‘My first Dylan album was Blonde on Blonde. I’ve been under the sweet, sorrowful spell of Sad Eyed Lady of the Lowlands ever since’

Picture by Autumn Dozier

Emma Swift’s new album of Bob Dylan reinterpretations, the wonderfully titled Blonde On The Tracks, is one of the best covers records we’ve ever heard.

The Australian-born, Nashville-based country singer-songwriter has put her own [simple] twist on some of her favourite Dylan songs, but, unlike some artists who’ve covered his work, she’s remained reasonably faithful to the original versions, rather than radically overhaul them.

“Interpreting other people’s emotions is how I learned to sing and I’ve always enjoyed hearing Dylan’s songs from a female perspective,” she says. “You can learn a lot about melody and feeling by the way a singer chooses to interpret someone else’s song. You can learn a lot about words by singing someone else’s. I’m very influenced by singers like Sandy Denny, Joan Baez, Billie Holiday and Sinead O’Connor. There’s an art to interpretation.”

Produced by Patrick Sansone, multi-instrumentalist from Chicago alt-rockers Wilco, Blonde On The Tracks sounds intimate, warm and inviting – Swift’s voice is gorgeous and breathy. The eight-track album opens with Queen Jane Approximately – in a nice touch, Swift gives it a wonderful, Byrds-style makeover, with chiming 12-string guitar.

She slows down One of Must Know (Sooner or Later), turning it into a pleading, haunting, late-night country song, with pedal steel. Simple Twist of Fate gets a similar treatment, but with some understated, twangy guitar licks, as does the 12-minute epic Sad Eyed Lady of the Lowlands.

Swift even reinterprets one of the songs from Dylan’s latest record, Rough and Rowdy Ways, on hers – the reflective and stately ballad I Contain Multitudes. Her achingly beautiful voice is accompanied by acoustic guitar and minimal instrumentation.

“Like many of the great Bob Dylan songs, I Contain Multitudes is a magnet, a fly’s eye view of the cultural miasma in which we wander,” says Swift. “It’s magnificent and heartbreaking –  a love letter to words and art and music, to all that has been lost and all that might be redeemed. To me this song has become an obsession, a mantra, a prayer. I can’t hope to eclipse it, all I hope to do is allow more people to hear it, to feel comforted by it, and to love it the way I do.”

Blonde On The Tracks is a record that was born out of crisis, as Swift explains: “The idea for the album came about during a long depressive phase – the kind where it’s hard to get out of bed and get dressed and present [yourself] to the world as a high-functioning human. I was lost on all fronts no doubt, but especially creatively.”

She adds: “I’ve never been a prolific writer, but this period was especially wordless. Sad, listless and desperate, I began singing Bob Dylan songs as a way to have something to wake up for.”

Work on the album began at Magnetic Sound Studio, Nashville, in 2017, but it was the Covid-19 lockdown that brought the rest of the project to fruition. Swift worked with Sansone over email to polish up the six songs that had already been recorded, but her versions of I Contain Multitudes and Simple Twist of Fate were laid down in April and May this year, at home, and overdubbed via correspondence.

The album features guest appearances from Sansone, singer-songwriter – and Dylanologist – Robyn Hitchcock, who plays guitar, Thayer Serrano (pedal steel) and Steelism’s Jon Estes and Jon Radford on bass and drums, respectively.

Say It With Garage Flowers spoke to Swift during lockdown in Nashville, to find out why Dylan’s music means so much to her, why Blonde On The Tracks, which can be purchased via Bandcamp and from record stores, won’t be available to stream on Spotify and other digital music sites, and her plans for her new independent label Tiny Ghost Records.

Q&A

How has lockdown in Nashville been for you? How have you coped – both personally and professionally?

Emma Swift: I have been in lockdown and haven’t left the house since the beginning of March, so although I am technically in Nashville, it feels, in a way, like I am on an island. I don’t see any of my friends or colleagues or even venture to the supermarket. All communication – for food, for friendship and for work – has been done online and it’s definitely weird.

The idea of “coping” is one I struggle with because, in many ways, we’re still deep in this Covid experience, so it’s hard for me to have perspective on it. Am I coping? I don’t know. Right now, the virus is worse than it’s ever been in Tennessee. Each day brings new challenges. On the one hand, I’m extremely fortunate to be able to work from home, on the other, my primary source of income is as a touring musician and all that work is not going to return for a long time, so that weighs heavy on my mind. I am constantly seeking distractions. I read a lot.

I have insane, one-way conversations with my cat [Ringo]. “Who’s a good boy? Yes, Ringo’s a good boy! Oh, Ringo you’re such a good boy. Ringo have I ever told you what a good boy you are? Look at your little face! You’re such a good boy.” There’s a lot of that.

How did you first get into Dylan’s music and what does it mean to you?

ES: I’m not from the generation that grew up when Dylan began making records, so for many years most of my discoveries were made well after that – through albums I bought at record fairs and charity stores and songs I heard on the radio. My first memory of hearing a Bob Dylan song is The Byrds version of Mr Tambourine Man, which got played a lot on the golden oldies station I listened to as a kid.

I can remember watching clips of the Traveling Wilburys on music TV – I adored Handle With Care, though Roy Orbison was the one I was drawn to at the time. My first Dylan album was Blonde on Blonde, which I must have acquired when I was 17 or 18. I’ve been under the sweet, sorrowful spell of Sad Eyed Lady of the Lowlands ever since. My love of the artists that came of age in the ‘60s and ‘70s isn’t exclusive to Bob Dylan though. I’m just as influenced by Dusty Springfield, Joni Mitchell, Sandy Denny, Gene Clark and Lou Reed to name a few. I’m a kid of the ‘80s and ‘90s, but I’m quite old-fashioned really.

You’ve recorded a version of I Contain Multitudes, from Dylan’s 2020 album, Rough and Rowdy Ways. Isn’t it brave to tackle a brand new Dylan song?

ES:It didn’t feel brave to me – it just felt like a song I was utterly magnetised by and compelled to do. For me, it’s a love song to all that is great about music and art and poetry. It’s a confession, a hymn, a celebration. Like many of the Dylan songs I am drawn to, it’s a little bit funny and a little bit sad. I laughed out loud the first time I heard him sing: “I paint landscapes/ And I paint nudes.”

As for my interpretation of it, it’s very lo-fi. It was recorded in the lounge room at my place on a Zoom recorder, with Robyn Hitchcock on guitar, and then sent to my producer, Patrick Sansone, for overdubs. Patrick’s a brilliant man who can do a lot with not very much. I’m lucky to know him.

Interestingly, on your versions of the songs, you haven’t changed any of Dylan’s lyrics to make them sound like they’re being sung from a woman’s point of view. What was your thinking behind that?

ES:They are being sung from a woman’s point of view – mine. I just haven’t changed any of the gender pronouns to make it sound like it’s coming from a heteronormative context. It’s not how I view the world.

Picture by Autumn Dozier

You’ve said that you can learn a lot about melody by singing someone’s else’s songs? Can you elaborate on that? What has making this album taught you?

ES: I’m pleased that the record is coming out because historically it hasn’t always been easy for me to put music out. I can be apprehensive. I can be scared. I can be very self-critical. People can be brutal. And you have to feel safe enough in yourself to be able to say, ‘I like it and no-one else’s opinion matters’, to be able to release music. It took me a while to get to that point.

As for learning about melody, every time I put a record on I become a student. My ears are primed. For that matter you can learn a lot about harmony too, if you let the recording take the lead and try to find a different part.

Which other singers / artists do you admire, other than Dylan? Who inspires you?

ES:Marianne Faithfull, Cat Power, Sandy Denny, Nick Cave, Billie Holiday, David Berman, Robyn Hitchcock, Lucinda Williams, Vic Chesnutt, Leonard Cohen, Guy Clark, Patti Smith, Johnny Marr. Even though it’s music, I guess what inspires me musically is artists who really love words. Artists who read books. Artists who care about the world.

Am I right in thinking Blonde On The Tracks won’t be available to stream on Spotify and other digital music sites? You have strong views on streaming and royalties / payments to artists, don’t you?

ES: Blonde On The Tracks is available as a digital download, vinyl, CD and cassette. I’m selling it through Bandcamp online and it has distribution, so folks will be able to go and pick it up from their favourite local record store as well. There’s never been a better time to support small business.

You are right, I’ve been quite outspoken online about wage exploitation from mainstream streaming services. I’m tired of corporate music companies spinning a line that these outlets are good for “exposure”, while some of the best musicians I know find themselves now out of a job due to Covid-19. You can’t eat exposure! You can’t pay your rent with exposure. It’s just another bullshit argument for trickle-down economics – an argument which fails to take into account that the music industry is bigger than its bigger name stars.

‘I’m tired of corporate music companies spinning a line that mainstream streaming services are good outlets are good for “exposure.” You can’t eat exposure!’

What’s the latest on your planned album of original songs, Slow Dancing With Ghosts? Have you been writing any new material? Is there another record in the offing?

ES:Slow Dancing With Ghosts is all set for release in January 2022. I have recorded eight songs so far, but they are not quite finished as all the overdub sessions were cancelled due to Covid-19. There are some really lovely people playing on this record. I’m pleased to say that once my depression lifted I was able to write new songs, and that will be what is on offer here.

What music – new and old – have you been enjoying recently and how do you listen to it?

ES: I listen to music through digital downloads, the Bandcamp streaming app, vinyl and CD. Though it’s been brutal on other fronts, 2020 has been a great year for new music and I’ve been enjoying the recent albums from Marchelle Bradanini, Luke Schneider and Becca Mancari.

I just bought the Prince Sign o’ The Times 7in singles collection that Third Man is releasing and I’m excited about that. And I’ve got the new Dylan album, plus quite a large vinyl collection that goes back decades. I come back to Joni Mitchell’s Hejira probably more than any other record.

What are your plans for the rest of the year when things get back to normal?

ES: I have big plans to play this album – and my own new songs – live. I’m just not sure when it will be safe for me to make that happen.

You’ve started your own label,Tiny Ghost Records. Any plans to sign any other artists to it and put out their records?

