are hip! It was meant to be like Cream doing a folk song.

Brick and Mortar is my favourite song on the album.

Kami: Mine, too.

It deals with how old London is being torn down by greedy property developers and it laments what’s happened to some of the old pubs, areas like Soho and famous places like Denmark Street – Tin Pan Alley…

Kami: It’s the rich taking over the world…

It’s a song about the death of London and, appropriately, it’s a kind of funeral march…

James: It really is – a very fast one.

And it reminds me of The Kinks….

James: It is a bit Kinks-y, but it started out as slow and acoustic – like something from Oliver.

Brick and Mortar is a protest song – in fact several of the songs on the album could be seen as ‘protest songs’, couldn’t they?

Kami: I think the whole album is a rant!

James: It does feel like more of a rant…

Let’s talk about your songwriting process? Do you write together or separately?

Kami: For the most part, we write separately, but James will finish a middle eight or a chorus for me and I’ll write some lyrics for him – or vice versa. We tend to each have written most of the song before the other person gets involved.

James: The songs are mostly written – it’s just tweaking.

Kami: There’s only one of my songs on the new album – Leaving The Land. James had written loads and by the time I went to put my songs into the ring, they weren’t really in the same vein.

James: I wrote furiously for a long time…

‘I think the whole album is a rant!’

What music are you listening to at the moment?

James: I like the new albums by Jason Isbell and Randy Newman. The Randy Newman album is called Dark Matter and it’s bonkers – I listened to it in the bath last night. It’s pushing the boundaries – it’s mental. I’ve been listening to the Elvis album A Boy From Tupelo – it’s his early recordings re-mastered.

Kami: I’m having a funny couple of weeks. Do you ever get those weeks when you’re allergic to music? Nothing’s right.

The other day I went through every record that I thought I might want to listen to and I ended up listening to Radio 4. Maybe it’s because we’re gearing up to tour and I’m learning songs. I think my brain’s full.

Is there anyone you’d like to collaborate with?

James: That’s an interesting question. A lot of them are dead!

Kami: A palate cleanser for myself would be a non-collaboration – just to quietly do my own thing.

James: I think that’s true for both of us – I think I’m going to do it as well.

What are the pros and cons of being a married couple in a band? Is it hard?

James: Yes – you never want to do any work!

Kami: It’s very difficult to carve out time to work.

James: We have real arguments about it– we’ve got very different views on music and everything….

Kami: Music is all James does, but I go into a non-music mode between records – I sometimes have to switch that mode back on.

James: This year I haven’t stopped working – we’ve done the album, the rest of the year is solid and we’ve got stuff lined up for next year – we’re doing another Rails tour and there’s Pretenders stuff on the go. I’ve written a few songs with Chrissie Hynde and there’s a Pretenders live album coming out in a couple of months.

You’re heading out on a nine-day UK tour in September and then you’re supporting The Pretenders after that. What can we expect?

Kami: It’s stripped down – a four-piece band.

James: It’s two electric guitars, bass and drums.

James – you’ll be playing guitar in The Pretenders, too. How do you feel about supporting yourself on tour?

James: It’s not ideal… It will be a long time, but we needed to do it. Chrissie Hynde loves us – thank God – and she’s very vocal about us.

Kami: It will be like when A Mighty Wind opened up for Spinal Tap!

James: I might have a costume change…

So what’s a typical Rails tour like? Is it rock and roll?

James: Rock and roll? There aren’t many tours that are rock and roll anymore…

The-Rails back

Other People – the new album by The Rails – is released on September 1 on Sony / Red Essential.

The Rails are touring the UK in September:

September 11 – Glasgow, King Tuts Wah Wah Hut

Tues 12  – Leicester, The Musician
Tue 13 – Hull, The Adelphi
Thurs 14 – Hedben Bridge, The Trades Club
Fri 15 – Manchester, The Deaf Institute
Mon 18 – Cambridge, Junction 2
Tues 19 – Norwich, Arts Centre
Wed 20 – London,  The Borderline
Thurs 21 – Newbury, Arlington Arts Centre

http://www.therailsofficial.com/

 

 

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

daniel5158_93576458317_553803317_1973584_4454532_n

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…

DanielWylie3.3.jpg

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.

Doctor in the house

DrR_press_2 credit Michele Siedner.jpg

[Photo by Michele Siedner]

 

Out There, the new solo album by Dr Robert, frontman of pop-soulsters The Blow Monkeys, is a stripped-down, acoustic affair that was recorded on an old eight-track Tascam tape machine at his home in deepest Andalusia, Spain. I had an appointment with the Dr to find out how this raw and rootsy record came about…

With the new album, you’ve said it’s all about the groove of the songs – there are no middle eights, key changes or bridges. Why did you take that approach to this record?

