‘I hope this album will surprise people…’

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Photo of Pete Gow by David Cohen

Case Hardin frontman Pete Gow’s first solo album, Here There’s No Sirens, is a brilliant collection of stripped-down, intimate and very personal songs, with acoustic guitar, orchestral arrangements, brass, piano, drums and organ.

For his first interview to promote the record, Say It With Garage Flowers met him for a pint. Subjects on the agenda included string sections, tattoos, relationships, Stormy Daniels and Shane MacGowan…

Pete Gow is sat in Trinity bar in Harrow, North West London, nursing a pint of lager. The last time he was here was in late 2017, when he played a solo acoustic We Shall Overcome anti-austerity charity show for Say It With Garage Flowers.

At that gig, one of the songs he aired was the folky Some Old Jacobite King, which now features on his first solo album, Here There’s No Sirens – albeit in a radically different version.

In fact the new record that we’re here to talk about is a surprising departure for Pete, who fronts UK Americana / alt-country band Case Hardin. Sure, lyrically it’s sometimes dark and often left of centre – like the songs we know him for – but this is a deeply personal and confessional record, and, musically,  it explores new territory for Pete – gone are the big electric guitars, old fashioned rock and roll, Springsteen-like anthems and kicked-around country songs of Case Hardin’s 2015’s album Colours Simple. Instead, this is a record of stripped-down acoustic songs, with stirring string arrangements, fleshed out by piano, brass, organ and drums.

We’re reminded of when US Americana singer-songwriter Chris Mills  – who just so happens to be a friend of Pete’s – made his 2005 album The Wall To Wall Sessions – a masterpiece that featured lush orchestration and horns.

Opener One Last One Night Stand sets the tone for most of Here There’s No Sirens – it’s a big, honest, relationship ballad with a breathtaking cinematic backing, while the song Mikaela sounds like early Ryan Adams, but with mournful horns and sweeping violins.

There are also character songs  – the majestic Some Old Jacobite King is steeped in the storytelling tradition and was inspired by a trip to the remote Isle of Skye, while Strip For Me centres on a guy who treats women in a thoroughly unpleasant way – and it name checks porn actress and stripper Stormy Daniels, who has been involved in a scandal with U.S. President Donald Trump.

Produced by multi-instrumentalist Joe Bennett, (Dreaming Spires, Co-Pilgrim, Raving Beauties / Paul McClure) at Farm Music Studios in Oxfordshire and out in April on Clubhouse Records, Here There’s No Sirens is a stunning record that’s both beautiful and unsettling.

At times, it can be uncomfortable to listen to, as Pete shares raw emotions and intimate relationship details over dramatic orchestral backing. Does he think it will surprise people who are used to hearing Case Hardin?

“I hope it will,” he tells Say It With Garage Flowers, sipping his pint. “So often when you hear a solo record by people who front bands where the lead singer is the creative force behind them – like the manner in which I front Case Hardin – the differences are quite marginal and it’s just a little bit more acoustic. I really put a lot of thought into how I wanted this album to be different. Even if people don’t like it, nobody can say that it’s just a Case Hardin-lite record…”

Q & A

This is your first solo album. What prompted the move to make a record on your own?

Pete Gow: I was trying to get Case Hardin to make a record last year. It was written – it was even overwritten – I had 15 or 16 songs, but we just weren’t able to make it happen for a whole world of reasons. Sometimes five grown men just can’t get their shit together to make a record happen.

So I started about thinking what I should do – the concept of making a solo record had never occurred to me. I thought about us doing an EP – something that would tide Case Hardin over, as it had been two years since we released our Colours Simple album. Bands like us live or die on new products – not to mention the fact that I’d been writing for a long time and needed to find an outlet for it.

When I realised that the Case Hardin thing wasn’t going to happen, there were three or four songs in that pile that I’d always wondered what the hell Case Hardin would do with them anyway?

The whole thing just came about in almost 24 hours. I spoke to Joe and he was into it, and I spoke to Clubhouse Records, who were expecting a new Case Hardin record, and they said that if I could turn the three or four tracks into an album, they’d be interested in it. So then I wrote the rest of the album in a couple of weeks.

This record is a big departure from the Case Hardin sound – it’s stripped-down ballads, with acoustic guitar, orchestral arrangements, piano, trumpet, piano, organ and drums…

PG: I’m the main songwriter in Case Hardin and we have a sound that’s reasonably distinctive, so I had to find a way of making the album a proper solo project.

I went to Joe and said, ‘here’s what I want to do’ – I didn’t want any guitars on it, but I wanted strings and piano and drums, with everything else stripped-out. Joe was brilliant – he listened to the demos and said, ‘I’ll meet you halfway’.

‘I didn’t want people who came to my solo record to find that it was just like a Case Hardin album, but with different musicians playing on it… I didn’t want to make a Case Hardin record’

He wanted to keep the acoustic guitar, because that’s how the songs were written and it’s what drives them along, but there’s no lead guitar on the record.

I didn’t want to short-change anybody – I didn’t want people who came to my solo record to find that it was just like a Case Hardin album, but with different musicians playing on it… I didn’t want to make a Case Hardin record and I knew that Joe could do strings – he’s done some wonderful work on albums that I’m familiar with. I play all the acoustic guitars on the record, the drums are by Fin Kenny and Joe plays everything else.

