‘I’m trying to avoid writing songs about the lockdown’

Robin Bennett

In an exclusive, in-depth interview with Say It With Garage Flowers, singer-songwriter Robin Bennett (The Dreaming Spires and Bennett Wilson Poole)  reflects on lockdown, looks back at the making of his 2005 solo mini-album Days of Splendor, Nights of Horror, which has just been made available online for the first time, and updates us on the eagerly-awaited second album from Bennett Wilson Poole.

One of the few positives to emerge from the Covid-19 crisis is that lockdown has given musicians more time to dig around in their vaults and release rare or unheard material online for their fans to enjoy while stuck indoors.

Oxford-based singer-songwriter Robin Bennett, who is one third of Americana and jangle-pop supergroup Bennett Wilson Poole and, with his brother Joe, is one of the main members of The Dreaming Spires, has made his hard to find 2005 solo mini-album, the eight-track Days of Splendor, Nights of Horror, available to stream or download from Bandcamp.

Released under the pseudonym Dusty Sound System, it was written and recorded over a week in Los Angeles, California, in January 2005, at the time of the Iraq War. The songs, which were laid down in a day, were composed with his friend Danny Black – aka Danny Power (The And/Ors).

Robin and Danny spent most mornings watching the Bob Dylan film Don’t Look Back before getting down to songwriting and it shows – album opener, the riotous, bluesy, rock ‘n’ roll  of The One And Only Lost Boy, sounds like a homage to mid-’60s electric Dylan, while Nation At War and I’m A Soldier are both folky protest songs.

Nothing I Can’t Do Without  is a lovely, fragile acoustic ballad, You Can’t Fool All The People (All The Time) is anthemic country rock, the sombre, piano-led ballad As I Lay Dying has a Lennon feel, and Don’t Sleep Alone is yet more raw, Dylanesque rock ‘n’roll.

The album was recorded in a studio owned by Rob Campanella ( Brian Jonestown Massacre) and features a cast of friends and local musicians, including Bobby Bones, Darren Rademaker (The Tyde) and Jason Anchondo (The Warlocks).

Mixed back in England with Rowland Prytherch, after the addition of harmony vocals by Piney Gir and Cat Martino, the album was mastered by Tim Turan in Oxford and originally released in 2005 on Truck Records.

Ironically, considering its title, Days of Splendor, Nights of Horror sometimes sounds like it’s gone for a great night out on the town – one of the songs is called It Takes No Talent To Party – but, more often that not, it’s waking up the morning after, bleary-eyed and melancholic.

“There certainly were a lot of parties, but I always found I could get by with very little sleep when in California –  it must have been the sunshine,” says Robin.

Q&A

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

Robin Bennett: I live in a somewhat isolated spot anyway, so, in some ways, not a lot has changed, although my children are at home. Thankfully the weather has mostly been good and we are lucky enough to have a garden. A lot of the meetings I have to attend due to my council work (Robin is a cabinet member for development and regeneration at South Oxfordshire District Council) have moved online, so I’m pretty busy. I’ve also got a small home recording set-up to keep my musical side occupied.

What’s been your lockdown soundtrack?

RB: I’ve definitely been drawn to listening to music, old and new. I bought a new record player from Danny Wilson’s [Bennett Wilson Poole, Danny and the Champions of the World] shop, Union Music Store, to help me make the most of my vinyl collection.

I’ve also joined in with a few of Tim Burgess’ Twitter listening parties – diverse selections from The Chemical Brothers to The Flaming Lips, which was stuff from when I was first getting into music and going out. My old band Goldrush supported The Flaming Lips in 2002 and went on to record with Dave Fridmann.

The other night I went back to some classics on vinyl that I haven’t listened to in a while, due to over-familiarity – like Neil Young’s After the Goldrush. I like the way the internet allows shared listening. I joined in with the Clubhouse Records crew, who were listening to The Band’s Stagefright last weekend. Opinion was divided on whether it’s a lost classic.

‘The lockdown seems to favour nostalgia. There has been space for things like the 17-minute Bob Dylan single, and also for plenty of looking back over one’s musical past’

We’ve also got a crappy Dansette in the shed, where we’ve been dancing to 7-inch singles with the kids, mostly The Beatles or stuff from the Britpop era, when I was buying 7-inches.

Although it’s a pain for artists – including Bennett Wilson Poole – that the release cycle has been disrupted, it’s created an interesting pause in the normal torrent of attention-grabbing. There has been space for things like the 17-minute Bob Dylan single, and also for plenty of looking back over one’s musical past. The lockdown seems to favour nostalgia.

Have you written any new songs during lockdown?

RB: Not really. I have demoed a whole pile of songs from my notebook though – some of them are going back years. I’m trying to avoid writing songs about the lockdown.

During lockdown, you’ve decided to make your 2005 Dusty Sound System mini-album, Days of Splendor, Nights of Horror available on Bandcamp. What was the thinking behind that?

RB: It was partly because of just having the time and space to do it. Although it was originally released in a pretty minimal way, it has a bit of a reputation in some circles, and I wanted people to be able to hear it – those who didn’t have one of the few original CD copies.