ES: One of the main reasons for starting Tiny Ghost was because I am a mouthy brat and I like my independence. I couldn’t find a record label in 2020 that was artist-friendly enough for me. Even the cool ones are still in bed with the streaming services, so that wasn’t really an option. The new Robyn Hitchcock album will come out on Tiny Ghost in 2021. I’d love to sign other artists eventually, I just have to get the business off the ground first. I’d also encourage any artists who are looking for a label to consider starting their own. If it works for Gillian Welch and Courtney Barnett, it can work for you too.

‘One of the main reasons for starting Tiny Ghost Records was because I am a mouthy brat and I like my independence’

What are some of your favourite cover versions of Dylan songs?

ES:Okay so what’s wild here is that I could list versions of just one song and it would go on for pages. I could talk about Joan Baez’s Daddy You’ve Been On My Mind for days. Betty Lavette’s Mama You’ve Been On My Mind, particularly when sung live, is glorious. Robyn Hitchcock doing Visions of Johanna is pure heartbreak. I have to say, with this project, I couldn’t really listen to other people’s Dylan songs for a while because I needed to just be with the source material. I’m also not too interested in a rigid list of favourites – the list is ever changing.

Finally, did you ever think about calling the new album Blood On The Blonde? Maybe that could be your next record reinterpretations of Dylan’s murder ballads?

ES: [laughs] No, I didn’t…

Blonde On The Tracks by Emma Swift is released on August 14 (Tiny Ghost Records).

https://emmaswift.bandcamp.com/

 

 

 

 

‘I wrote the best part of my next novel in lockdown’

 

Mark Billingham

It’s almost 20 years since Mark Billingham’s debut novel, Sleepyhead, was published –  a highly original and riveting crime thriller that first introduced us to the character of Detective Inspector Tom Thorne, who is based in North London, loves country music, enjoys a beer and is passionate about Tottenham Hotspur. In case you were wondering, Mark shares two of those interests with his creation – he supports Wolverhampton Wanderers.

When Sleepyhead came out, in August 2001, it entered the Sunday Times Top Ten Bestseller list and ended up being the biggest selling debut novel of that summer. Since then, Mark has become one of the UK’s most successful crime writers.

This month sees the publication of his latest novel, Cry Baby – the seventeenth entry in the Thorne series and his twentieth book, if you include his three stand-alone thrillers: In the Dark, Rush of Blood and Die of Shame.

Cry Baby is a Thorne origins novel – a prequel to Sleepyhead, it’s set in 1996. In an exclusive interview, Mark talks to Say It With Garage Flowers about life during the Covid-19 lockdown, looks back at how his career in crime writing started, reflects on the enduring appeal of Thorne, gives us a sneak preview of the new book and tells us what he was getting up to in 1996.

Q&A

How did you cope with lockdown? As a writer, aren’t you used to lengthy periods of being at home on your own, shut off from the outside world?

Mark Billingham: On a day-to-basis, it’s not actually been very different – like a lot of writers, I’m looking for any old excuse to spend the day in my pyjamas.

I’ve been writing a lot. I know that a lot of people have found it very difficult to write – some have found it very difficult to read, for God’s sake – but I actually wrote the best part of my next novel in lockdown. I know plenty of people who have been very productive, but I completely understand why some people haven’t.

I wrote this next book very quickly, but sometimes, at the end of the day, I’d look at what I’d written and I’d think ‘what’s the point? It’s just a bloody crime novel. What does it matter in the scheme of things?’ Especially if the news that day was really bad. People are dying and the country’s going to shit! You just have to keep trying to lift yourself to get it done.

What has been different is that I haven’t been able to go out to promote my new book and do festivals and events – everything is now online. That’s what I’ve found the hardest part because I love doing all that stuff, but, again, in the scheme of things, it’s a very minor niggle.

‘I’m not convinced that people will want to read about the pandemic – when we return to some form of normality, they will want something that’s more escapist or cosier’

Has anything from the Covid-19 crisis filtered through into the book you’ve just finished writing?

MB: We’ve all got to make a decision, which I suspect is too early to make – how do you reflect lockdown and the pandemic in works that are yet to come out? I certainly reference it in the next book, but I’m hoping that by the time the book comes out, the virus won’t still be on everybody’s minds 24 hours a day.

I’m also not convinced that people will want to read about the pandemic – when we return to some form of normality, whatever that means, people might well want something that’s more escapist or a little cosier. Having lived through the pandemic, will people want to read fiction about it? We’ll have to see. It’s no coincidence that the golden age of so-called ‘cosy crime fiction’ was between the wars. After the horror of the First World War, people wanted something that was more…healing.

So you’ve spent lockdown writing, but did you have much time to do any reading?

MB: Yes – I’ve been reading tons. I’ve read an awful lot of new novels that have been sent to me, as well as some old favourites and bits of non-fiction. The last novel I read was Michael Connelly’s new book [Fair Warning], which is absolutely fantastic.

I loved Craig Brown’s book about The Beatles [One Two Three Four: The Beatles in Time] – I’ll read pretty much any book about The Beatles.

What was your lockdown soundtrack? What new or old music have you been listening to?

MB: I’ve been listening to old music – I’m such an old fart. I just tend to walk into the kitchen and go: ‘Alexa, play Elvis Costello’, or ‘Alexa, play Graham Parker’. But just to evidence the fact that my finger is still on the pulse, I’ve been listening a lot to the new Bob Dylan album [Rough and Rowdy Ways], which just gets better each time I hear it.

A few years ago, you collaborated with country duo My Darling Clementine for the music and spoken word album The Other Half. Have you listened to their recent Country Darkness EPs, which are cover versions of Costello’s country and country-soul songs, recorded with Steve Nieve?

MB: Yes I have and they’re great – fantastic stuff. I’ve also been following the stuff that Steve’s been doing online with Costello.

You’re a huge Costello fan. Have you heard the recent singles he’s put out: No Flag and Hetty O’Hara Confidential?

MB: Yes – I really like them. I love No Flag because he sounds properly angry again – he’s back to full strength and on fire. I wonder if the new one [Hetty O’Hara Confidential] is from one of the musicals he’s been writing? I don’t know. I know he’s written one with Burt Bacharach, A Face In The Crowd, and has been playing a few songs from it in his live shows for a couple of years.

Let’s go back to your writing. It’s almost 20 years since your first novel, Sleepyhead, was published, back in 2001. How does it feel looking back at that time now?

MB: I can remember exactly what I was doing and where I was. I was on holiday with my wife and kids in Corfu. My kids were very young and every night after we’d put them to bed, my wife and I would sit outside this villa we’d rented – she’d have a glass of wine and I’ve have a bottle of beer – and I’d start scribbling ideas in a notebook.

At the end of the fortnight’s holiday, I did a word count and realised I’d written about 30,000 words. I knew that would be about one third of a novel, so I started to think that maybe this novel-writing lark wasn’t as daunting as I thought it would be.

When I got home, I tarted up the 30,000 words and I sent them to an agent – they sent them to a bunch of publishers who wanted it, there was an auction and I was off! I still hadn’t finished the book when I got my deal. I can remember being in Brent Cross shopping centre when my agent called and said that a publisher had made an offer – that’s the moment you always remember. I didn’t really know what I was doing – that was when the hard work started!

What drew you to the crime fiction genre?

MB: I think it was when I read Sherlock Holmes at a very young age, but the more important moment was my first exposure to ‘popular’ crime fiction. When I started buying books for myself they were all blockbusters like Jaws and The Godfather.

When I became a student, I discovered Dashiell Hammett and Raymond Chandler. I got all those big Picador editions – and bloody loved them. I started with noir and hard-boiled American fiction and then discovered the likes of John Harvey and Ian Rankin. I devoured everything I could get. I started hanging about on the fringes of the crime fiction community – I would go to festivals and I started reviewing books so I could get them for nothing. The missing piece of the jigsaw was to try and write one.

When you created Thorne, did you ever envisage that he would endure for so long? 

MB: No – when I wrote the first book, I never imagined that it would be the start of a series. I needed a copper because there had been a crime committed. In my head, Thorne wasn’t even the main character. I wanted the book to be about the victim – a woman called Alison Willetts, who’s in a coma for the whole of the novel. I was in a very fortunate position, in that a number of publishers wanted the book, so I had to go and meet them all. The first question they all asked was: ‘is this the start of a series?’ I thought, ‘well – it better had be then!’ So I wrote another Thorne novel, little knowing that I’d still be writing about him nearly 20 years later.

How have you – and Thorne – stayed the course for almost 20 years?

MB: I’ve not constantly written about him – I’ve taken breaks to write stand-alone books and to collaborate with people on other projects whenever I’ve felt the need to. Why have readers stuck with Thorne? I don’t know, but, God, I’m very grateful for it! One of the things that has stood him in good stead I think is that I’ve never had a plan for him, or a dossier on him – the reader knows as much about him, book on book, as I do. They put flesh on the character’s bones.

I’ve never described him, so the readers have their own idea of what he looks like. Hopefully, he stays unpredictable and interesting, because I genuinely have no bloody idea about what he’s going to do next! I think that’s one of the reasons why he’s managed to stick around for the best part of two decades.

To tie in with the twentieth anniversary, a few months ago Sleepyhead was reissued as a special, limited edition hardback, with a foreword by Lee Child…

MB: It was hugely generous of Lee to write that. I’d gone back to Sleepyhead reasonably recently anyway, because I was doing the unabridged audio versions of all my early books. I’d read it again – it’s quite a sobering experience going back and reading something you’ve written 20 years ago.

How was it?

MB: There were certainly things I’d do very differently now, but you live with it – you learn as you go. Hopefully you make your mistakes early on – well, you never really stop making mistakes – but, hopefully, you get better as you go on. I did change one or two tiny things for the special edition, but I don’t think people will notice them. There are things I could’ve changed that I didn’t – like the weird thing I did with Thorne’s music taste.

You mean the bit where he’s listening to trip-hop and speed garage, as well as his beloved country music?