Even the backing vocals? I thought they were female…

PG: I’ll tell him that!

You made the record last year. How was the recording process?

PG: There were two short sessions of four or five days each in the middle of last year. We did it slightly differently to the way in which records are usually made – I laid down the guitar and then I’d put a guide vocal over the top of it. Then we brought Fin in, who had two days to work through the tracks. Joe wrote melody parts on a violin and then recorded the strings – it was all real instruments. He also wrote the various harmony parts.

The whole experience was very different – when we make a Case Hardin record, it always sounds like a 100 per cent better version of what I knew it was going to sound like in my head – a beautiful, shining, brilliant and more fully realised version.

With this record, I handed the acoustic guitar, vocals and drum tracks over to Joe and he then built the string arrangements. There are a few songs – One Last One Night Stand and TV Reruns – which have big, long, instrumental sections. If I were writing those for a Case Hardin record, I wouldn’t have made them so repetitive and so long.

‘I told Joe that I wanted this record to sound like Nick Cave’s The Boatman’s Call and most of Ryan Adams’ 29’

One Last One Night Stand was the first track Joe sent back to me and I knew then that it was going to be a great project. Joe has produced this album in the fullest and most traditional sense. He understood the content and took all of the songs to a place that was beyond my comprehension. That’s what he brought to this record. When Joe sent the tracks back to me, I was blindsided – they almost sounded like other people’s songs.

What were you listening to when you made this album? What were the musical influences?

PG: I told Joe that I wanted this record to sound like Nick Cave’s The Boatman’s Call and most of Ryan Adams’ 29. He said, ‘I’ve heard neither of those records and I’m not going to listen to them!’ It sounds nothing like either of them.

Joe and I was a wonderful juxtaposition – I had these ideas of what I didn’t want it to sound like, and the influences I did want to draw on, but all he wanted to do was to make the best record possible. Sometimes that fell into line and sometimes it didn’t – sometimes I managed to persuade him to make changes and sometimes change for change’s sake wasn’t the right thing to do. It was a very fulfilling relationship.

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Photo of Pete Gow by David Cohen

It’s a very personal album – emotionally raw and confessional. It’s naked Pete Gow – often in more than one sense of the word, but we’ll come to that later…

Let’s talk about some of the songs. The opener, One Last One Night Stand, features the lines, ‘We don’t need to die here on this beach – we don’t need this sand to wipe blood off our hands…’ This is dark territory, isn’t it?

PG: It’s just my way into relationship songs. I’ve always tried to find that slightly left of centre way into any situation. If there’s anybody who likes the way I write, then I’m guessing it tends to be because of stuff like that.

One Last One Night Stand – like a lot of the album – shows that I’m in a relationship and a place that I never expected myself to be in. I’m certainly in a place that I never expected to be in so comfortably that it would reflect in the music that I’m making.

One Last One Night Stand is just a slightly left of centre way of realising that that’s where I am. It was one of the songs that I wrote for the record – it hadn’t been written previously and it was one of the last ones I wrote. I realised where the record was going and it sets the tone for the project, which I why I put it at the beginning. ‘Here’s where I am – now go and listen to the rest of the record and you’ll realise…’

‘A lot of the album shows that I’m in a relationship and a place that I never expected myself to be in’

It’s an album that’s very relationship-heavy, isn’t it? Some of your Case Hardin songs feature characters, and, although there are characters on this record, most of the songs are personal, aren’t they? They’re about you and the relationship you’re in…

PG: Yes. Apart from possibly Some Old Jacobite King, which is a story song, this album is self-contained and doesn’t really stray from its mandate or remit. Over the course of 40 minutes you need something like Some Old Jacobite King to pull you away… nobody wants to just sit and listen to me and my relationship! [he laughs].

The second song on the album, Mikaela, is my favourite track, largely for the great line: ‘Songs are like tattoos – you should think before you name one after a girl…’ That’s a rare moment of humour in one of your songs…

PG: It is – if you listen to my records, you’ll know that.

Have you got any tattoos of girls’ names?

PG: I haven’t, but it’s that famous thing, isn’t it? Get a tattoo of a girl’s name that been spelt wrong…

That song was never intended to be put on a record, but it suddenly became indicative of this whole album, which is relationship-based, more than anything else I’ve ever done. The song was written for her [Mikaela]There are references in it that you might think shouldn’t be put on an album for people to hear…

The sexual stuff? Well, I did say it was a naked record…

PG: Literally and figuratively. That’s why that song sits so beautifully next to One Last One Night Stand… ‘Hold on, what’s he saying here? Oh – OK, this is why…’

That was a song that was written for the Case Hardin record, but when I sent it to the band I thought, ‘what the hell are we going to do with this?’ I just didn’t want to throw a load of guitars over the top of it and turn it into alt-country by numbers.

I really like the brass on it – it’s mournful, like a New Orleans funeral band…

 PG: Yes, but slightly Mariachi as well – the trumpet was slightly buried in the string section originally, but it got pulled out and pushed front and centre in the final mix.

‘Nobody wants to just sit and listen to me and my relationship!’

From one sexual song to another… Next up we have Strip For Me, which could possibly be the first song to name check Stormy Daniels…

PG: It could well be. The song is nothing to do with her, but it’s about the underbelly of the male perspective of relationships – something I’ve written about at other points in my career.