Dr Robert: It was because I used a lot of open tunings on the guitar, which deliberately restricted my options. I wanted to avoid my usual progressions. I might try an album of just middle eights next…

It’s a very rootsy and primal record in places. Tracks like All The Way Back Home and Rack and Ruin are down and dirty, bluesy grooves, and there are some jazzy vibes on the album, too. (Lost in Rasa). Were you influenced by artists like Tim Hardin and Fred Neil, whose work you’ve covered in the past?  

DR: Well, people like Hardin and Neil are part of my DNA now, so I tried not to edit myself. I just let it flow, like I was jamming in my kitchen.

 

One of my favourite tracks on the album is A Bottomless Pit. I think it sounds like Jacques Brel doing Johnny Cash. Can you tell me more about this song? Where did it come from?

DR: I don’t know where songs come from. That was an effortless one. Sometimes they come along fully formed. I was lucky.

For this record, you worked with drummer Richard “Snakehips” Dudanski, piano and accordion player Jos Hawken and saxophonist, Joe Degado. How did you hook up with those guys?

DR: They are friends. Richard goes way back. He’s a proper gent and an inspiration and he’s been in bands with both Strummer and Lydon, which is good enough for me! Jos is young and blessed with an innate calm and special talent. They both live nearby, so I always had them in mind.

What was the atmosphere like when you made this album? Was it loose and laid-back? From listening to the record, it certainly sounds like it…

DR: I tended to record the ‘takes’ in the morning. My voice works better then – especially on the low notes. I was alone most of the time. I was doing a take, then running to the tape machine to stop the tape unwinding!

How did writing and recording the album at home in Spain affect the sound of the record?

DR:I live in the mountains, south of Granada. Landscape and environment have always been a major inspiration. And smells. From the sugar beet on the Fens, to the orange blossom of the Lecrin Valley.

DrR_press_4_2703 credit Michele Siedner.jpg

[Photo by Michele Siedner]

Throughout your career, you’ve worked with acts including Paul Weller, Curtis Mayfield, PP Arnold, Beth Orton and Kym Mazelle.  Do you have any great memories from any of those collaborations? Is there anyone that you’d like to work with?

DR: They have all taught me something. Curtis was a humble soul. The best always are. I’d like to work with Tom Waits.

Out There is your tenth solo album. After more than 30 years in the business, do you feel like a prolific solo artist, or will you forever be a Blow Monkey? How does it feel now, looking back on your days as a ’80s pop star?

DR: I’m a prolific Blow Monkey. The ‘80s were the last great ‘pop’ decade. Things have changed. Mostly for the better.

How did it feel when you reformed The Blow Monkeys in 2007? Why did you decide to come back? Was it a case of unfinished business and how was it when you got back together to play and make new records? 

DR: I missed being in a band, but I wanted to make new band music. We are a strange mix. We all love different music, but we never argue. We’re a slightly dysfunctional family – like all the best bands.

blow monkeys.jpg

Any news on The Blow Monkeys? Do you have more new material or gigs planned?

DR: There are lots of gigs up on our website  and a new album proposed for spring 2017. I’m writing some punky soul anthems right now.

The Blow Monkeys were known for their left-wing political views. Does it seem strange to you that nowadays more mainstream artists don’t use their music to convey political views, or protest against wrongdoing or unjustness? 

DR: Some still do. PJ Harvey’s Let England Shake was a masterpiece in my opinion and Beyoncé did a fine thing at the Super Bowl.

There’s a track on your new album called I Ain’t Running Anymore, yet, after more than 30 years in the business, you seem to be busier than ever. What’s your secret?  You had a health scare a while back and you quit drinking. What effect has that had on you? Are you in a good place?

DR: I don’t have a secret. Just keep your eyes open and your lips pursed. I try to remember how it felt to hear Ride a White Swan for the first time. My whole world opened up.

What music – new and old – are you currently listening to and enjoying?

DR: Old – Bukka White. New – Kendrick Lamarr.

Finally, how ‘out there’ are you?

DR: Not enough, yet. I’m working on it.

 

Out There by Dr Robert is released on May 2 (Fencat Records).