MB: Yeah – I thought, ‘shall I take that out?’ But I then said, ‘ do you know what? I did it – leave it in.’ I quickly dropped it after the first book…

I did take out the tiny bit of Thorne’s physical description – I’ve never done it since and I wish I’d never done it then. So, it’s gone. If it’s a character that readers are going to read about for 20 years, I’d rather they painted the pictures.

Let’s talk about your latest book, Cry Baby – the seventeenth Thorne novel and your twentieth book. It’s a prequel to Sleepyhead and it’s a Thorne origins novel, set in 1996…

MB: Yes – that’s exactly what it is. Because it was the twentieth book, I’d been thinking about it for a while and I wanted to do something a bit different and special. The more I thought about it, the more I thought ‘what a great idea – I wish I’d done this before’.

If I have one slight regret about Thorne it’s that I perhaps made him too old to begin with – he started off aged about 40, which was around the same age I was when I wrote the first book. I haven’t aged him in real-time, so he hasn’t aged as quickly as I have. With Cry Baby, I had the chance to take him back to when he was a younger man – he’s less cynical and less scarred and he’s still married – just about – and both his parents are still alive. He’s a very different person, so that was exciting to write about – how did he become the character that then appears in Sleepyhead?

I could also go back to a time that I remember really well, but which also feels like ancient history now – if you wanted to get pictures developed, you went to a chemist, and if you wanted to get somewhere, you wandered around with an A-Z in your hand.

Crucially, in terms of technology, it’s pre-internet, pre-mobile phones and pre-CCTV – all the stuff that makes the life of a contemporary crime writer very hard, because you’ve got to deal with all that stuff.

‘I had the chance to take Thorne back to when he was a younger man – he’s less cynical and less scarred and he’s still married – just about. He’s a very different person, so that was exciting to write about’

Was it a fun book to write, or was it challenging?

MB: Oh, it was a lot of fun. There was enjoyable research, like finding out what was on the telly and the radio back then – all that popular culture stuff, which is never a chore to do.

I also had to find out how police procedure was back in those days – I worked with an ex-Detective Superintendent, a guy called Graham Bartlett, who works with a lot of crime writers, including Peter James. He was really helpful, because he was serving back then, so he could tell me exactly what things were like. He could tell me how many women were on a team of detectives back then, or how many black and Asian officers there were – it was a lot fewer than there are now, that’s for sure.

He could also tell me how things worked in terms of technology. The most technologically advanced bit of kit that Thorne has is a pager, but not even one with text on it. It just beeps and he has to go to a phone box to ring police control. You can have a lot of fun with that stuff – ‘these stupid mobile phones are never going to catch on…’

Thorne and his soon-to-be ex-wife are selling their house and he is gobsmacked that they can get £150,000 for a three-bedroom house in North London! It’s ridiculous – there will be hollow laughter from people now that can’t buy a one-bedroom flat for that.

How easy was it to go back and create Thorne’s origins?

MB: I had the tent pegs for it – knowing who somebody becomes gives you a few decent clues as to who they were. It’s not like he’s a radically different character, but there were crucial domestic things that were fun to write, like scenes with his parents, or his wife, who by the time of Sleepyhead he’s divorced from. During Cry Baby, they’re going through the hell of all that. I didn’t have to reinvent him – I just had to imagine what he might have been like in his thirties, as opposed to his forties.

What music is Thorne listening to in Cry Baby?

MB: Oh, he’s still listening to George Jones and Hank Williams, but the piece of music he hears most during the book is Three Lions, because it’s all set during Euro 96. That’s the first thing he hears when the turns the radio on, although at one point George Michael’s Fastlove comes on. He’s not listening to too much Britpop – it’s all Frank Skinner and David Baddiel, which pisses him off, because one of them’s a Chelsea fan.

 

What were you doing in 1996?

MB: I was still doing stand-up, but I was a few years away from thinking about writing that first book. I hadn’t gone through my brush with violent crime (In 1997, Mark became a crime victim, when he and his writing partner Peter Cocks were held hostage and robbed in a Manchester hotel room). I was enjoying Euro ‘96 – I was there at Wembley the night England stuffed Holland 4-1. It was a lovely, footloose summer – I was 35.

How were your team, Wolves, doing then?

MB: Oh, they were doing terribly – they were not the team they are now, or in the ‘70s. They were in the doldrums.

Without giving away any spoilers, can you tell us a bit about the plot of Cry Baby?

MB: Even though it’s been a number of years, Thorne is still reeling from a case – the Frank Calvert case – that is also referenced in Sleepyhead. A piece of misjudgement on Thorne’s part, or a lack of confidence, that tragically resulted in the death of three little girls and their mum. That still disturbs him and some of the other cops that he works with remind him about it and wind him up about it.

‘There are a few little reverse Easter eggs in Cry Baby that readers of the series will recognise – characters who appear further down the line’

Thorne then has a new case come along – a young boy goes missing and then various people start to die. He knows that they must be connected to the missing boy – there are a couple of murders and he knows that solving them is going to be the way to find the boy, whether he’s alive or dead. He’s not going to fuck this one up!

He teams up with a young pathologist for the first time – who [regular] readers will know ends up becoming his closest friend [Phil Hendricks]. It’s the first time they meet and I had a lot of fun with that. I’d already decided that they weren’t going to get on. When they first meet, they have a big row and they fall out.

There are a few little reverse Easter eggs that readers of the series will recognise – characters who appear further down the line. At the very, very end of the book, we catch up with where Thorne is now – I tee him up for the next book, which won’t be out until the year after next, because the one before that is a stand-alone novel.

There’s an audio book of Cry Baby coming out too, which features David Morrissey as Thorne – a role he previously played in the Sky One TV series Thorne, which was based on adaptations of your novels Sleepyhead and Scaredycat

MB: We’ve recorded it – it was a lot of fun. I played the part of Hendricks.

Are there any plans for more of your books to be turned into TV dramas?

MB: There are adaptations in the pipeline, but it’s always so hard to talk about these things. Hopefully, there’s going to be an American adaptation of one of the stand-alones, but I can’t say too much about it and it’s all on hold because of Covid-19. Just before lockdown, because of Cry Baby, there was a suggestion of a reboot of Thorne, but, again, it’s all gone very quiet.

Finally, I have a quandary. I have all your books on a shelf at home and they’re in order of publication, but, as Cry Baby is a prequel, should I put it before Sleepyhead, or, as it’s brand new, should it go after your last novel, Their Little Secret? This has been keeping me awake at night…

MB: [laughs]: I think you’ve got to stick with the order of publication – you’ve got to put it after Their Little Secret. One of the questions people are asking me is if they haven’t ready any of my books, is Cry Baby a good entry point? Of course it is, as, in theory, it’s the first case, but if you’ve read all the Thorne books you’ll hopefully get as much fun from it as if it was the first one you’d picked up.

 

Cry Baby by Mark Billingham is published by Little, Brown on July 23: https://markbillingham.com/

 

 

‘Online concerts have proved one thing – that you cannot and never will beat the real thing’

My Darling Clementine – picture by Marco Bakker

UK husband and wife duo My Darling Clementine – Michael Weston King and Lou Dalgleish – are set to release the second four-track EP from their Country Darkness project next month. 

It picks up where Volume 1. left off and sees the pair reinterpreting the country and country-soul songs of Elvis Costello, aided and abetted by keyboardist Steve Nieve (The Attractions and The Imposters), as well as members of Richard Hawley’s backing band: Colin Elliot (bass), Shez Sheridan (guitar) and Dean Beresford (drums). 

In an exclusive interview, Michael talks us through the songs on the new record – Either Side Of The Same Town, I Lost You, Different Finger – the first single from the EP – and Too Soon To Know; reveals how he’s been occupying his time during lockdown and shares his hopes and fears for what will happen to live music when we emerge from the other side of the Covid-19 pandemic.

Picture by Nick Small

 

Q & A

How are you? How have you been coping with lockdown? 

Michael Weston King: Up and down to be honest. Some days I feel okay with it – I rather like the fact the world is on pause – but then other days are met with an overriding ‘what’s the point?’ To quote Charles Bukowski, “I don’t know about other people, but when I wake up in the morning and put my shoes on, I think, Jesus Christ, now what?”

Any advice on how to get through it?

MWK: Advice? I’m not sure I am the man for that, but maybe try and achieve something by the end of the day. That could be anything – even if it’s just tidying a room, or clearing stuff out. Set a small task and do it. There is a sense of purpose to be gained from it. Little victories. And go for walks. It’s not always easy, depending on where you live, but natural light is important.

A close friend of mine lives in rural, idyllic Herefordshire and I am very jealous of him at times like these. I live in Manchester – it’s not the greenest of cities, but everywhere looks better when the sun is shining, and, thankfully, it has been of late.

What’s been your lockdown soundtrack? What music have you been listening to –  old and new?

MWK: I have mainly been listening to our daughter, Mabel, practising piano, recorder and drums, and singing at full volume, but when that subsides, it has been a mix of old and new: Billie Holiday, Nina Simone, Gill Scott Heron, early ‘70s Springsteen, Jessie Winchester, Crazy Horse (without Neil Young) and Jim Ford. I’ve also been getting back into Levon Helms’ Dirt Farmer album.

One of my favourite ever artists / songwriters is Roddy Frame and somehow I had missed out on his album The North Star, which is from 1998.

My pal Danny Champ reminded me about it, saying it was his favourite Roddy album, so that has been a fabulous (re)discovery. God, that album should have made him huge. It has some of his best songs on it – and that is saying something. And, of course, after the terribly sad news about John Prine, I revisited his whole back catalogue.

New releases? I have been enjoying the new Laura Marling album – she is a marvel. There aren’t many who are coming close to her right now. The new album, Song For Our Daughter, is yet to reach the heights of its predecessor, Semper Femina, yet. Maybe it will after a few more plays.

‘Some days I feel okay with lockdown – I like the fact the world is on pause – but then other days are met with an overriding ‘what’s the point?”