It’s a character song, isn’t it?

PG: Absolutely.

The opening lines are very uncomfortable. There’s a fictional male protagonist who says to a woman: ‘Do you think you’re one of those girls too beautiful to hurt, too beautiful to cheat on? There’s no girl too beautiful for that’…

 PG: That horrible guy would quite easily just see a porn star and remember her name – ‘Strip for me, like Stormy Daniels’ – without really realising who this woman is.

It’s a pop culture reference – it’s had an odd reception already. It’s one of the few songs I’ve played live – I did some acoustic shows with Jason McNiff and I road tested some songs. Whenever I played Strip For Me, people burst out laughing… I was like, ‘shit!’

I obviously don’t think through the consequences of these things when I’m writing, but it will be interesting to see if people can peel back the layers, rather than just hearing that woman’s name. I wouldn’t want it to turn into some kind of joke or parody song – it’s not. I used her name to underline the stupidity of the guy in the first verse.

‘I hope history will be a lot kinder to Stormy Daniels and realise that she’s quite a significant character in the theatre that is the Trump presidency’

I guess the reason I left the reference in is because I hope history will be a lot kinder to people like Stormy Daniels and realise that she’s quite a significant character in the theatre that is the Trump presidency. The second verse is supposed to be the woman talking about the guy…

Strip For Me is going to be the preview digital single from the album, so let’s really see what people make of it…

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The title track, Here There’s No Sirens, contains a lyrical reference to the Pogues song, A Rainy Night In Soho, playing on the radio, and there’s also a snippet of the song in the outro…

PG: It’s a song about just finding yourself in the kitchen, with a radio playing your favourite song. I’ve given Shane MacGowan a co-writing credit – the song was originally intended for the Case Hardin record and I think they could’ve done something with it.

When I was finishing writing it and demoing it, I thought, ‘what key am I in? This is almost A Rainy Night In Soho’, so I slightly changed the guitar pattern and the style of the strum. I put a little bit of swing into it and changed the key.

The original demo was me playing it into my phone, with the last verse of A Rainy Night In Soho playing on my stereo. I’m a huge Pogues fan – that song is the one to slap people around the face with when they say the Pogues are just a bunch of drunks and that MacGowan is not a good writer…

Why is Here There’s No Sirens the title track?

PG: On this album I deliberately set out to do a few subtle things that I wouldn’t have done on a Case Hardin album – never titling a record after a song and never having our images on the front cover. I wanted to name the record after a song and the cover art is a picture of me by an artist from Edinburgh called Veronica Casey – she painted it many years ago. This album is a case of me unticking a lot of boxes for reasons only known to myself…

‘On this album I deliberately set out to do a few subtle things that I wouldn’t have done on a Case Hardin album’

You’re launching the album at a special London show in the Network Theatre, Waterloo on April 6, where you’ll be joined by The Siren Strinqs quartet…

PG: It’s a community theatre and it’s a beautiful space. Clubhouse Records and Joe wanted people to realise that this album is something different, so we have the Siren Strings – it’s not just me and a guitar. The show will be me, Joe, Tristan Tipping [Clubhouse Records and Paul McClure and The Local Heroes] on bass, Fin on drums, and the string quartet.

There are two supports – Lucy Kitt and Tony Poole [Starry Eyed and Laughing and Bennett Wilson Poole]. Tony mastered my record. We’re going to play the album and there will be one or two little surprises on the night.We’re also going to play at the Ramblin’ Roots Revue [April 12-14, Bucks Student Union, High Wycombe].

Finally, let’s talk about Case Hardin. Any plans for a new album?

PG: It’s written – we’re going into the studio as soon as we can. I think we’re going to start recording it in June and then get it out by June the following year.

What can we expect it to sound like?

PG: Looking at the solo project and knowing that I didn’t want electric guitars on it – and looking at the songs I’ve taken away from Case Hardin for my record – you’re left with something that will quite organically be a collection of much shorter, punchier, louder songs.

There won’t be anything on there as expansive as Poets Corner [the eight-minute album opener from Colours Simple], and I also won’t feel the need to put on tracks like High Rollers and Cheap Streaks From A Bottle [also from Colours Simple].

I think the next Case Hardin album, will, by default, be louder and punchier, and we can zone in on what many people think Case Hardin do best.

Pete Gow’s Here There’s No Sirens will be released on April 5 on Clubhouse Records. There will be an album launch show with The Siren Strings quartet on April 6 at The Network Theatre, London Waterloo, with support from Lucy Kitt and Tony Poole. Tickets are available here. 

Pete Gow and The Siren Strings will also be playing at the Ramblin’ Roots Revue festival (April 12-14, Bucks Student Union, High Wycombe).

 

‘I wanted to get back to that rock sound…’

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Luke Tuchscherer – photo by Amanda Tuchscherer.

There’s a song on Pieces, the latest album by Americana singer-songwriter Luke Tuchscherer, called Batten Down The Hatches. It sums up the record perfectly – this time around, on his third – and best – solo album, Luke, former drummer with Bedford alt-country band The Whybirds, isn’t pulling any punches – he’s made an angry, heavy, often political album that rocks like Neil Young and Crazy Horse. Batten down the hatches, indeed, for it’s like a hurricane out there… There’s even a nine-minute, epic rallying call (Requiem), which attacks social injustice in the UK and comes across like Luke’s very own Rockin’ In The Free World…

It’s not all big guitar anthems, though – there are some quieter moments in the eye of the storm, like the apologetic ballad Charing Cross and the gorgeous, Springsteen-like country-rock song Ghosts, which sees Luke revisiting his childhood haunts.