The album is 15 years old. How you do feel about it now? How old were you when you made it and what music were you into at the time?

RB: Um… I was 26! One thing I remember from the time is that Bright Eyes was just releasing his two albums on the same day, I’m Wide Awake, It’s Morning and Digital Ash in a Digital Urn. I was very impressed by that – the US press were calling him ‘the new Bob Dylan’ at the time.

Since first going to the US in 2003, to record and tour with Mark Gardener of Ride, my Goldrush bandmates and I had been introduced to a whole swathe of US independent acts, from Death Cab For Cutie to The Brian Jonestown Massacre, and I met, or played with, many of them.

I was impressed how the scale of the US allowed these bands to have a viable career without signing to a major label, which was more or less impossible in the UK at the time.

There were also records that were more abundant in American record stores, like Songs for Beginners by Graham Nash, that I’d not really come across before. Big Star and Gram Parsons loomed large too. I also got into The Jayhawks around then –I’m not sure how I’d avoided them previously. We also listened to a lot of old Bob Dylan – especially The Bootleg Series Volume 2.

What’s the story behind the album? How did it come about? You went to L.A. and  you wrote the record in a week, with your friend Danny Black – aka Danny Power – and you recorded in it a day. That must have been a hell of a week!

RB: I’d always largely been the lyric writer in Goldrush – in the early days, songs used to come together in a somewhat miraculous way, without a lot of forethought, but, of course, that method can dry up. When we went to record with Dave Fridmann in 2003, I was still finishing lyrics in the studio, which stressed me out no end. I knew there had to be a more structured way of writing.

I worked with Mark Gardener on some of the songs for his solo album, and found that I could be useful as a co-writer. Then, with Danny, we found such a close rapport that extending into co-writing happened almost by default.

‘L.A. was a whole different world and very inspiring. Danny and I had a daily routine of watching Don’t Look Back, listening to records, buying doughnuts and coffee, and then trying to write’

Goldrush had US visas, so we took the opportunity to spend as much time there as we could, staying in Brooklyn, or at Danny’s house in L.A., even when not touring. I applied for a PRS grant, which gave me the chance to go over and do some writing with Danny in January 2005. He lived just off Sunset Boulevard, between Echo Park and Silverlake, in a shared house, with a few bohemian friends who were always welcoming.

It was a whole different world and very inspiring for me. Danny and I had a daily routine of watching bits of Don’t Look Back, listening to records, buying some doughnuts and coffee – vital – and then trying to write. I also had an obsession with Gatorade – the US version. I still do.

On previous visits we’d become good friends with Rob Campanella of The Brian Jonestown Massacre, who had an excellent studio in his house. We’d written enough songs for an album, so we thought we should get them down for posterity and we invited some of the aforementioned people along for a day in the studio, setting up live and rattling through the whole lot in one day, pausing only for sandwiches from the deli and the odd beer. It was all so much fun and we knew that we had something.

Danny Power and Robin performing together at Pappy & Harriet’s, near Joshua Tree National Park, California. in 2008

Danny Power has been a big influence on you musically, hasn’t he? He’s inspired several Dreaming Spires songs and he got you into Big Star. How did you meet him?

RB: Danny Power was initially our West Coast tour manager, but he was – is – a musician too and we wound up becoming close friends. Mark Gardener had discovered Danny after his band, The And/Ors, opened for Mark’s solo tour, so when we came over as Mark’s backing band, he asked Danny to supply a van and equipment, which he did – rickety vintage gear you’d rarely see in the UK.

Danny worked printing art posters for the famous artist, Shepard Fairey, in a large warehouse in downtown L.A., so that’s where we rehearsed. It was an amazing scene to be part of. It was next to the American Apparel factory, in an eerie industrial district patrolled by homeless people pushing shopping trolleys, and there were also furtive porn movie shoots in warehouses – or so we heard. The Dreaming Spires song Singing Sin City describes meeting Danny and his van, which was named Darla.

You said that you were watching Don’t Look Back most mornings in L.A. The first song on Days of Splendor, Nights of Horror is The One And Only Lost Boy, which is a mid-’60s electric Dylan homage, isn’t it?

RB: Yes, certainly – though one of my earliest influences, like Dylan, was Chuck Berry, and it has a bit of that about it too.

The song is about your experiences as a Brit in L.A. What did you make of it?

RB: My experiences of L.A. were completely overwhelming – I’d been there once, aged 18, but not really found any of its secrets, but going there again in 2003, even after the thrill of touring the East Coast, was something else. It seemed like another planet and we were lucky enough to be introduced to some amazing places and people. We were probably as exotic to the Californians as they were to us.

Jason Anchondo, Danny Power and friends at a party

I can’t remember writing The One And Only Lost Boy, but all the people mentioned in it are real people we used to hang out with. Bobby (Bones), Jason ‘Plucky’ Anchondo and Dave ‘The Kid’ Koenig all play on the record so it’s very self-referential. Caroline and Abigail lived in Danny’s house. I really did get called Lindsay after [film director] Lindsay Anderson on account of my British accent, and on that writing trip it rained for several days, which was a real novelty in L.A. It caused many plants to bloom and gave me severe hay fever, enough to somewhat affect the sound of my voice on the record.