For more information, go to http://www.theblowmonkeys.com/

out there small

 

 

‘We love hangovers – they’re very inspiring’

I speak to songwriting duo O’Connell & Love to find out how a stormy winter week in Hastings, afternoon drinking, Johnny Cash’s American Recordings and some serious hangovers all helped to create one of the best albums of the year…

 

Larry Love and Brendan O'Connell

Larry Love and Brendan O’Connell

 

Minesweeping – the new record by O’Connell & Love – is one of the most eclectic and richly rewarding albums of 2015.

A collaboration between Larry Love, the lead singer of South London country-blues-gospel-electronica outlaws Alabama 3 and songwriting partner Brendan O’Connell, it’s a hung-over road trip through the badlands, stopping to pick up some hitchhikers on the way – namely guest vocalists Rumer, Buffy Sainte-Marie, June Miles-Kingston, Tenor Fly and Pete Doherty.

It opens with the moody, Cash-like, acoustic death row ballad, Like A Wave Breaks On A Rock, visits Nancy Sinatra and Lee Hazlewood territory for the drunken, playful duet Hangover Me (feat. Rumer), travels across Europe for the sublime, blissed-out, Stonesy country-soul of  It Was The Sweetest Thing, hangs out by the riverside for the gorgeous pastoral folk of Shake Off Your Shoes (feat.Rumer) and heads out to the ocean for the Celtic sea shanty-inspired Where Silence Meets The Sea.

An album that wears its influences on the sleeve of its beer-stained shirt, there are nods to late ‘70s Dylan (The Man Inside The Mask), Motown (Love Is Like A Rolling Stone – feat.Tenor Fly ), Leonard Cohen (Come On, Boy – feat. Junes Miles-Kingston) and The Band (If It’s Not Broken).

MID cover

The essence of the album came together when you were holed up in the Sussex seaside town of Hastings, writing songs one stormy week in winter. Can you tell me more about that time? What was the writing and recording process for the record like?

Larry Love: What was interesting with Minesweeping was the use of hangovers in the recording process. Brendan was financing the project and, basically, at the end of the night, we’d chuck some drunken ideas down, but the most important stuff was done in the morning after. I knew that unless I did some songs in the morning, Brendan wouldn’t buy me a pint in the afternoon.

We’re pretty quick at getting ideas down. We’re too long in the tooth to fuck around, in terms of working out structures and the basic platforms of rock and roll.

We’re not meandering around like 17-year-olds, listening to fucking Bob Dylan, Kris Kristofferson and Ann Peebles records, trying to work out what the formula is. We have our formula very organised.

If anything, we had too many ideas – the challenge was to get them to coalesce. Hopefully that comes across on the record. It has a certain homogenous quality to it.

It does – it feels like a complete album, from start to finish. 

You’ve said that the album was seven years in the making, due to other commitments… Were all of the songs written during that week you spent in Hastings?

Brendan O’Connell: A couple came after that and some had been hanging around for years.

You might recycle an idea that you tried to write 25 years ago, but that never really came to anything. You leave it and then come back to it years later, use it with someone else’s idea and it suddenly gets finished.

You might have an idea where the verse is really good, but you can’t get the next bit together… Then one day it suddenly comes from somewhere and you know it’s right.

LL: It was a bit like a pit bull that gets impregnated by a breeder. Eight little puppies come out and you think all the litter has been delivered. Then another five arrive two weeks later, in the ectoplasm!

So, Brendan, do you bring your musical ideas to Larry?

BO’C: Yes – some chords and a melody.

LL: A lot of them he might find in a charity shop. Sometimes the clothes don’t fit on that particular day – especially as you get older…

Lyrically, the album has a recurring nautical theme running through it…

BO’C: That must’ve come from Hastings.

The record was produced by Greg Fleming – aka Wizard – who’s worked with the Chemical Brothers, Dizzee Rascal and Chase & Status.Why did you choose to use a dance music producer on a country, blues and folk album?

LL: I really liked Rick Rubin’s recordings with Johnny Cash.

What did Greg Fleming bring to the record?

LL: He brought cynicism, pessimism and downright depressiveness to it because he’s generally used to doing this: (Larry suddenly makes loud, squelching dance music noises with his mouth!)

Any good stories from the recording sessions?

LL: Far too many – they generally involved me having rows with Brendan, who said I was irresponsible for staying up all night drunk. But, over the years, he has accepted that me getting drunk does add to the joie de vivre.

There are quite a few special guests on the album, including Buffy Saint-Marie, Pete Doherty and Rumer. How did you come to work with them?

LL: Whatever technology has taken away from us as musicians in terms of revenue, it’s also opened up many doors for collaborations – it’s not like you have to have a long, drawn-out scenario where you have to have everyone together in the same studio.