In an exclusive, in-depth interview, Luke, who now lives in New York, gives me the inside story on the making of Pieces and reveals that he’s already got his next five albums planned out…

Q & A

The last time we spoke was in the summer of 2017, for the release of your second solo album Always Be True.

You told me then that you’d already got the next four albums planned – track listings and all…. So I guess Pieces, which came out earlier this year, is the first of those albums. Is everything going to plan?

Luke Tuchscherer: Yeah – it’s going well. Pieces is the first of those albums. There’s another one, which will be called Widows & Orphans, that’s already been recorded. That just features Dave Banks and me on acoustic guitars, and is a really intimate, autumnal record and, as such, will be out in October 2019.

I have recorded my acoustic guitar and vocal parts for another record, provisionally titled Salvation Come, in Maplewood, New Jersey. We’re going to be adding some violin parts soon, with a Brooklyn musician I met called Steve May, then I’ll add the drums in the spring back home [in the UK], before adding the other parts as and when, including a baritone guitar player I met here [in New York] called Chris Tarrow. Widows & Orphans should buy us a bit of time before that one comes out, but I’d imagine it would be 2020.

So, the fourth of those records would actually be another full-band Penny Dreadfuls effort, akin to Pieces, which will have to wait until I’m back home [in the UK] again…
But, on top of that, I’ll be recording a solo Neil Young Hitchhiker/early-Dylan type album in New Jersey early next year, and I’ve had a folky/bluegrass album planned for years, akin to Steve Earle’s Train a Comin’ or something, but I just need to find the players for it.

The first thing that strikes me about your latest album, Pieces, is that it’s a much heavier sound than your last two records – quite frankly, it rocks, in a Neil Young and Crazy Horse style. What was your intention with this album? It has a big sound! 

LT: I’d already started moving things that way with the Shadows EP, which came out earlier this year and was mainly rockers. The reason is because I didn’t want to be pigeonholed as an acoustic artist. The first record was only that way because The Whybirds were still going, so my “electric” side was satisfied. You Get So Alone… [first solo album] was made up of songs that didn’t fit the band. But now the band is done, I wanted to get back to that rock sound.

‘I’ve actually written quite a few political songs, but they’ve never made it on to any albums before – I can see myself writing more about the wider world now, because my personal life is stable’ 

In 2017, you told me that classic ‘70s rock records like Bruce Springsteen’s Darkness On The Edge of Town and Tom Petty’s Damn The Torpedoes informed your last album, Always Be True. What were you listening to when you made this album? A lot of Neil Young, I guess…

LT: Neil Young has always been an influence, and for sure, it comes out the most on this album compared with my others. But for anyone who heard The Whybirds’ Cold Blue Sky, it shouldn’t be too much of a shock.

I think there’s a bit of Pearl Jam on this album, too – and in fact the Neil Young/Pearl Jam album Mirror Ball was an influence in terms of how quickly they recorded it – and the Petty stuff is still there.

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Your song Requiem is a Neil Young-like protest anthem that bemoans the current state of the UK – high taxes, the challenges faced by the NHS and how the rich are getting richer and the poor are worse off… It sounds like your very own Rockin’ In The Free World, crossed with Like A Hurricane…

It’s great to hear a modern protest song. Considering the dire situation the world’s in, doesn’t it surprise you that more artists don’t write protest songs? You’re not afraid to tackle issues head-on, are you?

LT: I’ve actually written quite a few political songs, but they’ve never made it on to any albums before. The thing about them is that they tend to date quite quickly. If the NHS goes tits up, then so does Requiem – ha ha! A truly great political song, like Masters of War [by Bob Dylan] is always relevant, sadly enough. Some other reactionary songs are redundant as soon as whatever event they’re responding to is over. Requiem was written after watching the Noam Chomsky film Requiem For The American Dream and applying it to the UK.
As for other people not writing them… I dunno. Maybe they’re wimps. Maybe they don’t care. Maybe they just don’t like political music. Personally, I can see myself writing more about the wider world now – though not strictly protest songs – because my personal life is stable. It’s kind of weird singing old break-up songs when I’m happily married, whereas I can see myself still feeling the things in Sudden Getaway or Ain’t That What They Say? in the future.

The first four tracks on the album don’t mess around – they rock out. Things don’t calm down until we’re halfway through, with the song Charing Cross. It’s quite an angry album in places, too. What frame of mind where you in when you wrote the songs and recorded them? Requiem, The MF Blues and Company Girl are angry songs – the latter is very vicious. It’s a put-down song. What inspired it? It sounds like a dig at the music industry…

LT: The only songs that were written shortly before recording were Requiem and Ghosts, but, because I have such a big backlog of songs, I basically choose the best batch to make a cohesive album, along with any new stuff I’ve got that fits. It’ll probably take me to the mid-2020s to clear my backlog!  The MF Blues was pretty old, probably 2007, but it fitted the theme of the record.

Company Girl was probably written in 2012 or so. And yeah, it’s angry. It’s about a lot of people, not just one, and they don’t have to be female at all… It’s just I was writing from the ‘company man’ perspective, so it made sense for the other part to be female, but it could’ve been Company Boy easily enough.