I’m also loving the new A Girl Called Eddy [aka Erin Moran]  album Been Around. Her debut – and last album – from well over 10 years ago, was coincidentally co-produced by Colin Elliot, who I have been working with for the last few years on My Darling Clementine releases. I recall Erin and I did a joint show many years ago, along with Peter Bruntnell and Thea Gilmore, for Mojo magazine. I have not seen her since but we reconnected again online recently.

I checked out new albums from Logan Ledger (produced by T. Bone Burnett) and Pokey LaFarge while I was out for a walk recently. The jury’s still out on both of those for me, though Logan has covered what I consider something of a lost country classic, Skip A Rope. Originally recorded by Henson Cargill in the late ’60s, it is a kind of a country protest song.

Have you written any new songs during lockdown? When we last spoke, in October 2019, you said you’d been suffering from writer’s block. Has that passed?

MWK: I wouldn’t say it has passed, but it has eased a little. I still have far too many unfinished songs, and now have an increasing number of new, unfinished ideas. I need a target, a deadline to make me get my ass in gear, a date for when things have to be ready by. I am currently living by the Irish mantra: “Why do today what you can put off until tomorrow?”

I have written and completed a new song, called No One Comes Close. It’s about the way the NHS staff have been treated by the Tory government for the past 10 years, and how the likes of Johnson and Gove are now fawning all over the health workers.

It was not long ago they were cheering in the House of Commons, having won a vote not to increases nurses’ wages. It is hypocrisy on the grandest of scales. I feel sick every time I see them clapping on a Thursday night. The song is up on YouTube as part of the Artists4NHS campaign, and I hope it will raise a few quid.

You had plans for a new solo album. What’s the latest on that?

MWK: I don’t record at home – I always go into a studio with an engineer and a co-producer, so until we can do that again it remains just a plan and not a reality. I also have all those songs to finish, so I can’t say really, but I would like to at least record it this year. It has been a long time since I made a solo record, so maybe it could be a double album. One acoustic and one electric?

As professional musicians, how has Covid-19 affected you and Lou?

MWK: It has affected us greatly, as it has so many musicians, especially those of us who make most of our income from playing live. We have lost over 50 shows and I fear there is more to come. That is quite a chunk of change, and even though a good number of the shows have been rescheduled, it still means a long period without income.

Picture by Marco Bakker
Are you optimistic about the future? What will have to happen in the ‘new normal?’ Are you worried?

MWK: As for forward planning, the great uncertainty means many venues and promoters don’t want to commit just yet. Our next shows are in September and I am getting anxious that they might not happen too.

Long-term I do think it will get back to how it was. People like to commune and come together for things – there is nothing better than coming together for music. My fear is how many venues, promoters and even musicians will be out of business when things are ready to go back?

Even though it is proving a useful stopgap for musicians and music fans alike, online concerts have proved one thing – that you cannot and never will beat the real thing.

Last time we spoke, it was ahead of the release of Country Darkness Vol. 1 – your reinterpretations of country and country-soul songs written by Elvis Costello.
You recorded the tracks with Steve Nieve, keyboardist with The Attractions and The Imposters, and members of Richard Hawley’s band. Vol. 2 is out in June. What can you tell us about the new record? When and where was it recorded and how were the sessions?

MWK: We did exactly what we did with Vol 1. Lou, Steve and I got together to decide on the key, the tempo and the basic arrangement, then we left Steve to record a solo piano or keyboard track from his studio in Paris, setting the feel for the songs, before sending it to producer Colin Elliot back in England. We would then go into Yellow Arch Studio in Sheffield and complete the full arrangement with the band.

Once again, you’ve put your own stamp on the songs. How did you tackle the arrangements and decide on the feel and treatments?

MWK: We have tried hard to re-invent the songs and not just follow the original arrangements. It would be rather pointless to do so. Also for Steve, who played on some of the originals, he was keen to do something different.

Let’s talk about the songs. The first track is Either Side Of The Same Town

MWK: Without question, it’s one of our favourite Elvis Costello songs, of any style. I think Elvis must have been listening to a lot of Dan Penn when he wrote this. It is a song mined from the same seam as his song, The Dark End Of The Street, which was a hit for James Carr.

Either Side… was originally written for another great soul voice, Howard Tate, who recorded it before Elvis did.

In 2006, Lou was on tour with The Brodsky Quartet and they performed a version of this song, arranged for quartet and voice by Brodsky viola player, Paul Cassidy, which was based on the original demo Elvis had given to Paul. It’s quite a lot different from how it ended up on Elvis’s The Delivery Man album, and in turn, very different from our version.

We have kept the country-soul feel, but added an extra verse to accommodate a guitar solo and also gone with a more understated vocal approach to it.

‘We have tried hard to re-invent the songs and not just follow the original arrangements. It would be rather pointless to do so’

What about I Lost You?

MWK: That song comes from Elvis’s more acoustic, bluegrass album, Secret, Profane & Sugarcane, and is co-written by Jim Lauderdale, who was also part of the touring ensemble Costello put together at that time.

Lou and I shared a festival bill with Jim at the River Town Festival in Bristol in 2017 and our paths have crossed a few times, most recently at a festival in Lafayette, Louisiana. Jim is one of the sweetest and funniest guys, and a master of the high harmony. He’s a very fine songwriter too.

The original version of this opens with a guitar riff, which then reoccurs later. We replaced that with Steve’s arpeggiated piano motif. Although written originally for one voice, the song works particularly well as a conversational duet.

What about the first single from the EP, Different Finger?

MWK: It’s a song that just had to be done for this project. It’s one of Elvis’s most authentic honky-tonkers. Like Stranger in the House [which is on the first Country Darkness EP], it is a classic country song, although still with a few songwriting idiosyncrasies that are totally Costello, as opposed to the simplicity of say Harlan Howard or Merle Haggard.

Steve had played on the original, so we wanted to find a different approach, as we have tried with all of these songs, so for this we went with the Marty Robbins treatment. Hats off to Piero Tucci for some stunning accordion playing, and also the beautiful Spanish guitar styling of Shez Sheridan.

The final track on the new EP is Too Soon To Know

MWK: This song turned out much more moody and atmospheric than any of us thought. In 2016, Darlene Love recorded it, duetting with Bill Medley – she approached it in that true ‘60s soul style she is famous for.

I had initially thought we may also go in that direction, but once Steve had set the tone with his spooky keys, and sombre feel, the song went somewhere else altogether, and I would argue it’s all the better for it.

We have taken a more understated vocal approach to try and set it apart from previous versions. Of any of the songs we have cut so far, this track personifies the phrase ‘Country Darkness.’

Picture by Marco Bakker
You have one more Country Darkness EP to release – Vol. 3 – followed by an album of the same name, which will include all of the songs from the project.
What’s the latest on the third volume and when will the album come out?  Have you recorded the next EP?

MWK: Lou and I had got together with Steve in Manchester in March, on a day off during the recent Elvis Costello tour. We were due to go into the studio a few days later, but that turned out to be the week lockdown came into effect. It should have all been done by now. We have five more Costello songs to record, plus a new My Darling Clementine song. It’s so frustrating. I just hope we can resume ASAP.

Do you know if Elvis has heard the first EP?

MWK: We saw him very briefly after the Manchester show and he thanked us for the record. We didn’t really get chance to talk about it much, as he was being ushered out the venue, plus Lou was busy wisecracking with him about his choice of stage exit music – Ken Dodd’s We Are The Diddy Men!

Finally, this country – and many others – has experienced a lot of darkness recently. What are you most looking forward to doing when lockdown is lifted?

MWK: I have a list of five things:

1) Spending time with my grown-up kids and hugging my grandchildren.

2) Going to the pub with some male friends to drink Guinness and talk nonsense.

3) Getting back on stage.

4) Getting back in the studio.

5) Getting out of Manchester, well, the UK in general. We were due in Spain in June for some shows. I think we may head there!

I actually re-wrote the lyrics for Tom T Hall’s very sweet, but rather saccharine song I Like, and called it I Miss. I’m not sure it needs to be committed to YouTube or Facebook, or maybe it will be, one night, after a bottle of wine… I had a line about missing browsing in record shops, with you in mind, Sean, but I haven’t found the second line yet. Anyway, in answer to your question, here is what ‘I Miss.’

I Miss

I miss
going to her house, sitting on the couch, her upon my knee
and tea
I miss climbing up some hill, dragging them against their will, saying theirs legs ache
and cake
And I miss you too

——–

I miss
going to the game, walking home in the rain, calling out the team,
and dreams
I miss going to the pub, giving friends a hug, putting the world to rights,
curry nights
And I miss you too

——–

I miss getting on the stage, thinking I’m all the rage
Drinks in hotel bars, and cars
I miss driving through the night, crossing borders when it’s light, hearing another voice
and choice
And I miss you too

Country Darkness Vol.2 by My Darling Clementine is released on June 5 (Fretsore Records). The single, Different Finger, is available to stream and download now. 

You can pre-order the 12in EP here: https://linktr.ee/countrydarknessvol2

www.mydarlingclementinemusic.co.uk

https://www.fretsorerecords.com/

In my hour of darkness

Here at Say It With Garage Flowers, we love country and darkness, and we love My Darling Clementine and Elvis Costello, so we absolutely love Country Darkness Vol.1, the new four-track EP from My Darling Clementine, on which the UK husband and wife duo – Michael Weston King and Lou Dalgliesh – reinterpret country songs written by Costello.

They’ve even roped in the bespectacled singer-songwriter’s right hand man, Steve Nieve – keyboardist with The Attractions and The Imposters – to play on it, and, as if that wasn’t enough, it also features members of ace Sheffield crooner Richard Hawley’s backing band…

Opening song Heart Shaped Bruise is a stunning and dramatic, melancholy piano-led ballad; Stranger In The House has been reinvented in a rhumba style; That Day Is Done is a gospel song with a New Orleans funeral feel and I Felt The Chill Before The Winter Came is a classic-sounding country lament, with its themes of infidelity and regret…

We spoke to Michael and asked him to shed some light on the Country Darkness project…

 Q & A

In 1981, when you were 19, Costello’s album of country cover versions, Almost Blue, first turned you on to country music, didn’t it?