Nothing I Can’t Do Without is a lovely song. It sounds like a more stripped-down version of what you went on to do with The Dreaming Spires, but minus the jangly guitars. What can you tell me about it?

Nothing I Can’t Do Without was written on Danny’s porch, throwing phrases back and forth in a rapid fashion. The house was in sight of Sunset Boulevard, which, of course, is named after the amazing California sunsets, which are made more spectacular by a layer of smog.

I was definitely moving away from writing verse-chorus type songs, and getting more narrative in style. I was probably listening to Another Side…era Dylan, which seeped into the guitar style. It does sound a bit like the cover of Girl From The North Country that The Dreaming Spires started our career with. I basically used the same chords under the Dylan lyrics for that, as I didn’t know the correct chords.

As I Lay Dying is one of the darker songs on the album. What can you tell me about it? The piano sounds quite Lennonesque, and it’s a sad song…

RB: As I Lay Dying was written after a trip, so to speak, to Joshua Tree National Park, on one of our regular pilgrimages to the desert. It provided a very different perspective on life and the song was written down pretty much directly as we experienced it.

Robin at the piano, recording the album

‘When we mixed the album back in England, we used plenty of WEM Copicat tape echo, which contributed to the Lennon-y vibe’

The title was from the William Faulkner novel. I was into trying to describe out-of-body or near-death experiences at the time, as also on the Goldrush album, The Heart Is The Place. The song There’s A World by Goldrush, on the Ozona album, is also based on being at Joshua Tree. It became one of our favourite places to go when in the US. We played at the famous Pappy & Harriet’s and stayed on Victoria Williams’ ranch and at number of other interesting spots. I seem to recall when Rowland Prytherch and I mixed the album back in England, we used plenty of WEM Copicat tape echo, which contributed to the Lennon-y vibe.

Where did the song It Takes No Talent To Party come from? Great title! I can imagine there was a lot of partying during your week in L.A… 

RB: The title was a saying from Dave Koenig, who, at the time, was the bass player in The Brian Jonestown Massacre, or he may have just left the band. He was kind enough to play bass on the album. He was a very funny guy and a master storyteller –  it was his phrase to describe some of the characters who populated the L.A. scene, which was to some extent surface over content. There certainly were a lot of parties, but I always found I could get by with very little sleep when in California –  it must have been the sunshine.

The record is one of highs and lows – there are musically upbeat songs, like The One And Only Lost Boy and Don’t Sleep Alone, but it’s often a melancholy, reflective record, isn’t it? What kind of frame of mind were you in when you made it? 

RB. My default song setting was melancholy, at least up to that point, so I’m glad I was able to produce some upbeat songs. It was a relatively carefree time if you could ignore all the wars and so on…

Let’s talk about that. The Iraq War was happening at the time you were making the album and it inspired some of the songs, like I’m A Soldier and Nation At War, which are folky protest songs. What was your take on the war at the time and what was it like being in the US while it was happening? 

RB: The TV was still filled with images of the post-9/11 Middle Eastern wars and Dubya was still President. The heavy post-9/11 security measures were very much in place and paranoia was in the air. We must have watched plenty of TV because the news filtered through into the songs. I remember sitting in a café and writing out the lyrics to Nation At War in a matter of minutes. I’m A Soldier covers the plight of returning veterans and is simple, but it holds up well, I think.

You Can’t Fool All The People (All The Time) is one of my favourite songs on the record. It has a country rock feel…

RB: Country rock loomed large in our lives, having recently got deep into Sweetheart of the Rodeo [The Byrds] and The Flying Burrito Brothers, etc. We loved going to thrift stores and Mexican markets to pick up quirky shirts –  they were hard to get hold of back then. It fascinated me to be in the same spot, making records as those individuals, as indeed it did no doubt for excellent local bands like Beachwood Sparks and The Tyde.

Darren from The Tyde and Bobby Bones play excellent guitar lines on the track, which makes the song. Rob Campanella’s brother Andy stepped in on drums, and his more languid style suited the song, with its unpredictable timings. As I recall, I played piano and sang live vocals on almost every song, apart from the acoustic picking numbers.

There are quite a few guests on the album…

RB: Jason ‘Plucky’ Anchondo was one of two drummers in The Warlocks, who were staples of the shoegazey revival scene, alongside The Brian Jonestown Massacre – we encountered numerous members of both bands. We’d met on our first trip when The Warlocks and Mark Gardener/Goldrush played in New York and we all jammed a version of Tomorrow Never Knows. I’d like to hear a recording of that!

Bobby Bones was a mysterious but delightful character, who looked like he could easily have been in The Rolling Stones. Darren Rademaker from The Tyde joined us too and contributed some wonderful guitar lines.

Back in England, I felt some female vocals would improve things – I was perhaps enjoying Emmylou Harris’ contributions to the Bright Eyes album –  and asked Piney Gir, who was a friend, and part of our Truck Records roster, to come and sing on a few tracks. Furthermore, Cat Martino, another US singer from Brooklyn, who became a great friend, sang on Nation At War, which was actually recorded in England that summer, when she visited.