‘I have such a big backlog of songs – it will probably take me to the mid-2020s to clear it!’

I guess it’s a bit high horsey, but it’s a dig at the people who aren’t really artists – they’re just after fame. The kind of people who don’t love “Americana” or whatever, and would happily do an RnB album if they thought it would make them more successful. I won’t name names, but they’re not hard to spot. But they’re all doing better than me, so, what do I know?

Let’s talk about the recording sessions for Pieces… How was it making the album? You recorded the seven ‘rock’ songs live in one day, with a band – in June 2017, at The Music Centre, in Bedford. That must’ve been a long day? Talk me through it… 

LT: I had limited time before I moved to New York to get the album done. We knew the move was coming, so I wanted to maximise my minutes, so to speak. Between April and September 2017, we recorded PiecesWidows & Orphans and my hard rock side-project Herd Behaviour’s debut, which is called Animal Habitual, and I played drums on David Banks’ forthcoming solo debut. All were recorded by Chris Corney.

I don’t remember it being a long, or even particularly stressful, day. We’d rehearsed the songs in the weeks leading up to the date – with me on drums, Dave on guitar and Simon Wilson on bass. We set up the night before to get all that out of the way. Then we went in and did it.

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Luke in the studio – photo by Tom Peters

Requiem was one take – we didn’t complete a second one. Sudden Getaway was like second take or something. It was all easy as I recall. I think Batten Down The Hatches was the only one that was a slight struggle, but even then it wasn’t too hard. Dave’s an amazing guitarist – every single note he plays on those seven rockers is live – Simon’s a great bassist, and I’m more comfortable behind the kit than anywhere, apart from singing, I suppose.

Then I added my guitars, vocals and percussion in a couple of additional sessions. Chris did almost all the harmonies and did a great job on the vocal arrangements, and Tom Collison added his keys from his home studio – I’d already moved by that time. Done!

When we last spoke, you were gearing up to move to New York. Does the opening song on the album, Sudden Getaway, reference that?

LT: Sudden Getaway was written in 2015, I think, maybe 2014, when NYC wasn’t even on the horizon. It’s really about an existential crisis, I guess. About struggling to be happy with your lot and wondering when that struggle might end.

Why did you move to New York and how is it working out?

LT: Essentially my day job got us to NYC, but I’d never have gone if the band was still going. But once the writing was on the wall with The Whybirds, I felt like I’d given up all of my twenties to the band and had nothing to show for it.

All my holidays were used up touring and recording, as were my weekends and a lot of my evenings. And I felt like I’d never really done anything for myself, or – since I was married by then – for my wife and I as a couple.

A lot of people asked if the New York thing was a music career move, but it was the complete opposite. It was to do something that wasn’t music-related, so I could feel like I’d actually done something with my life. That sounds pretty negative, but if you listen to Waiting For My Day to Come or Outside, Looking In on Always Be True, you can tell that I wasn’t very happy with music anyway! That said, See You When I See You is a fond look back at the ‘birds days, with just a tinge of regret that things didn’t turn out better.

‘A lot of people asked if the New York thing was a music career move, but it was the complete opposite. It was to do something that wasn’t music-related, so I could feel like I’d actually done something with my life’

I was basically working two full-time jobs and it was slowly eroding my passion for music. Since moving to New York, it’s been like starting at the bottom again, and the gigs have been half good and half soul suckers. But it’s made me miss playing music just for the fun of it, and that’s just about the most positive thing that could’ve happened. When I went back [to the UK] for the Pieces gigs in the summer, they were the best and most fun solo shows I’ve ever played. Bar none. I’m already massively excited about coming back next year and firing up the Penny Dreadfuls again.

Let’s talk about one of the ballads on the album – Charing Cross. It’s a sad song – an apology to a loved one. Demons and drink are involved. What’s the story behind it? Is it set in Charing Cross? Surely that must be a first for a song… 

LT: Yeah, that was an old song – 2010. It was written after a night at The Borderline, which is obviously just off Charing Cross Road. Anyway… I’d had my wallet and phone stolen, I was in a terrible mood, I got very drunk and I was an arsehole. The song was the apology. I can’t actually remember what the original chorus line was, but it was more positive, as the relationship lasted a few months more. But since that particular relationship is long gone, I turned the lyric into “I know I’ve really blown it now”, to make the song make sense on its own, and give it some finality.

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Photo of Luke by Jez Brown

Ghosts is another quieter moment on the record – a gorgeous country-rock song about going back to where you grew up. What can you tell me about that song? 

LT: That’s probably my favourite on the album and one of my best ever songs lyrically. It was inspired by something quite personal that I won’t go into, but, hopefully, it was written in a fairly universal way, so that people can get their own meanings from it.

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

LT: Even though I was a year late to it, I can’t get enough of Phoebe Bridgers’ Stranger in the Alps. It’s one of the best albums I’ve ever heard, let alone recently. Again, I was late to the party, but I finally watched The Devil and Daniel Johnston and I find his stuff pretty addictive. The latest Mudhoney album, Digital Garbage, is really good, too. I discovered a band on Spotify called Arliss Nancy, who have broken up now, I think, but I thought they had some good stuff.