Michael Weston King: Until I heard Almost Blue, country music for me was the occasional Jim Reeves record on my parents’ stereo and also Glen Campbell, who I appreciated – he’s still one of my favourite artists.

When I was 19, I was going to see The Jam and Elvis Costello. I was into post-punk, power-pop, New Wave, Joy Division, The Smiths and Echo & The Bunnymen – I used to go to Eric’s in Liverpool. Suddenly, Costello – my main man – made a record on which he’d covered artists I’d never heard of, in a genre that took me by surprise.

To most 19 or 20-year-old kids who’d been brought up on Dr Feelgood and The Clash, it was like, ‘what the fuck’s this?’ At the same time, it was Costello, so it had to be paid attention to.

I liked the clever lyrics and the great songs. From that record, I discovered George Jones and The Flying Burrito Brothers and whoever else Costello covered on it… His version of Hank Williams’s Why Don’t You Love Me (Like You Used To Do)? is sped-up, trashy and rock ‘n’ roll – it had an edge to it.

I know so many people for whom country music became something of value once they’d heard Almost Blue. Not long after that, the New Country thing came along – you had bands like The Rain Parade, Green On Red and Jason and The Scorchers, who were from a punk-rock background, but had a love of country music. The first few albums by The Jayhawks were also a big influence on me – they were fantastic records.

The track listing for Country Darkness Vol. 1 is Heart Shaped BruiseStranger In The HouseThat Day Is Done and I Felt The Chill Before The Winter Came. How did you choose which songs to record?

MWK: We had a long list of songs to choose from – some got the chop because we felt they’d been done quite a lot before, or because, lyrically, they didn’t translate so well into being done by a duo.

I’ve always loved I Felt The Chill… and That Day Is Done is one of Lou’s favourite songs ever – I’ve not heard anyone else do it. That Day Is Done is a hard song to sing because of the vocal range. I also didn’t want our record to be totally country – I wanted a country soul vibe, as well. That Day Is Done is kind of gospel…

Interestingly, for the EP, you’ve chosen to cover some of Costello’s less well-known songs. You didn’t go for some of his more obvious country tracks, such as material from his King of America album…

MWK: King of America is one of my favourite albums. It’s kind of like an American record, as it was recorded in The States with T-Bone Burnett and musicians who’d played with Elvis Presley. It’s a really great collection of songs – well-formulated and brilliantly written. It was also Costello’s first album without The Attractions, so it’s a departure… I love the sound of it.

We certainly could have done a number of songs from it. In fact, there are some songs from it that are still on our shortlist – I’ll Wear It Proudly and Our Little Angel, to name but two, and they may yet be covered.

Lou had already recorded a beautiful version of Indoor Fireworks on a solo album many years ago, and I used to perform Sleep Of The Just in my solo set, so we intentionally chose to avoid those.

‘I know so many people for whom country music became something of value once they’d heard Costello’s Almost Blue…’

You recorded some of the new EP at Yellow Arch Studios in Sheffield, with members of Richard Hawley’s backing band – Colin Elliot (production, bass, cello, backing vocals, string and horn arrangements), Shez Sheridan (guitars, backing vocals) and Dean Beresford (drums). They’d played on your second album, The Reconciliation? How was it reuniting with them?

MWK: They’re fabulous musicians – Dean has become a regular part of the My Darling Clementine touring band and Colin and Shez are exemplary players and singers – technically and inspirationally. They’re a safe pair of hands. I can play those guys something I want to hear and they get it straight away.

When we came to make this record, we had The Imposters [Costello’s backing band] on board, who were up for it, but we had to look at how and where we did it. Would it be in London or L.A? It got complicated. In the end, we did pre-production, Steve Nieve put the piano down and sent it to us and then we went into the studio with Colin, Shez and Dean and built the tracks around the piano. It was interesting – in a way, Steve was leading the direction and then we followed that and added to it.

Had you met Steve before you worked on this project?

MWK: No – apart from maybe a nod backstage at a Costello gig. We had musical friends in common. It was interesting to go from exchanging emails with him to staying at his house in Trouville-sur-Mer [in France], which is where he and his partner, the filmmaker Muriel Téodori, have a place. We got stuck into the project – we were fully immersed in it.

Picture of My Darling Clementine by Jeff Fassano

You’ve released four songs on the first Country Darkness EP. Are there any more in the can?

MWK: We’ve worked out another five songs with Steve and I think we’ll record them using the same process, because it’s manageable and affordable and the results are fantastic. Yes – it would be nice to go and record in L.A. with The Imposters, but we can’t find the money to justify it… We’ll see… who knows?

‘It was interesting to go from exchanging emails with Steve Nieve to staying at his house. We got stuck into the project – we were fully immersed in it’

The new EP is the first in a series of Costello covers records you’re planning. Can you tell us any of the other songs you’re going to record?

MWK: Our plan is to record three EPs and then they’ll all come out together as an album. Either Side Of The Same Town from The Delivery Man is a real personal favourite of mine – it may turn up at a later date… My feeling about that song is that it’s Costello trying to re-write the Dan Penn classic The Dark End Of The Street – something we may all be guilty of trying to do at some point… It’s arguably the greatest country soul song ever written, particularly when James Carr sings it.

So what are your plans for the rest of the year? 

MWK: I’ve got a solo record that’s on the cards – I’m four songs short of having a squad that I’m happy to go and start working on. Hopefully the writing will be done by the end of November. I am going into a studio in Norway in the next few weeks to start work on that.

There are also two songs that I’m going to record with Colin Elliot and the guys – they’re bigger sounding tracks and I can hear them doing them wonderfully.

Finally, can you tell us any albums from 2019 that you have been listening to and enjoying?

MWK: My favourite record of the year has been Springsteen’s Western Stars – I absolutely adore it. It’s such a good record it’s damned near perfect he’s singing beautifully and I love the arrangements.

My favourite record of the year has been Springsteen’s Western Stars – I absolutely adore it. It’s such a good record – it’s damned near perfect’

It’s a great album apart from one duff track, Sleepy Joe’s Café...

MWK: Why is that track on it? It ruins the record if he’d taken it off, he would’ve had almost the perfect album.

Another record I really like although, due to the things he’s been saying in recent times, he’s not a person to praise is Morrissey’s covers album [California Son.] I think it’s a brilliant record with a great choice of songs his singing is great and the production is fantastic. I love that he picked songs by Tim Hardin and Phil Ochs some of my favourite songwriters. It’s very much an American record… I wonder if he’s going to do another one of songs by British artists?

I should be listening to some much more younger and hipper things, but I can’t say I am, unfortunately…

Country Darkness Vol.1 by My Darling Clementine is out now on Fretsore Records. It is available to download and stream and also on limited edition vinyl. 

https://mydarlingclementinemusic.co.uk/

 

 

 

‘I just wanted to make a Neil Young record, but it didn’t end up like that…’

Manchester singer-songwriter Nev Cottee’s new album, River’s Edge, is a beautiful, pastoral record that’s influenced by the countryside, ’70s Neil Young, Crosby, Stills & Nash and Tom Waits. 

He tells Say It With Garage Flowers why he’s had enough of the city and how he likes to write songs sat in his garden, strumming his acoustic guitar, listening to the birds…

When we last spoke to Nev Cottee, in 2017, the Mancunian singer-songwriter with a rich baritone voice that plumbs the same depths as Lee Hazlewood, had just made Broken Flowers – his darkest album to date.

Written in the aftermath of a failed relationship, it wasn’t an easy listen. Heavy at times, it was moody, melancholy and psychedelic, with lengthy songs swathed in dramatic orchestral arrangements and haunting vintage synth sounds.

This time around, for his fourth album, River’s Edge, he’s in a much better place emotionally, and the music reflects that. A pastoral record, it sees Nev getting back to nature and at peace with himself. It’s much lighter than its predecessor.

Produced by regular collaborator Mason Neely (Wilco, Edwyn Collins), it’s a beautiful album. Opener, the nocturnal, Tom Waitsian piano and brass lullaby Nightingale takes the listener down to the river’s edge and from there we’re on a journey into gorgeous, Nancy and Lee-style balladry with Roses, which is a duet with guest vocalist Veronica, who sounds like Nico; and then plunged into cinematic psych-rock, with the first single, Hello Stranger.

The sublime I’m Still Here is laced with late-night pedal steel by Chris Hillman (Billy Bragg, Ethan Johns), while The Hollywood Sign recalls vintage Neil Young, The country-folk of You Can Help Me, featuring James Walbourne (The Rails, The Pretenders) on guitar, also mines ’70s Laurel Canyon, with its Crosby, Stills & Nash three-part harmonies, and the chilled-out, optimistic  Morning Sun sees Nev leaving the darkness behind to embrace a brand new day… “Here I am, back in the game,” he sings, over a warm backing of simple acoustic guitar and tinkling piano.

In an exclusive interview, Say It With Garage Flowers quizzes him about the making of the new record…

Q & A

This album is a lot mellower and much lighter than its predecessor, Broken Flowers. You sound more contented on this record…

Nev Cottee: If you compare it with Broken Flowers, this album is easier on the ear – it’s less arranged and orchestral, and the songs are shorter. It’s more concise – the songs follow a traditional pattern. I wanted to get away from that Broken Flowers thing – I’d done that – and the songs just came that way. It was time to move on.

The four albums are a bit of journey – out of a relationship and reaching a promised land, a place of sanctuary. I had that idea in mind – the river’s edge is a place where everyone wants to be, whiling away the afternoon, as the water trickles by.

I’ve reached a plateau where I’m content, but that doesn’t necessarily create great art, does it? Let’s see… I can only do what I can do.

So how did you approach this record?

NC: In a way, I just wanted to make a Neil Young record. I was listening to Comes A Time, On The Beach, Zuma and After The Goldrush – that classic ‘70s Neil Young period.

Comes A Time is a really underrated album – it was a massive inspiration. Some of the songs aren’t finished on that record – on first listen, you think it’s a bit throwaway, but the songs are so good…

I wanted to do something that was acoustic-based and had a few piano songs – to take it into Neil Young territory, but, in the end, it didn’t end up like that, as other influences got in the way. Ultimately, what I found out is that only Neil Young can do Neil Young songs and I’ve got to do mine.