What happened to the album at the time? Did it have a proper release and did you tour to support it?

RB: It didn’t have a major release – it came out on the label Truck Records, which I ran with friends. Most of the effort in 2005 went on tours to support the US and European releases of Goldrush’s Ozona album. I did play some really fun shows, however, and put together a great UK band including Loz Colbert from Ride on drums, Andrew Mitchell from Ralfe Band, Garo and Nick (Growler) from Goldrush and Rowland Prytherch on bass. We often joined by Piney as well, and sometimes later on by Danny Wilson – we’d just started becoming friends. There were plenty of others who jumped in on occasion –  almost too many to list!

The songs were simple enough to show people in a few minutes and usually it came off well. We played at The Social and The Borderline [in London], at a festival in Devon with Mojave 3, and quite a few other places. There were also a couple of gigs in L.A. with some of the original band, or perhaps just one – it’s shown in the video for The One And Only Lost Boy.

The album was credited to Dusty Sound System, rather than Robin Bennett. Where did the pseudonym come from?

RB: ‘Dusty’ was a nickname given to me be a friend from the village where I grew up – it was short for Dusty Bookworm, on account of how I liked to read and my dad was a bookseller.

By the time of the album, quite a lot of people called me Dusty, so it seemed a suitable pseudonym. I guess I wasn’t quite ready to perform under my given name. I really can’t remember how Sound System got added – it meant that there didn’t have to be a fixed band, or it could just be me. The pseudonym gave me freedom to have fun.

Bennett Wilson Poole – photo by John Morgan

Let’s leave 2005 behind and fast forward to 2020, to talk about Bennett Wilson Poole.

Last year, you had to postpone your headlining London show, at the Islington Assembly Hall, as Tony Poole was unwell, and, this year, you were due to appear at the Ramblin’ Roots festival, which had to be postponed due to Covid-19. Are you hoping to gig later this year – all being well – and how’s Tony doing?

RB: Tony seems well currently, which is great. I’ve spoken to him a few times during lockdown. The first thing we did when we heard about the virus, even pre-lockdown, was cancel a Bennett Wilson Poole rehearsal – we need to look after Tony, in particular.

‘The second Bennett Wilson Poole album is written, recorded and mastered – we’re just waiting to work out how to release it in the present circumstances. We can’t wait for everyone to hear it’

I’m not very optimistic about indoor concerts taking place anywhere during 2020, so we may have to wait a little longer.

What’s the current state of play with Bennett Wilson Poole? Is your eagerly-awaited second album written and recorded?

RB: It’s written, recorded and mastered – we’re just waiting to work out how to release it in the present circumstances. We can’t wait for everyone to hear it.

One of the great things about Bennett Wilson Poole for me is the songwriting partnership Danny Wilson and I have developed. After it became impossible to write with Danny Power, I didn’t know if I’d find the same thing again, but we have struck up a similar ability to write songs and write them quickly. We both love the excitement of songwriting.

The Dreaming Spires: Robin and Joe Bennett

At this year’s Ramblin’ Roots, The Dreaming Spires were also due to play. Do you think there will be another Dreaming Spires record in the future?

RB: It’s hard to say. We are all still good friends and enjoying getting together to play now and then. We’re very proud of the albums we did. The songs all fit together as a set, so, if there was a new album, it would have to have some different subject matter.

As a professional musician and also a festival promoter what are you most worried about because of the Covid-19 crisis? Are you optimistic about the future? Will things get back to normal? What’s your take on it? What will have to happen in the ‘new normal?’

RB: I suppose, like most people, I am worried about my health and that of those close to me – and it’s clearly going to have a heavy impact on the live music business – indeed it already is. Looking for a positive, I think that connection and culture have grown in importance for us all as we’re stuck in our homes, and I have realised how precious those things are. That gives me confidence that we will find a way to rebuild the music scene. It’s hard to say exactly what that will look like, as we are still learning about how the virus operates.

‘Connection and culture have grown in importance as we’re stuck in our homes. I have realised how precious those things are. That gives me confidence that we will find a way to rebuild the music scene’

Clearly, some of the remote working and live streaming events will continue in the future, and we will be wary of cramped gatherings for a while. I’ve always been drawn to locally-oriented events, and perhaps there will be more of those as people resist long-distance travel. Also it’s opportunity to make sure all that back catalogue stuff is out there and available.

What are you most looking forward to doing once lockdown is lifted?

RB: Going to play, or watching a band in a cramped pub, preferably The Betsey Trotwood. I might have to wait quite a while for that to happen, so in the meantime a socially-distanced cup of coffee in a café will do.

Days of Splendor, Nights of Horror by Dusty Sound System is available to stream or purchase at:  https://dustysoundsystem.bandcamp.com/

For more on Bennett Wilson Poole, visit: https://www.bennettwilsonpoole.com/

‘Making music feels like resistance – most of the songs on the record are about music and what it does for people…’

Country-folk-rock singer-songwriter Rebecca Turner is a serious music junkie. Her new album, The New Wrong Way – her first in 10 years – is essentially a love letter to records and music.