Buffy Sainte-Marie’s new album – Power In The Blood – was named after a song I wrote. I went to see her when Morrissey was curating Meltdown at the South Bank [in 2004] and I got invited backstage. I asked her if she fancied doing a song.

I’ve known Pete Doherty for years – he used to come and see Alabama 3 gigs back in the day. I got hold of his manager and said, ‘He fucking owes us one, so Pete, get down here.’

B’OC: We knew Rumer from Brixton, but she disappeared off to America and became a big star. My brother bumped into her in the street – she was a fan of the album we did before this one [Ghost Flight – released in 2006, under the name Robert Love] and she was keen to come and sing on a few songs.

 

Let’s talk about some of the songs from the new record. The opener, Like A Wave Breaks On A Rock sounds like Johnny Cash…

LL: I thought you said Clash! Yeah – what Rick Rubin did at the end of Johnny Cash’s career was very inspiring. It’s the same as when Bob Dylan worked with Daniel Lanois. Grizzled voices and ‘hip-hop’ production.

BO’C: To me, Like A Wave Breaks On A Rock sounds Spanish, rather than country, but Larry’s voice sounds like Cash.

LL: It has a ‘you’re on death row’ kind of vibe – I used to know someone who was on death row and I got quite involved with the campaign to release Albert Woodfox, who was from the Angola Three. He was one of the longest incarcerated members of The Black Panthers. It was around that time that I wrote the song. He was waiting on death row for years, but he’s now been reprieved.

 

 

One of my favourite songs on the album is Hangover Me, featuring Rumer. It has a Nancy Sinatra and Lee Hazlewood feel to it…

LL: Yeah – it ended up that way. We wrote it with Seggs Jennings (The Ruts DC), with hangovers. It nails our colours to the mast. We love hangovers – they’re very inspiring.

It was originally called The Ballad of Martin Lambert and was written about a friend of ours who died from a morphine overdose on Christmas Day at his mother’s. It was a tragic way to go. I sang at his funeral. We surround ourselves with people who are on the edge – they’re not living comfortable lives and selling houses to fucking yuppies.

 

 

The track It Was The Sweetest Thing has a great Stonesy country-soul swagger… It’s a good story song – a tale of lovers embarking on a European adventure…

LL: Lyrically, it’s about the inevitable nostalgia that comes from when you’ve lost something that you realise you should’ve held on to. I like to think that I’ve lost a lot of things I should never have lost and found things I should never have found…

BO’C: Or that you never deserved to have in the first place.

LL: Exactly. I had an Italian girlfriend, but things didn’t work out. I’d never been to Europe before – I flew to Bologna with a pocketful of Ecstasy! I didn’t know you couldn’t take it on the plane. It was inspired by that – as lovers, you can traverse continents.

In this day and age, with the refugee crisis, love does transcend boundaries. The nature of the song implies that we went everywhere, looking for love, but, ultimately, we found it nowhere.

The Man Inside The Mask, which started out as a very long poem, reminds me of late ‘70s Dylan…

BO’C: When I first played it on my own and sang some of the words from the poem, I thought it was going to end up sounding like Leonard Cohen, but it turned out quite Dylanish…

Let’s go back to your roots. How did you meet and start writing songs together?

LL: About 20 years ago, I was a recovering heroin addict. I haven’t done it since – touch wood. Brendan was in a band called Past Caring – I thought they were very innovative. If you’re familiar with narcotic withdrawal, it’s quite highly sensitised. I was in an Irish bar called Brady’s and I was really impressed by the strength and the quality of Brendan and the band’s performance. I used to sing Uncertain Harbour [the penultimate song on Minesweeping] as a guest vocalist. We were both habitués of South Londonwe knew the same pubs and the same problems.

What are your plans for the rest of the year?

LL: We’re letting the album gestate in people’s minds. I’m busy – I’ve got an Alabama 3 tour in October/November. We’re looking at doing an O’Connell & Love tour in January/February – up and down the country, with some skirmishes in-between. We’re definitely taking the band out on the road.

BO’C: And we’re writing some more songs.

LL: We’re going to do the next album in seven days – like the Lord. Doing Minesweeping has given us more confidence for the next phase. I don’t think it will have a nautical theme – it will be rain and Northern towns.

So, finally, what’s the secret of writing a great country song?

LL: Get a bad woman and a good hangover.