With Neil Young, it’s all about the voice. Obviously the tunes are great, but once you put his voice on them… It would be interesting to see what his songs would sound like with a normal range vocal on them. Would they be as good? Probably not – they wouldn’t be as unique, would they? Anyway, I digress…

Would you say River’s Edge is a concept album?

NC: It’s not a concept album – they always run away from you… There are those classic ones, where the mood is maintained and it’s a concise piece that all adds up, but, if you’re just writing songs, you have to restrict yourself if it’s going to be a concept album. In the end you just go off in several directions… It’s loosely based on a pastoral, bucolic idea behind the songs, but then you’ve got Hello Stranger, which is completely different to the title track… You’ve just got to follow each individual song to where it takes you.

Let’s talk about Hello Stranger. It’s the first single from the album. Ironically, it’s one of the moodier songs on the record. It sounds like it could’ve come from Broken Flowers, with its cinematic, psych-rock feel…

NC: Yeah – I had a few two or three tracks that were quite acoustic and piano-based, but I wanted a few songs that we could go for it on and get the electric guitars out! In the end, I lost a couple of them because they didn’t sit well on the album – they’re in the vaults, so I might drag them out.

Hello Stranger really worked – I love it. It’s one of my favourite songs on the album. I like the lyric – it explains the moving on from Broken Flowers – it’s all about the past fading away and all those memories becoming less intense…

I think the song has real power. We got the guitar nailed on that – we were taking inspiration from Neil Young and trying to channel him. The guitarist is Alex Foote, who played on the last album. He’s American and a friend of Mason Neely’s – he just gets my thing.

Nick McCabe from The Verve played on the album sessions. Is he on the record?

NC: He’s on the two tracks that I dropped – he did some amazing stuff, that was classic McCabe, but he’s not on the album. I’ve spoken to him about doing some gigs – he’s always up to something. Fingers crossed – that could be one for the future. Get him up on stage and see what happens. Watch this space.

‘The river’s edge is a place where everyone wants to be, whiling away the afternoon, as the water trickles by’

Earlier, you mentioned the pastoral and bucolic feel that some of the songs have. You live in a city – Manchester. Are you a country boy at heart? Was this album a deliberate reaction to your urban living?

NC: It definitely was. I’ve lived in Manchester for 20 years on and off. I’ve had enough of the city – I think it’s an age thing. The city is a young man’s game – I want to get out. I don’t really go out much – I do like the hustle and bustle of the daytime, but more often than not, when it’s a decent day, I get out of Manchester. It’s a very dark, foreboding and shadowy city – you’ve got to get on a bus or a train and get out of there. I’m a child of nature – I’ve got a garden and I love going walking in Derbyshire. It’s definitely more of an inspiration at the moment, but who knows?

You wrote some of Broken Flowers while you were in India. Where did you write this album?

NC: In Majorca and in my garden, which is out of town [Manchester] – there’s no river there, but that’s my equivalent place. I like playing the guitar outside – it’s different from strumming in a room and you get the birds singing. A lot of the songs were written out in the open, so maybe that was an unintentional influence.

‘Manchester is a very dark, foreboding and shadowy city  – I want to get out. I’m a child of nature’

Let’s talk about some of the songs on the album… Nightingale opens the record. It’s gorgeous and has a late night, Tom Waits feel. I love the brass and the piano…

NC: Yeah, Tom Waits, as well as Neil Young, is a massive influence. There’s a triple album he did called Orphans: Brawlers, Bawlers & Bastards. For me, it’s one of his best albums. The Bawlers part of the album is up there with anything else he’s ever done – there are some stunning tracks on there – loads of outtakes that he had never released. I always listen to it late at night. I kept listening to it and listening to it. He’s one of the great songwriters. I wanted the opening song to set the scene and take you down to the river’s edge, with the moon, the nighttime and birds singing.

River's B copy small

Roses is one of my favourite songs on the record. It’s a duet with a mysterious girl named Veronica and it reminds me of Lee Hazlewood and Nancy Sinatra. I also think the female vocal sounds like Nico…

NC: Roses is going to be the second single – a 7in on Wonderfulsound. I was going to get Tess Parks to sing on it. She did a vocal on an early incarnation of the song, but it didn’t have the right flavour. I befriended the mysterious Veronica, of whom we know very little, other than that she is a Nico-inspired chanteuse from Madrid. I got her to sing on it – it’s a really delicate, sweet vocal. I really like the juxtaposition. It’s the first time I’ve done a duet, but there maybe more to come from Veronica…

I’m Still Here is a country song and features Chris Hillman (Billy Bragg, Ethan Johns) on pedal steel…

NC: This was originally supposed to be a Dylanesque jazz boogie like Spirit On The Water [from Modern Times]. We had a nice version and then Chris Hillman got his hands on it and ruined it! Hah! No – he slowed it all down and did an amazing version that was even better. It’s lovely and it’s a great performance – the best one on the album.

The song The Hollywood Sign mentions ‘prairie wind’ in the lyric. Is that a nod to the Neil Young album and song of the same name?

NC: It’s my homage to Neil Young – it also has a Crosby, Stills & Nash Helplessly Hoping vibe, with the guitar picking. It’s a nod to the great man, Neil Young – everyone goes on about Dylan, but if you look at Neil Young’s back catalogue, he’s definitely the greatest rock ‘n’roll singer-songwriter there is. No one else has written a song like Old Man and a song like Like A Hurricane – a well-crafted country tune and a rock ‘n’ roll song with amazing wig-out guitar.

‘I befriended the mysterious Veronica, of whom we know little about, other than that she is a Nico-inspired chanteuse from Madrid’

You Can Help Me has a Neil Young and Crosby, Stills & Nash feel, too, and James Walbourne (The Rails and The Pretenders) plays guitar on it…

NC: I wanted to get that Crosby, Stills & Nash three-part harmony. James was playing in Manchester and he managed to whack an overdub down. I’d love to do something live with him, but he’s the busiest man in showbiz – he’s in about 40 bands! Let’s see, eh? One day…

You’ve been working with some great musicians recently….

NC: You’ve got to search out the great players – Hillman, McCabe and Walbourne… That’s not a bad line-up, is it? We need to get a supergroup off the ground and call it Hillman, McCabe and Walbourne – keep it old school.

You recorded the album in Manchester in two weeks. How were the sessions?

NC: I had the demos for quite a while. I’m quite meticulous, in that I’ll demo, then I’ll do another demo and fine tune it… I keep going, crafting it… I sent the songs to Mason and he said we had two weeks to do it – 9 to 5, clocking in. We worked throughout the day, drinking loads of tea  – we worked really hard, we kept it real and we got a lot of stuff done. We did it at Vibe Studios in Manchester, which is owned by Martin Coogan [The Mock Turtles], who’s a mate of mine. It’s New Order’s old rehearsal room and Doves used to rehearse there, as well. It was great – Mason is a grafter and I trust him implicitly in that he will know where to take a song. That’s the job of a great producer – to make suggestions, throw you ideas and see if you can do them. The man came up with the goods. 

What are your plans for the rest of the year? Any gigs?

NC: Yes – there will be gigs. I’m hoping to play Glasgow, Liverpool, Manchester and London. There’s a gig in Madrid lined up and I think I’m going to go to Paris.

You contributed to the recent Monks Road Social album, Down The Willows, – singing a Dr Robert [The Blow Monkeys] song called Still Got A Lot To Learn. Any more collaborations in the offing? How was the Monks Road Social project? The album has a lot of great musicians on it, including Matt Deighton (Mother Earth), Dr Robert, Steve White and Mick Talbot (The Style Council)…

NC: They’re a good crowd – all really nice people. We recorded it in Wales, in Monnow Valley Studio and I’ve also done another song with Dr Robert – he sent it over and I added the vocal. I don’t know what the plan is with that yet. I think there’s going to be another Monks Road Social album and there’s talk of doing a gig with guest singers. Robert’s great –  it’s kind of weird, having grown up in the ’80s and seen him on Top Of The Pops. He’s a genuinely talented, warm and nice geezer.

What music are you listening to at the moment, old and new?

NC: Good question. I was listening to Aldous Harding the other day and getting into that. I’ve been listening to a lot of Gruff Rhys – he never gets the credit he deserves, does he? His last album [Babelsberg] was brilliant. I’ve also got into Kurt Vile’s last album [Bottle It In] and Kevin Morby, and I got into a bit of Joni Mitchell recently. Also, check out Matthew Halsall – a jazz guy from Manchester. He’s good.

Finally, you’re stood at the river’s edge – do you jump in?

NC: Never jump in – you don’t know what’s in there. It could be dangerous. For me, it’s safety first, fun later. I’m a side of the river guy – I’m sat there watching and listening. I’m not one of those wild swimmers. You won’t catch me naked in a river. 

River’s Edge by Nev Cottee is released on June 7 on Wonderfulsound

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‘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/

Cosmic Americana Music

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London’s The Hanging Stars have made one of the best albums of this year.

Recorded in LA, Nashville and, er, Walthamstow,  Over The Silvery Lake – their debut record – is a gorgeous psych-folk-pop-country-rock masterpiece that owes a debt to The Byrds and the Cosmic American Music of Gram Parsons, but also Fairport Convention’s pastoral ’60s English tune-smithery.

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

In an exclusive interview, I spoke to singer, guitarist and songwriter Richard Olson (The See See, Eighteenth Day of May) and bassist Sam Ferman (The See See and The Lightshines) about the making of Over The Silvery Lake and found out that its follow-up – due out next year – is almost done and dusted. Cosmic, eh?

Your debut album, Over The Silvery Lake, was released in March 2016. It’s one of my favourite records of the last 12 months. This year has been a bad one for the wider world, but how’s it been for The Hanging Stars?