“It’s a record about records. I didn’t set out to do it that way at all, but it’s sort of the history of the past 10 years told in songs – music is always there for me,” she tells Say It With Garage Flowers.

“I’ve been embracing my musician-ness as well as my obsessive fandom more and more as I get older. It always seems to be what’s left at the end of the day.”

The New Wrong Way kicks off with the ’70s-rock of, er, Living Rock, which was written about a trip she made to Nashville – it describes how rock music has the ability to pull Rebecca through pretty much anything life throws at her.

The Cat That Can Be Alone was inspired by jazz singer Anita O’Day – Rebecca also covers O’Day’s Tenderly on the album, as well as an obscure, late ’60s Bee Gees B-side, Sun In My Morning, which she reinvents as a psych-tinged, country-rock song, with some lovely, haunting electric guitar.

Cassandra is about a Miranda Lambert gig that Rebecca saw in New York, What If Music? deals with how you can become obsessed with a song so much that you can’t get it out of your head, and Tom Tom recounts how a friend got through an alienating trip to Japan by watching a VHS compilation tape of XTC videos.

Rebecca, who lives in Maplewood, New Jersey, but has also resided in New York and L.A, was first influenced by ’70s FM radio and ’80s-era record stores. She says her musical allegiances have ranged over the years from Emmylou Harris to Liz Phair, from Doris Day to Tom Petty, from Goldfrapp to The Go-Gos. 

The New Wrong Way is her third album and was partly recorded at Storybook Sound, the home-based studio which she runs with her husband and bassist Scott Anthony (Fond Farewells, Nu-Sonics). Two cover tracks were laid-down at the famous Ardent Studios in Memphis (Big Star, Al Green). Other musicians on the album include guitarist Rich Feridun (Tammy Faye Starlite, Jimmy LaFave, Amelia White) and drummer Sim Cain (Rollins Band, Chris Harford, Marc Ribot).

We asked Rebecca to tell us more about her musical obsessions and some of the stories behind the songs on her new album…

Q&A

The New Wrong Way is your first album in 10 years. Why did you have a hiatus and how does it feel to be back with a new record?

Rebecca Turner: There was a long hiatus, but I hardly noticed it. Lots of things happened – normal adult life things. I’ve always had a full-time non-music job – I’m an e-commerce copywriter. My mom needed taking care of – she had Alzheimer’s. Plus my stepson was living with us, and went through his teens and off to college. But during that time I kept playing out and writing songs.

Why did the time feel right to bring it out?

RT: Around three years ago I started to get panicky that I might not ever make another album, so I stepped up my efforts with a goal of 2019, since that was 10 years since the last one. Also, because I am squarely in my fifties now, and it is a weird and scary time in this world, it felt important and positive to celebrate music, and my identity as a person who loves it and makes it.

As Scott, my husband, bass player and co-producer – says, these days making music feels like resistance – to awfulness, and other things. And most of the songs on the record are about music and what it does for people.

‘Around three years ago I started to get panicky that I might not ever make another album, so I stepped up my efforts…’

Was it a difficult record to make? What were the studio sessions like and how was it getting the songs together for it? Do all of the songs date from over the past 10 years? When were they written and how did you approach the recording of this album?

RT: Recording went insanely smoothly. All the songs had been written over the past 10 years. Music begets music, and I actually wrote a bunch right after finishing the last record.

I wanted it to be mostly live and unfussy, and there were a lot of vocals where we kept the first takes. That is unheard of for me. On my last records I felt like I did 900 takes of everything. I think I can put this down to experience, and also just the laziness of old age…I just didn’t want to labour over it. Plus, all the musicians were just amazing and had the perfect vibe right out of the gate. I’m really proud of it.

Were you apprehensive about making a record after so long away?

RT: I was apprehensive. The musical part turned out fine. Better than “just like riding a bicycle,” as recording went smoother than it ever had before. But the thing I was scared about, and that is always really hard, is the interpersonal part.

I really wonder how other people who are not full-time musicians or artists – and maybe even the full-timers – deal with the fact that when you put forth your art on even a small public level, you risk sort of turning into another person…it is inherently, I think, a narcissistic act.

You ask a lot of the musicians and your friends, too, and it’s easy to get caught up in the process and the emotions. One minute I’m ‘Divas Live’ and the next I’m super-down on myself, and I can lose myself and not see everything clearly. – especially at my age, when everyone has so much going on. I’m trying to figure out a better approach for next time.

Let’s talk about some of the musical styles on the album. Living Rock, which kicks off the record, has a ’70s rock feel. What can you tell me about that song?

RT: Living Rock is probably the hardest I ever rocked, and it started with just a fun chord change that Scott added a rocking bassline to, and then Rich Feridun’s guitar riff and Sim Cain’s drums just took it to the next level.

Sim played with the Rollins Band, so he has owned this stuff for decades, and Rich has this way of somehow delving on the spot into my past musical obsessions and coming up with the perfect guitar sound, whether it’s rock or country or whatever.

The song is really fun to sing and in creating it, I felt like I had turned into someone who could rock. It kind of changed me! And it’s about rock, too, so that helped.