So, finally, what’s next for you? There are all those albums to get out…

LT: I’d expect something like this:

2019: Widows & Orphans – stripped back acoustic album akin to Time (The Revelator) [by Gillian Welch].

2020: Salvation Come (Country-ish Southern Gothic album, with fiddle as the lead instrument.

2022: Luke Tuchscherer & The Penny Dreadfuls – another rock effort.

2023: Carousel – completely solo “session” album.

20??: Untitled folk/bluegrass album.

But I’m back for a solo show at the Green Note in London on April 11, then I’ve got full-band shows in Leicester, Bedford and London on July 18, 19 and 20, respectively. There’s also a European festival, but I don’t know if I can announce that yet, but I’m super-excited about that!

Pieces by Luke Tuchscherer is out now on Clubhouse Records.  For more information, go to: https://www.luketuchscherer.co.uk/

‘I’ve got the next four albums planned – track listings and all…’

 

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Whybirds drummer Luke Tuchscherer’s brilliant new solo album, Always Be True, is full of rough-hewn alt.country songs and anthems for the downtrodden, and its influences include Steve Earle, Bruce Springsteen, Tom Petty and Uncle Tupelo. 

Among the highlights are the rousing opening track, Waiting For My Day To Come,  the epic, tear-strewn ballad When The Dream Dies and These Lonesome Blues – a instant country classic that deals with death, drinking, cigarettes and the devil. ‘I really wanted to make a ’70s rock album, like Darkness on the Edge of Town or Damn The Torpedoes’, he tells me…

Q & A

Let’s talk about your new album – Always Be True. The title seems particularly relevant in these troubled times, where fake news is high on the agenda, wouldn’t you agree?

Luke Tuchscherer: I would certainly agree. Though, to be honest, we started recording it in late 2014 and I’ve had the title in mind since then, so I wouldn’t say that Trump and co had a direct influence on it, or the Brexit battle bus lies or any of that.

The title comes from the song Be True, which is a declaration of fidelity to my then girlfriend, now wife. But in a wider sense, it’s about being true to yourself, to your dreams and beliefs, as well as simply doing your best to be honest in day-to-day life.

It’s your second solo album. How does it feel to have it out there? 

LT: It’s a relief. It’s like an albatross has been lifted from me. I’m really thankful that it’s finally out and really happy that people like it.

 

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How long were you working on it?

LT: As I mentioned, we started in late 2014. It was due out in summer 2016. For various reasons – some good, like Tom (Peters, producer) getting married and some awful, like band members losing loved ones – it took longer than planned. But that’s not the story of the album, that’s simply what delayed it. And when those big life events happen, well, as much as I like music, I’m afraid they take precedent and the music takes a back seat. However – much like the first album actually – even though it took a couple of years to complete, in terms of actual recording, it was only a few days.

How do you feel this record differs from your debut? You’ve said it’s a collection of songs that you want to play live, whereas with the first album, that wasn’t the case. Can you elaborate on that?

LT: With the last album, you had to be careful which songs to play in which venues. Unless it was a “sit down and shut up,” type place, then you couldn’t play half the songs off it.

Trying to play Hold On or I Don’t Need You To Tell Me to a festival crowd wasn’t even worth attempting.

This time most of the tracks – though admittedly not all – can be played solo, or with the band, to pretty much any audience. Obviously I’m not gonna pluck out A Song For Jack Brown in a noisy venue, but for the most part, they work.

The new album has a much bigger, more full-on sound that its predecessor – 2014’s You Get So Alone At Times That It Just Makes Sense – doesn’t it?  What did you want this album to sound like? How did you approach the songwriting and the recording?

LT: It certainly has more electric guitar! But if anyone followed what was happening in The Whybirds, they’d know that a large part of what I do is that rockier alt.country sound. I didn’t want to be pigeonholed as an acoustic artist just because of the first album, as that would be a great example of me not being true to myself… There’s that album title again!

‘I know what I’m doing for the next few records. There won’t be such a gap between albums – for the next couple at least’

Regarding the songwriting, I’ve got such a big backlog of songs that it’s very easy for me to pick the 10 that best fit the theme. No bullshit, I’ve got the next four albums planned, track listings and all. Now, obviously they’re subject to change, should I write something new that fits in, but for the most part I know what I’m doing for the next few records. There won’t be such a gap between albums – for the next couple at least.

You made the record with Tom Peters at The Den, in Bury St Edmunds. How was that? What was the recording process like? Was it a quick album to make? 

LT: Other than the delays mentioned, the sessions went really well. Very smoothly. Tom’s brilliant. He’s a great friend of mine and an awesome producer. I can’t recommend him highly enough.

Did you have all the songs written before you went in to record the album? What were your musical  and lyrical  influences for this record?

‘I really wanted to make a ’70s rock album with this one. Something like Darkness on the Edge of Town or Damn The Torpedoes’

LT: Without being too anachronistic, or overly reverent of the past, I really wanted to make a ’70s rock album with this one. Something like Darkness on the Edge of Town or Damn The Torpedoes or something, If Ryan Adams’ Heartbreaker was the template last time, I think those albums informed this one.

The opening track, Waiting For My Day To Come, is a bit of an anthem, isn’t it? It’s a big tune. What can you tell me about that song? Are you still waiting for your day to come? Could this album change all that?