Sam Ferman: We’re going to be a footnote to Trump…. It feels like 2016’s been a bit of a whirlwind. It doesn’t feel that long ago that Rich had an idea about taking the music that we were doing at the time somewhere different and creating a new band. From recording the album in LA, finishing it off, having it released and going round France and Spain and heading to Germany… We’ve packed a lot in.

Richard Olson: To be honest, I didn’t expect for us to get the kind of reception that we’ve been getting. There were so many bits that fell into place with the album. I’ve been in quite a few bands and projects and the best ones haven’t been too try-hard. Don’t get me wrong, we work very hard, but it’s a natural harmony.

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Can you tell me about the songwriting process behind the album? Do you all write songs?

Sam: Most of the record was ideas that Rich brought to us. We had the benefit of spending quite a lot of time working out what we wanted to do with them. Rich was quite keen on taking it somewhere different, which is where the pedal steel, violin and flute got involved. We broadened our horizons and didn’t restrict it to just a three person, guitar pop band. We made it more pastoral, folky and country-infused, which was really exciting.

Are you guys into the classic country-rock bands?

Richard: Of course – I’ve always been obsessed with The Byrds and Gram Parsons. Our guitar player, Patrick [Ralla  – banjo, guitar and assorted instruments] is a real country connoisseur – he really knows his shit.

Sam: It’s been exciting for me. As a kid, I was never that into country stuff – Rich got me into it. Me and Rich and Paulie  [Cobra – drummer] – and, maybe to a lesser extent, Patrick  and Joe  [Harvey White – pedal steel] are interested in psychedelic music. It’s been really interesting trying to see what you can do with a psychedelic twist on the country thing. When I was playing music seven or eight years ago, there were no psych bands around, apart from my one and Rich’s one – now there are dozens. It’s interesting to see how far you can push it and mix it with prog-folk and the Fairport Convention thing.

Richard: As much as we like the Flying Burrito Brothers and Sweetheart of the Rodeo, the English folk revival of the late ‘60s is just as important for us – Fairport Convention, Pentangle and John Renbourn.

Your album was made in LA, Nashville and Walthamstow. Did you have a definite idea of what you wanted it to sound like?

Richard: We went to LA and said, ‘let’s do some recording’.

Sam: A lot of it crystallised there. There was a lot of talking about what we wanted it to sound like – quite often, it’s very easy to stumble into recording a lot of stuff and then it comes together in a patchwork at the end. We had a coherent vision for the album right from the outset.

‘As much as we like the Flying Burrito Brothers and Sweetheart of the Rodeo, the English folk revival of the late ‘60s is just as important for us – Fairport Convention, Pentangle and John Renbourn’

 

 

Did you write any of the album in LA?

Sam: We wrote a lot of the parts there. One of the songs – Ruby Red – is based on me and Rich having a jam on a porch in Hollywood. I came up with a riff – we thought it was going to be an acoustic instrumental, but we started messing around with it in rehearsals and it sounded good when it was heavy and electric. Rich went away and wrote the melody and the words.

 

The House On The Hill is one of my favourite songs on the album. What can you tell me about that track? I love the twangy guitar riff and the Spaghetti Western vibe…

Richard: Our friend Christof [Certik], who is a bit of a LA/San Francisco legend, wrote that riff. The guys went out on the porch and drank beer and smoked weed, while I had to coach him for four hours. It was hard to get it out of him, but once he did it, it was incredible.

Sam: Like every brilliant guitarist, he’s a perfectionist, but we got there in the end.

Crippled Shining Blues is another highlight of the album. It was also featured on an EP with Oxford band The Dreaming Spires earlier this year…

Richard: I’m really pleased with the way that song came out – it was all done in Walthamstow.

Sam: Rich had the two-chord riff at the start and we just jammed over it and he came up with the guitar riff. There’s a lovely complementary pedal steel riff, too.

 

You’ve been recording your new album? How’s it going?

Richard: We’re almost done – we’re putting the finishing touches to it. We’ve got about 20 songs, we’ll whittle that down to about 11 and then we’ll see if it’s any good…

When do you hope to release it?

Richard: Only the gods know that. Everything is a bit up in the air regarding when the album’s coming out.  It’s a weird time – everything takes absolutely ages, because of bloody Record Store Day. We need to have our stuff out on vinyl. The people who buy our records like vinyl and it’s how we survive on the road – not by eating vinyl, but by selling it.

Your next record will be quite a quick follow-up to your first one…

Sam: I think we started recording the new one before the last one was even out – we like to keep things ticking over. We’ve been busy this year.

What can we expect the new record to sound like?

Richard: I think we’ve found our feet to be honest. The first album was a bit of a stab in the dark and it was very much me, Paulie and Sam…

Sam: We were the genesis of it.

Not the Genesis?

Sam: There’s no Phil Collins…

Richard: Even though I do like Genesis… We’ve taken shape as a live band, with Patrick and Joe on pedal steel. They’ve been very involved with the new album – Patrick’s been co-writing. It’s been much more of a collaborative effort. I do think that the new album is very different, but it’s very much in the same vein musically, I suppose.

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Sam: We’ve done all of it at Bark Studio in Walthamstow, which is where we did about a third of the first album. We’re working with Brian O’Shaughnessy – he’s fantastic. Me, Paulie and Rich live in Walthamstow.

It’s sounding really nice. We had the majority of the album – the core bits – done about nine months ago. We’ve spent the last few months sprinkling the fairy dust on it.  It’s been really nice to see how it’s come together.

Richard: A lot of the recording for the first album was done in LA and we did some overdubs in Nashville. This album has been purely E17, which has been great. Due to the way of the world, it’s so hard to get a two-week chunk of time for recording, so we do a weekend of basics and then we drop in with some other ideas. I’m so chuffed with some of the stuff that we’ve done for the new record. I think it’s bloody good and I really hope that people will be blown away by it.

If you’ll pardon the pun, Christmas is a good time for hanging stars… What are your plans for the festive season?

Sam: Our drummer will be on the other side of the world, but for New Year’s Eve we’ll probably be at the What’s Cookin’ night in Leytonstone, sinking in a Yuletide country vibe.

Richard: We’ll probably be getting slightly off our nuts in some way or another – we don’t mind that at all.

 

Over The Silvery Lake by The Hanging Stars is out now on The Great Pop Supplement/Crimson Crow.

http://www.thehangingstars.com/

https://thehangingstars.bandcamp.com/

 

 

 

 

 

 

“I’m hugely in love with the new Richmond Fontaine album”

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Crime writer Mark Billingham’s new novel, Die of Shame, is released in May and is based on murderous goings-on in a therapy session. I spoke to him about addiction, country music and sitting around in his pyjamas all day…

 

The last time we spoke, you’d just released The Other Half – your spoken word album with country band My Darling Clementine – and your most recent Tom Thorne novel, Time of Death, had come out.

Now your new stand-alone novel, Die of Shame, is about to hit the shelves. Without giving too much away, what we can expect?

Mark Billingham: It’s a stand-alone psychological thriller and in some ways it’s a very modern take on the classic locked-room mystery, but my locked-room is a therapy group for recovering addicts.

There are six people in a circle who meet every Monday evening to talk about shame, which their therapist is convinced is the key to their problems with addiction and crucial in aiding their recovery.

One person in that group will die at the hands of another. Writing about addiction – a subject I’m fascinated by – enabled me to create a cast of characters from a variety of backgrounds, which is always an enjoyable challenge.

My best friend is a recovering addict and his experience and advice was hugely helpful. It’s a very different sort of novel from those in the Thorne series, but the bottom line is that it’s still a murder mystery and one I’m enormously proud of.

 

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Tom Thorne usually makes a cameo appearance in your stand-alone books. Will he crop up in Die of Shame?

MB: Yes, of course he will. And Phil Hendricks is in there as well…

Music is never far away from you and some of the characters in your books – particularly Tom Thorne. What were you listening to while you were writing Die of Shame? Have you heard any new albums that have blown you away? I’m loving Richmond Fontaine’s latest record and I know you’re a big fan of them…

MB: Well, like you, I’m hugely in love with the new Richmond Fontaine album [You Can’t Go Back If There’s Nothing To Go Back To].

It might even be their best yet, which is ironic considering that it’s almost certainly their last.

I’ve recently discovered Margo Price, who is just wonderful, and I’ve been really enjoying Sturgill Simpson’s Metamodern Sounds In Country Music.

I’ve been playing a lot of M. Ward too, and when I really need to get into a dark place, I put on Gorecki’s Symphony Of Sorrowful Songs. That stuff makes Hank Williams sound like The Wombles!

There’s not too much music in Die Of Shame, because there isn’t much Tom Thorne, but like you say, it’s never very far away…

CS608050-01B-BIG 

I recently picked up the My Darling Clementine Record Store Day EP, which features As Precious As The Flame – a song you co-wrote with the band. It must be great to have a track you worked on out on vinyl?  

MB: Absolutely – it’s a real thrill. I’m very proud of that song, which I think is a wonderful ending to the album and the live show of The Other Half. It’s fantastic to see it on the My Darling Clementine EP.

You’ve been touring The Other Half with My Darling Clementine. How was it going out on the road?

MB: The tour was a lot of fun, but bloody exhausting. Whenever I complained about all the travelling, Michael and Lou from My Darling Clementine would just say, “welcome to our world”.

I drove somewhere close to 7,000 miles doing the show, so now I’m appreciating the luxury of sitting at my desk all day in my pyjamas and not having to go further than the kitchen. I adored doing it, though. Michael and Lou remain a joy to work with and I’m very proud of the show we did.

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

Do you have any plans for some more musical collaborations?

MB: Collaborating is something I would highly recommend for anyone who works on their own most of the time.

Aside from the artistic benefits, it’s great to have someone to go for a beer and a curry with at the end of the day. I’m certainly up for doing something similar in the future, should the chance come along. Obviously I’m still waiting for Elvis Costello to call…

It’s going to be a busy year for you, as you’ve got some more gigs with My Darling Clementine planned, you’re promoting your new book in the UK and US and your novels In The Dark and Time of Death are being filmed for TV by the BBC. Can you tell us more about the TV adaptations?