‘Sonically, the songs dictated what they wanted to sound like – we just knew we wanted the album to sound real and as live as possible’

The album has a jazz moment – you cover Tenderly by Anita O’Day – and there are songs that are country and indie-rock. How did you approach this album from a musical point of view? Did you have a definite idea of the sounds and styles you wanted on the record? What was your starting point?

RT: Sonically, the songs dictated what they wanted to sound like – we just knew we wanted it to sound real and as live as possible. There is a big range of styles on this record and that was not by design, it just reflects 10 years of song accumulation and different genres that I’ve always loved.

I’m like a little kid – when I’m listening to country, I think “OMG, I love country music more than anything”…and when I listen to ‘40s big band stuff, I think “Why do I not listen to this all the time? It just sends me flying…” This veering intensely between styles I like is just getting more intense as I get older.

 

There are songs on the album inspired by female performers. The Cat That Can Be Alone was influenced by Anita O’Day, and Cassandra is about a Miranda Lambert show you saw. What’s so inspiring about those two artists?

RT: Yeah, The Cat That Can Be Alone is about Anita, and Tenderly, the old jazz tune, is tacked on to the end, as I learned it off of her record Anita Sings the Most. I read her autobiography and was really knocked out by it.

She had a rough childhood, rough relationships, and a heroin addiction, but music kept her going, as well as her own persistence. She talked about having to rely on herself and not get lonely, and said “The cat that can be alone is one up on the cat that can’t,” which I put into the song.

Cassandra was inspired by seeing an early Miranda Lambert show at Terminal 5 in New York, in 2010. She was just a force of country-rock nature, and still is, even with all the tabloid coverage.

I have a pic on my phone I will never delete, of her at this show, just being a dancing blonde blur. OMG, and she covered Rock and Roll, Hoochie Coo! And killed it 100%! I have a video of that I will likewise never delete. And like Anita’s story, Miranda’s music has given me a lot of confidence. So the song I wrote was an attempt to capture the feeling of the show.

Rebecca at Ardent Studios in Memphis

Sun In My Morning is a cover of a Bee Gees song – it’s a great track and one I wasn’t familiar with. What’s the story behind choosing that song? I love the guitar solo on it…

RT: I am not usually an early Bee Gees fan…I’m more of a Jive Talkin’ person, with maybe with a little How Deep is Your Love thrown in, but somehow, among our pooled 45s was this record…. It was Scott’s and he’s not sure how it got into his collection.

We covered it once a long time ago, and Rich Feridun, who’d been playing guitar with us for a while, kept asking us to do it on this record. So we did, and he plays that absolutely stunning solo on it, on a beautiful vintage Gibson lent to us by beloved Memphian guitarist Robert Maché.

You recorded the song at the legendary Ardent Studios in Memphis, which is managed by Jody Stephens, who was the drummer in Big Star. How was that? Are you a Big Star fan?

RT: Memphis came about because we were down South to see family, and yes, we are huge Big Star fans and wanted to see the studio, so we asked for a tour, not really thinking we’d ever record there. We made the appointment and the woman who answered the phone said, “Oh, Jody might be here to give you the tour himself!” Gulp! And he was and did…

Jody was so generous and spent hours taking us around and telling amazing stories, and everyone was so nice and the cost was really reasonable. So we came back exactly a year later with Rich and Sue Raffman, who sings beautiful harmonies on the record, and did the two cover songs and some overdubs on stuff we had started at home.

We were nervous, but our engineer, Mic Wilson, was the nicest, funniest person and put everyone at ease. The vibe is just mega-thick at Ardent and in Memphis in general…the food, the people, and the musicians.

Scott Anthony, Rich Feridun and Mic Wilson at Ardent Studios, in Memphis

Your song What If Music? is about being obsessed with a song. Can you tell me some of the songs you’ve been obsessed with – and why? And, on that note, what music – new and old – are you currently enjoying?

Hah! I’ve basically lived my life from song obsession to song obsession. The first song I was ever nuts about was Lemon Tree by Peter, Paul, and Mary. My teacher played it in our nursery school classroom and I just stopped in my tracks. The harmonies! The rousing chorus!

‘In high school I would blow my ears out listening to Finding Out by Tom Petty on headphones in my ‘80s Los Angeles bedroom’

I’ll pick a random teenage obsession that has lasted forever Finding Out, by Tom Petty, from Long After Dark. It’s typical of his mind-boggling ability to encompass punk, power-pop, classic rock, and a million other things in one super-fast little song.

In high school I would blow my ears out listening to it on headphones in my ‘80s Los Angeles bedroom. But you know how they say you shouldn’t meet your idols? One shouldn’t always sing your obsessions. I tried this at a recent Petty tribute show and it was fun, but very difficult. Now whenever I hear it, I remember struggling with the sneers and yells. I’m an OK singer, but I’m not sure I should sneer or yell.

One of the cool things about the last couple years is I’ve been going back and getting into music that I missed from oh, the last 50 years or so! The last old song I can think of getting obsessed with is So Begins the Task by Manassas…and also the Judy Collins version.