LT: I wanted to write a song like Lodi by Creedence Clearwater Revival, where I could sing it at every shit gig I ever played, and now I open most shows with it. I dunno if that’s some sort of Freudian slip! I guess I am still waiting, and the song seems to suggest I always will be – ha ha! But really, that song was just what I was feeling in that moment, same as Outside, Looking In. It doesn’t mean I always feel that way about music. I don’t see Waiting… as a positive song whatsoever, but a lot of people find it optimistic, so good for them.

The legendary pedal steel guitarist BJ Cole played on your new album. How was he to work with?

LT: He was great. We sent him the songs, sent him some money and he sent back his tracks. Easy-peasy! One nice thing about having him playing on it though is that my wife and I had Tiny Dancer [by Elton John] as our first dance and BJ plays on that. It was very cool that he ended up playing steel on three songs about my wife.

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You were the drummer in The Whybirds. How does it feel looking back on those days now? Why did you make the break and go solo?

LT: If it were up to me, The Whybirds would still be going all guns blazing with all four original members, and I’m pretty sure the other members know I feel that way. But it’s not up to me. The decision wasn’t mine. It was just a matter of life getting in the way. All of a sudden, my solo side-project became my main thing.

The Whybirds reunited for two tracks on your new album – Don’t Put Me Out and These Lonesome Blues. How was it being back in the studio with the band again? 

LT: It was great. We played those tracks back in the day but never got to record them, so I wanted everyone to play on them. Taff did his bass parts and backing vocals from Canada, where he lives now. We have our final gigs – for now – this summer. Everyone should come along!

These Lonesome Blues is a classic country-rock song, isn’t it? Depression, booze, cigarettes, women, death, the devil…. It’s got it all! What can you tell me about that track?

LT: I wrote that in 2006/2007, when I was a lonely, boozing, smoking, depressed young man. Hearing it now it sometimes seems like a pastiche, but I really felt all that at the time. If you look at the lyrics, without that barroom country backing, they’re actually pretty fucking bleak. But, I don’t feel that way anymore, so all’s well that ends well…

‘I wrote These Lonesome Blues when I was a lonely, boozing, smoking, depressed young man’

A Song For Jack Brown deals with the suicide of a young man. Why were you inspired you to write a song about Jack? Was it a difficult song to write? How have his friends and family reacted to the song?

LT: I was trawling through Facebook one night when I saw that a promoter The Whybirds used to work with had posted in a group called For Those Who Knew and Will Miss Jack Brown.

Seeing that group and reading those messages really got to me. Jack was a 21-year-old based in Leighton Buzzard. He was a super-talented rugby player, by all accounts the life and soul of the party, and it just seemed so tragic that he’d take his own life. The people left behind were devastated.

Anyway, I got choked up reading the messages and went away and wrote the song. I demoed it and sent it to the promoter saying that I wasn’t sure if it was appropriate or not, but that I’d written this song and thought I’d send it on. He liked it and asked if he could pass it on to Jack’s friends and family, and I said yes.

I started getting messages from people, including Jack’s mum, thanking me for the song. The next time we played in Leighton Buzzard, Jack’s dad came along to buy me a beer and say thanks. Now, as you can imagine, that’s quite a strange and humbling experience. Even though this was back in 2009, I thought I’d include the tribute on this record.

How’s the summer shaping up for you? What are your plans for the rest of 2017, music-wise?

LT: A few festivals, we’ve got some Whybirds ‘final shows’, and then the rest is a closely guarded secret – for the time being…

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

LT: I try, wherever possible, to listen to things that aren’t necessarily close to what I do, otherwise I’d just write songs like Waiting For My Day To Come all the time… But jazz, grunge, rock, pop, blues… I listen to all kinds of music. I’ve been really digging into Paul Westerberg’s back catalogue at the moment. I’ve always liked his stuff from the Singles soundtrack and The Replacements of course, but I’ve been delving in a bit more. For obvious reasons, I’ve been listening to a lot of Soundgarden lately.

Always Be True by Luke Tuchscherer is out now on Clubhouse Records.  For more information, please visit http://www.luketuchscherer.co.uk/ .

The Whybirds will be playing three farewell shows:

June 30 –  Esquires, Bedford
July 7 – Portland Arms, Cambridge
August 11 – The Lexington, London

http://www.thewhybirds.com/

Acton baby

Showcasing a new full band sound, Case Hardin’s latest album Colours Simple is a collection of kicked around, country-rock songs populated by prostitutes, drinkers, lost souls and losers.

I invited the group’s singer-songwriter, Pete Gow, down the pub to tell me more…

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Colours Simple – the superb new album from West London alt-country act Case Hardin – is a record that sounds like it’s been on a late night drinking session in the heart of the city, hung out in some casinos and massage parlours, talking to the lost and lonely, and then staggered off home in the wee small hours, as the sun rises over Acton.

To find out more about the record, I met up with the band’s singer-songwriter and frontman Pete Gow in a North London boozer…

I want to talk about the stunning, eight-minute album opener Poets Corner, which sounds like something Springsteen would’ve written if he’d lived in Acton, rather then New Jersey…

Like a lot of this album, it has a big, full band sound – there’s some serious rock guitar from Jim Maving in places…

Pete Gow: As it was coming together in my head, I couldn’t get away from that backstreets feel. I wanted to write something in a longer form and I’d decided it was going to be more of a guitar-based record…

Poets Corner is old school Springsteen and I knew I wanted that Phil Spector ‘bom-bom-bom’.