MID o connell and love band

 

Minesweeping is out now on Mountmellick Music.

http://www.oconnellandlove.com

Goin’ Down South

Gabriel Mesh

South London singer-songwriter/guitarist Gabriel Mesh runs regular Tooting live acoustic music night The Breathing Room and, this month, he’s organised the first ever Tooting Folk and Blues Festival, which takes place on August 8.

I spoke to him to find out more about his mission to bring music to the people…

You started your acoustic folk and blues night, The Breathing Room, in Tooting, South London, three years ago. How did it come about?

Gabriel Mesh: It’s all about bringing music to the people of South London. There exists this ‘Golden Triangle’ of North London – Camden, Islington – it all seemed to be happening up there… I’d always fancied running a place. I’d been playing open mic nights, writing and trying out material and I’d been getting a good response and networking and making friends – it seemed like a good idea.

I stumbled on this place called The Antelope – it’s run by a company called Antic, who take over ailing pubs and reinvent them.

The Breathing Room is a family affair – it’s run by me and my daughter, Ellen, primarily, but my son does some of the mixing and my wife helps out, too. I came up with the name – it’s a place where you can leave your cynicism at the door and breathe in the good vibes of authentic music.

People are now talking reverentially about The Breathing Room – we have such a great sound and we always choose who we think are the best and most worthy players. We specialise in contemporary and traditional acoustic folk and blues, but now and then we push the boundaries.

It’s my residency – I open the show and my daughter is the MC. We’ve had some great, unforgettable evenings of fantastic music. Chaz Thorogood played – he’s making waves and he was at Glastonbury this year and the year before.

It’s reached a stage where people really want to play The Breathing Room – it’s once a month and we only have three acts on. We’re looking at branching out to other venues – I would like to run a blues club. I’ve got my eye on a venue in Balham, which I want to kick off with in the autumn. It would be the Balham Blues Club.

That would be the BBC…

GM: Exactly.

 

 

And this month, you’re staging the first ever Tooting Folk and Blues Festival…

GM: There’s nothing else like it in the area – Clapham is up the road, but it’s become this rarified scene with lots of high-flying sponsors…

We’ve got one stage and all the music is outdoors. There will also be food vendors there and Antic, who run The Antelope, are doing the beer tent.

We approached Wandsworth Council [for funding] and they were very encouraging to begin with – we realised there was money available for community-spirited events – and we put in an application, after jumping through hoops of fires. We waited until the end of June and we got through the first round of talks – but, after the second round, they said ‘sorry’… We weren’t asking for much money. I think it’s a bad decision, but I’m hoping to exercise a little bit of sangfroid next year and show them what we did this year off our own back and ask them for some help.

We’ve got Wizz Jones playing – he’s the elder statesmen of folk and blues and was there when it all started in Soho, in London, in the late ‘50s. He was rubbing shoulders with Paul Simon and Bob Dylan. Bruce Springsteen has covered one of his songs.

How did you get into folk and blues?

GM: When I was at school, I had a maths teacher called Harry who used to come into class with a guitar and play songs by Big Bill Broonzy. I learnt to play – Harry had a huge vinyl collection of blues. It was a journey of exploration. From there, I used to listen to folk and blues icons from the ‘70s – like John Martyn.

Your musical style reminds me of John Martyn at times… Is he a big influence?

GM: Indeed. I also used to listen to Joni Mitchell and then I discovered Ry Cooder – there’s so much…

gabriel album new art

Your debut album, The Circle, is coming out this month…

GM: I’m hoping that I will have copies to sell at the festival – it’s been a long, overdue project. It’s been very difficult – I’m not sure whether I enjoyed the recording process, as I’m too much of a perfectionist. But part of me was thinking, ‘for God’s sake – just do it and get it out’.

I ended up recording it live – directly to analogue tape – in Soup Studio in Limehouse, East London. There’s a lovely guy I met there called Sam Beer, who’s a guitarist in his own right.

I see this album as a bit of an experiment – I don’t know how people will react to it. Most of the time I get a positive reaction – people are interested in my music and fascinated by my guitar style.

I’m not what you’d call a prolific writer – I have to force the songs out… A great song doesn’t have to contain lots of fancy words. There’s a slide guitarist I really like called Bob Brozman. When he talked about the blues, he said that you didn’t need to write it down – you just had to sing it. It’s all about singing the blues…

 

Tooting Folk and Blues Festival

Twitter: @TootingFolkFest

More info here

The Breathing Room takes place every month at The Antelope, 76 Mitcham Rd, London SW17 9NG.

Its third birthday party will be on September 20, featuring music from US duo Lost Hollow and Gabriel Mesh.

Facebook: https://www.facebook.com/TheBreathingRoomTooting