For a contemporary obsession I’m gonna say the mesmerising rocker Marathon, from the new Chuck Prophet album The Land That Time Forgot, and also the super-fun video they made for it, which Scott just showed me recently, in which he and Stephanie Finch dance and wear great outfits. It’s also one of the best male/female rock duets I’ve heard since John Doe and Kathleen Edwards’s Golden State – another obsession.

Do you collect vinyl? What’s your preferred way of listening to music?

RT: Yes, it’s all about vinyl for us now. Especially used vinyl, which is a cheap and harmless obsession. Unless you’re out of town in someplace like, say, Memphis, living out of a suitcase, and then you have a huge weight to carry home.

If we’re listening in the car, it’s satellite radio, or if I’m at work, I streaming internet radio archives – WFMU. If we’re in Scott’s truck, it’s cassettes! The vinyl obsession meant we had to make vinyl for the new record…and it’s such a colourful cover it looks extra-special nice on vinyl, if I do say so myself.

What are your plans for the rest of the year? Any other projects and gigs? You and  Scott run a home-based recording studio – Storybook Sound, in New Jersey. What are you working on?

Rebecca at Storybook Sound studio in New Jersey – with pizza…

RT: We have a bunch of smaller gigs lined up for my band this spring, and Scott is a bassist in a band called The Fond Farewells with Megan Reilly, Chris Mills and Steve Goulding – they’re playing around a bunch and recording too.

I run a songwriters’ series out here in New Jersey called the Saturday Afternoon Song Swap with another local artist, Deena Shoshkes. We feature six songwriters in the round, and we’ve been doing it off and on for around 10 years and we have one coming up in April.

I’m singing a Linda Ronstadt song in a voting rights benefit show in April, too. The bumper crop of tribute shows and benefits over the last few years has been a lot of fun to see and be a part of.

Our studio is primarily a mastering studio, but we do some mixing and recording too. Scott has his usual hodgepodge of mastering projects coming up, from The Feelies, to a new Alex Chilton reissue, to a double album of some crazy deep dub, and some classic jazz reissues.

Finally, will we have to wait 10 years for the next album?

RT: Nope, it’s started. I have four songs already. It’s going to primarily be a sort of jazz album. After we recorded Tenderly, all I wanted to do was wander around to bars singing old stuff. So the new one will be mostly a bunch of old covers –  a Doris Day medley, for sure – and a new song or two made to sound old, but there will probably be a few rockers on it. Or, I’ll release the rockers separately to keep things thematically intact.

In any case, like I said, music begets music, and since the world’s kind of messed up, I’ll need to make a lot more of it to feel better.

The New Wrong Way by Rebecca Turner is out now on FRED. More info at: https://rebeccaturner.bandcamp.com/album/the-new-wrong-way

Sounds of the New West

West On Colfax – left to right: Pete Barnes (guitar), Alan Hay (vocals), Mike Lambert (drums) and Scott Carey (bass)

Looking for something to help you cope with the post-Christmas comedown? New UK Americana label Greenhorse Records, which is based in Preston, Lancashire, has just the thing – Choke Hold, the debut single by alt-country four-piece West On Colfax.

Influenced by Teenage Fanclub, Big Star, Wilco and Son Volt, it’ll put a jangle in your January. “The love we once found was just a fever going round,” sings vocalist Alan Hay, which is very apt, as it’s a highly infectious tune –  two and a half minutes of life-affirming guitar pop that sounds like a long-lost Creation Records release from the early ’90s. They may hail from Lancashire, but you’d be forgiven for thinking that West On Colfax grew up on a Glaswegian council estate, reared on a diet of Irn-Bru and Byrds records.

The band’s debut album, Barfly Flew By, will be released later this year, but, in the meantime enjoy Choke Hold. In these dark and uncertain times we’re living in, it’s solid, it’s reliable and it’ll make you smile –  it’s like catching up with an old friend you’ve not seen for ages. What a great way to start the New Year…

For more information, visit https://westoncolfax.bandcamp.com/

‘I hope this album will surprise people…’

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Photo of Pete Gow by David Cohen

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

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

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

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

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

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

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

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

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

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

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

Q & A

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

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

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

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

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

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

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

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

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

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

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

Even the backing vocals? I thought they were female…

PG: I’ll tell him that!

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

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

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

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

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

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

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

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

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

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Photo of Pete Gow by David Cohen

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

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

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

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

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

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

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

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

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

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

Have you got any tattoos of girls’ names?

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

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

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

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

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

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

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

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

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

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

It’s a character song, isn’t it?

PG: Absolutely.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What can we expect it to sound like?

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

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

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

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

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

 

Best Albums of 2018

 

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From UK Americana, to Canadian country-blues, Staffordshire psych-pop, Spaghetti Western soundtracks and, er, a concept record about Worcestershire, Say It With Garage Flowers chooses its favourite albums of 2018…

Bennett Wilson Poole have had a great year.

The UK Americana and jangle-pop trio formed by Robin Bennett  (The Dreaming Spires), Danny Wilson (Grand Drive, Danny and the Champions of the World) and Tony Poole (‘70s rockers Starry Eyed and Laughing – ‘the English Byrds’), released a critically-acclaimed debut album, played sell-out shows across the UK and were nominated twice in the UK Americana 2019 Awards – for UK Album of the Year and UK Artist of the Year. And if that wasn’t enough, they’ve also scooped the prize for Say It With Garage Flowers’ favourite album of 2018.