The title Poets Corner comes from the name of a place near where you live in Acton, West London. There’s an area called the Poets Corner Community Garden, where one freezing cold January afternoon you sat on a bench and turned some of your songs into this album… Can you elaborate on that?

Poets Corner is also mentioned on another track on the album – High Rollers. What’s so special about that place?

PG: I write for an album. If we’re going to do a new record, I will go off and write for three months. I’ve usually also got one or two songs hanging around… I don’t write all the time, or carry a notebook around.

But on this occasion [after making the last Case Hardin album PM ] I just carried on writing – I’d just moved to West London and I was writing without consequence. I didn’t think I was writing for another record, as we’d just recorded one, but the songs just kept on coming.

Poets Corner – the place – is nothing and it’s everything. It’s tiny – it’s where two houses intersect. It’s jam-packed full of plants and there’s a mural that the local school kids painted. It’s a piece of communal ground and there’s something quite quaint about it…

So, is this album your Acton baby?

PG: I guess it is [he laughs].

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It sounds like a record that has been hanging out in bars, visited some gambling dens, stayed up all night talking to some lost and lonely characters and then walked home in the early hours of the morning…

PG: It feels like a city album, because I moved into one. I lived in Berkshire before. The writing of Colours Simple coincided with my move to London. I was absorbing stuff and hanging out in different places.

Before I moved to Acton, I lived in Brixton for six months. The song The Streets Are Where The Bars Are (The Bars Are Where The Girls Will Be) was written in Brixton, where I felt wide-eyed and touristy. It was a welcome to the jungle kind of thing.

That track is a good, old-fashioned rock and roll song, isn’t it?

PG: It’s just a good night out – I can’t remember how much of it is made up and how much of it actually happened.

Which is usually the sign of a good night out, to be fair…

There are lots of stories and characters in your lyrics. How many of them are based on real life and how many of them are fiction?

PG: Some of it is made up…. but for a song like Champeen [off the PM album] I had to take a journalistic approach and do some research, so there’s some kind of factual correctness.

High Rollers [on the new album] is an extension of the Guy Clark, Steve Earle, Townes Van Zandt story song, but with a Nick Cave twist to it – everything always goes wrong.

The album’s liner notes, which were written by journalist Mark Phillips (the senior foreign correspondent for CBS News), mention your day job as a TV news producer.

He writes that you keep your two lives separate, because you’re happier playing songs about imaginary bad women who’ve done your wrong, rather than bad people who caused actual death and destruction… But do any of the things that you see in your day job end up in your songs?

PG: I don’t travel as much as I used to, but some of the work I’ve done in the past would’ve been an easy route into political writing, but that’s not something that I’d ever wanted to do – I don’t have a huge amount of confidence in my own politics. I’ve used those experiences – it would’ve been negligent as a writer not to – but they come out in a more visual sense.

Cheap Streaks From A Bottle – the first single from the album – features The Reservoir Dogs brass section. It’s rollicking country-soul. What were you going for with that track?

PG: The record was recorded at [producer] Chris Clarke’s Reservoir Studios in North London. He’s the bass player in Danny & The Champions of the World and he’s been a record producer for many new years. He’s one of the cornerstones of the North London music circuit and he was in The Rockingbirds.

He came up with the idea of brass for that song. We knew there was something missing. If you like Case Hardin’s first three albums, then Cheap Streaks From A Bottle and Poets Corner are worth your ten pounds to see where we can take it… We try and branch out.

There are also some classic, ‘traditional’ stripped-down Case Hardin country songs on the new album – High Rollers, with Hana Piranha’s violin – and A Mention In Dispatches, which also features Hana…

PG: Both of those tracks could have sat on our PM record.

Fiction Writer is one of my favourite songs on the new album. It reminds me of some of those great early Ryan Adams tracks, circa Heartbreaker and Gold, when he was making his best solo stuff, rather than wasting his time doing soft rock or Taylor Swift covers…

PG: I’ll take that as a comparison – right up to – and including his album 29 – Ryan Adams was kind of the key figure that prompted me to go and write something, or, if I was in the process of writing, to try and write better.

Jesus Christ Tomorrow Morning has a real raw, ragged, country-rock sound. It sounds like a song that’s been lived-in and kicked around…

PG: It’s one of those songs that I’d had a hook for a long time ago, but I’d never liked the lyric. I found it in an old lyric book and I rewrote it. It comes in at just under two and a half minutes and if it didn’t have ‘Jesus Christ’ in it six times, it might even be a single…

There are some wonderful lines in Another Toytown Morning – the closing track on the album.

I particularly love the phrase, ‘open up these scars with pedal steel guitars – lost to the lonesome and high’. 

It’s as if you’ve summed up country music in a nutshell.

There’s some great imagery: ‘an airless room and a bottle of wine, a turntable and some old Patsy Cline….’

Tennessee Williams’ ghost puts in an appearance, too…

PG: That’s why we all do this – because we can be driven to tears by sticking on an old Patsy Cline record. I’m sure I picked Patsy Cline becomes it rhymes with wine. You try and find a drink that rhymes with Kristofferson…

 

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Colours Simple – the new album from Case Hardin – will be released on Clubhouse Records on September 18.

For more information: http://www.casehardin.com

 

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