MB: They’ve been filming for a week now and everything’s going well. Danny Brocklehurst has written four brilliant scripts and the BBC have put a fantastic cast together, so it’s really exciting.

Fans of Peep Show will be familiar with Matt King, who plays Super Hans, and it’s brilliant that we’ve got him playing Phil Hendricks.

Obviously, I’m going to spoil everything in a couple of weeks when I rock up to do my cameo, but I’m sure it will be fun.

The stories have changed a bit, as they should when you move from page to screen, and there’s no Thorne at all. The series focuses on Helen Weeks, and MyAnna Buring, who is playing her, is fantastic.

I’m sure some readers will be up in arms because the TV show is not exactly the same as the books, but how can it be? They are different animals and should be judged differently. I’m closely involved with the scripts and as an executive producer, so there’s nothing going on that I don’t completely endorse. We’re just trying to make the best TV show we can.

I fully expect my cameo to wind up on the cutting room floor, especially as I plan to ham it up shamelessly…

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Have you started writing the next Thorne novel yet? When can we expect it to be released and can you give us a teaser?

MB: Yes, I’m halfway through the next one. There’s a new detective in Die Of Shame called Nicola Tanner. In many ways she’s the ‘anti-Thorne’, so I’m having a lot of fun putting her and Tom together in the book I’m currently writing.

Fun is perhaps the wrong word, as I’m actually writing about a subject that is very dark. I don’t want to say too much at this stage – I don’t even have a title yet – but I’ve never felt angrier writing a book. I hope that turns out to be a good thing…

Following on from your appearances on TV quiz shows Pointless and Celebrity Mastermind, you’re going to appear on Eggheads, as a member of a team of crime writers. When can we see that? 

MB: I think it’s due to go out in September. I was part of a team of crime writers, alongside Val McDermid, Martyn Waites, Doug Johnstone and Chris Brookmyre. It was a lot of fun. I’m not allowed to say how we got on against the Eggheads, but I would urge people to watch!

Finally, can you recommend any good books, other than Die of Shame?

MB: Chris Brookmyre’s newest book Black Widow is fantastic and I thoroughly enjoyed David Hepworth’s book about the music of 1971 – Never A Dull Moment.

Another non-fiction recommendation would be Chasing The Scream by Johann Hari. It’s a brilliant history and detailed dissection of the war on drugs and I guarantee it will change everything you ever believed about addiction.

It’s absolutely fascinating and a huge eye-opener.

I’m currently reading John Connolly’s new Charlie Parker novel, A Time Of Torment, which is as sickeningly brilliant as usual. If I didn’t like him as much, I’d hate him…

Mark Billingham’s new novel, Die of Shame, will be published in the UK by Little, Brown on May 5 and in the US by Grove Atlantic on June 7.

For more information, visit http://www.markbillingham.com/

 

 

 

Best Albums of 2015

 

minesweeping

As we approach the end of the year and overindulge in festive celebrations, hangovers are a daily occurrence.

They also played a major part in the making of Say It With Garage Flowers’ favourite album of 2015 – Minesweeping by O’Connell & Love.

One of the most eclectic and richly rewarding albums of recent times, it’s a collaboration between Larry Love, the lead singer of South London country-blues-gospel-electronica outlaws Alabama 3 and songwriting partner Brendan O’Connell.

As Larry told me when I interviewed him about the making of the record: “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.”

Reviewing it earlier this year, I described it as, ‘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.’

The record 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.

Larry Love and Brendan O’Connell

It’s an album that wears its influences on the sleeve of its beer-stained shirt – it’s like rifling through a record collection of classic rock and roll, folk, blues, country and soul.

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).

I’m really looking forward to seeing O’Connell & Love play this record live in 2016 – according to Larry, there are plans for a UK tour.

In the meantime, I’m going to pour myself a large glass of something dark and strong and lose myself in Minesweeping.

One for the road, anyone?

As albums of the year go, singer-songwriters, alt.country, power-pop and Americana dominate my list.

Richard Hawley turned in a classic with Hollow Meadows, which was less psychedelic than its predecessor, Standing At The Sky’s Edge, and largely rooted in country, folk and the lush, late-night, ‘50s-tinged melancholy ballads that dominated his earlier albums. Although there was still room for some bluesy-garage rock (Which Way) and anthemic, widescreen guitar pop (Heart of Oak).

I was lucky enough to meet Richard after one of his gigs this year and when I told him that I preferred his new album to the one before, he simply said, ‘Well – you can’t please everyone, Sean…’

Other singer-songwriters who released great albums this year included Manchester’s Nev Cottee – Strange News From The Sun sounded like Lee Hazlewood on a spacewalk – and Vinny Peculiar, whose Down The Bright Stream was a witty, funny and moving collection of brilliantly observed pop songs, steeped in childhood nostalgia, teenage memories and wry social commentary.

Nev Cottee
Nev Cottee

John Howard’s new project – John Howard & The Night Mail – was a wonderful record, full of quirky, witty, intelligent, theatrical and nostalgic songs, from Zombies-like psych-pop to slinky retro mod-soul, glam-rock and observational Ray Davies-style tales of people’s everyday lives.

Detroit’s Nick Piunti – a Say It With Garage Flowers favourite – returned in a blaze of glory with Beyond The Static, which was the follow-up to his critically acclaimed power-pop record 13 In My Head, while Dublin-born singer-songwriter Marc Carroll’s latest album, Love Is All or Love Is Not At All, was his most political record yet.

Dead Flowers – who topped Say It With Garage Flowers’ album of the year list back in 2013 with their debut, Midnight At The Wheel Club, didn’t disappoint with their new record – Minor & Grand, which was often louder and much more electrified than their first album.

Manchester band Last Harbour made Caul – a brooding, cinematic masterpiece that recalled Bowie’s Berlin period, the industrial, electronic atmosphere of Joy Division and the gothic splendour of Scott Walker and Nick Cave.

Steelism

Instrumental duo Steelism, with their spy film guitar licks and surf-rock riffs, came up with a record (615 To FAME) that harked back to the glory days of ’60s instrumental rock & roll, but also threw in country, soul and blues – and even a touch of krautrock – to create their own dramatic soundtracks.

UK Americana label Clubhouse Records had a great year in 2015, releasing superb albums by alt.country band Case Hardin (Colours Simple), whose singer-songwriter Pete Gow played a solo show that I promoted back in October, and The Dreaming Spires (Searching For The Supertruth)– Oxford’s prime exponents of ‘60s-style jangle-pop.

I must declare a vested interest in one of my favourite records of 2015 – The Other Half, a collaboration between top UK crime writer Mark Billingham and country duo My Darling Clementine.

Mark discovered My Darling Clementine by first reading about them on my blog, so, I’d like to think that I set the wheels in motion that led them to record their story of love, loss and murder that’s told in words and music and set in a rundown Memphis bar.

Sadly, not everyone who released superb albums in 2015 lived to tell the tale. Gifted, but troubled, singer-songwriter Gavin Clark (Sunhouse, Clayhill) died in February, but he left behind Evangelist – a project that was completed by James Griffith and Pablo Clements, members of UNKLE/Toydrum and the owners of the Toy Room Studios in Brighton.

Loosely based on Gavin’s life, it was a dark, edgy, atmospheric and psychedelic-tinged trip that made for uneasy – yet essential – listening.

And finally, here are some nods to acts who didn’t release studio albums this year, but put out some records that I loved.

I’m not normally a huge fan of live albums, but Johnny Marr’s Adrenalin Baby was brilliant and really captured the feel and atmosphere of his gigs – it’s worth it just to hear his outstanding, europhic version of Electronic’s Getting Away With It.

And talking of live shows, UK folk duo The Rails gave away a seven-track acoustic EP called Australia at their gigs this year.

It served as a good stopgap until their next album and featured a killer, stripped-down cover of Edwyn Collins’ Low Expectations.

Liverpudlian singer-songwriter Steve Roberts followed up his 2013 concept record Cold Wars Part 1 EP with the five-track sequel – What Would You Die For? [Cold Wars Part Two].

The standout track This Is A Cold War was a stately, Beatlesesque piano-led ballad. Lennon and McCarthy?

And while we’re on the subject of spies, being a huge James Bond fan, I really enjoyed A Girl And A Guna 34-track tribute album of 007 songs and soundtracks by artists including Darren Hayman, Robert Rotifer, Ralegh Long and Papernut Cambridge.

Say It With Garage Flowers will return in 2016…

Here’s a list of my favourite albums of 2015 and a Spotify playlist to accompany it:

  1. O’Connell & Love – Minesweeping
  2. Richard Hawley – Hollow Meadows
  3. Vinny Peculiar – Down The Bright Stream
  4. John Howard & The Night Mail – John Howard & The Night Mail
  5. Nev Cottee – Strange News From The Sun
  6. The Dreaming Spires – Searching For The Supertruth
  7. Dead Flowers – Minor & Grand
  8. Evangelist [Gavin Clark & Toydrum] – Evangelist
  9. Duke Garwood – Heavy Love
  10. Mark Billingham & My Darling Clementine – The Other Half
  11. Nick Piunti – Beyond The Static
  12. Case Hardin – Colours Simple
  13. Last Harbour – Caul
  14. Steelism – 615 To FAME
  15. Bob Dylan – Shadows In The Night
  16. Jason Isbell – Something More Than Free
  17. Marc Carroll – Love Is All or Not At All
  18. Father John Misty – I Love You, Honeybear
  19. Gaz Coombes – Matador
  20. Wilco – Star Wars
  21. The Sopranistas – Cutting Down The Bird Hotel
  22. Dave Gahan & Soulsavers – Angels & Ghosts
  23. New Order – Music Complete
  24. GospelBeacH – Pacific Surf Line
  25. Sarah Cracknell – Red Kite
  26. Kontiki Suite – The Greatest Show On Earth
  27. Ryley Walker – Primrose Green
  28. Hurricane #1 – Find What You Love And Let It Kill You
  29. Jacob Golden – The Invisible Record
  30. Ian Webber – Year of the Horse
  31. Bill Fay – Who Is The Sender?

‘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