When we told Danny Wilson the news, he said: “What an honour! I didn’t think it would be your album of the year… I wouldn’t have dreamed of it! I loved making the album with the other guys and I think it’s a great record.”

It certainly is! When we first heard the record at the start of the year, we said it would undoubtedly find itself high up on Say It With Garage Flowers’ favourite records of the year list come late 2018…

‘High on harmonies and brimming with glorious melodies, it’s a stunning collection of instantly memorable and brilliantly crafted songs that are steeped in classic ‘60s and ‘70s rock and pop, but don’t shy away from tackling contemporary social issues’

Produced by Tony Poole – the king of the 12-string electric Rickenbacker guitar – in his home studio in rural Oxfordshire, it’s a totally cosmic trip that takes in Byrds-meets-Tom-Petty/ Traveling Wilburys jangle-pop (Soon Enough), gorgeous, soulful balladry, (Hide Behind A Smile), mystical country (Find Your Own Truth), sunny Americana (Wilson General Store), shimmering psychedelic sounds (That Thing That You Called Love) and moody, powerful protest rock in the vein of Crosby, Stills, Nash & Young (Hate Won’t Win and Lifeboat (Take A Picture of Yourself).

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Bennett Wilson Poole – photo by John Morgan

High on harmonies and brimming with glorious melodies, it’s a stunning collection of instantly memorable and brilliantly crafted songs that are steeped in classic ‘60s and ‘70s rock and pop, but don’t shy away from tackling contemporary social issues.

Speaking to us earlier this year – we were the first publication to interview Bennett Wilson Poole – Tony said: “With our songs, like Hide Behind A Smile, the chords are quite simple and the tunes are quite jangly, but if you dig a little deeper, there’s more under the surface.”

He added: “A lot of people have said that you can keep listening to the album over and over again and you hear new things, which is great – that’s a good sign. If it makes you feel good, we’re adding to the sum of human happiness…”

Here at Say It With Garage Flowers, we totally agree – Bennett Wilson Poole’s long-player has been on heavy rotation on our hi-fi and it’s been our feel-good soundtrack of 2018. And the good news is that there’s a follow-up planned for 2019. It can’t come soon enough…

Another Americana release that impressed us this year was Canadian singer-songwriter Jerry Leger’s  Nonsense and Heartache.

Produced by Michael Timmins of Cowboy Junkies, who worked on our favourite album of 2017, John Murry’s A Short History of Decay it’s a double album, but, essentially it’s two distinct collections of songs.  

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The first half  – Nonsense – is a raw, primal, bluesy, electric rock ‘n’ roll record, while the second instalment – Heartache – is a stripped-down, alt-country affair, with intimate ballads, lap steel, piano and fiddle.

Put them together and you have an album that reminds us of those classic early Ryan Adams long-players Heartbreaker and Gold – yep, it’s that good…

Jerry has a new album due in the autumn of 2019 and will be playing dates in Europe and the UK in the spring.

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New York-based Brit Luke Tuchscherer , who released his latest album, Pieces, earlier this year, will also be in the UK this spring – he has a London show at the Green Note in Camden, on April 11. 

Pieces, Luke’s third solo album, is his best yet. An angry, heavy, often political album, it rocks like Neil Young and Crazy Horse. Batten down the hatches, 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 sublime, Springsteen-like country-rock song Ghosts, which sees Luke revisiting his childhood haunts.

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Ian Webber

Luke wasn’t the only US-based, UK singer-songwriter to make a political album this year – Nashville resident Ian Webber brought out Op-Eds, which tackled social issues including women’s rights, fake news, war-torn Syria and the Dakota Access Pipeline controversy. 

Musically, it’s a very stripped-down record – mostly just Ian and his acoustic guitar – and it makes for intimate and sometimes uneasy listening, as he shares people’s stories of hardship and struggle. 

Opener Follow Me and its parent song, The Regime, are haunting tales inspired by reading news stories about families suffering in Syria, while Frontline is a protest song that has its roots in ’50s rockabilly.

Radio Zero is an ode to the healing power of great music – while the world is going crazy, sometimes you just need to switch off from all the doom and gloom and crank up some classic rock ‘n’ roll tunes. Ian sings the song in a Bowie-like croon that sounds like it’s been beamed in from outer space.

‘Musically, it’s a very stripped-down record – mostly just Ian and his acoustic guitar – and it makes for intimate and sometimes uneasy listening, as he shares people’s stories of hardship and struggle’

Fellow Bowie fan, UK singer-songwriter and Say It With Garage Flowers regular Vinny Peculiar released the latest in a long line of great albums in 2018. Return of the Native was a concept record inspired by moving back to Worcestershire after 23 years living in Manchester. 

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A brilliant collection of witty, reflective and deeply personal songs, it features a whole host of weird and wonderful characters, including a burnt-out rock star, the ghost of a Civil War re-enactment enthusiast, Eminem hopelessly lost in Droitwich, ’70s M.O.R. singer Clifford T.Ward, DJ Tony Blackburn and comedian Rik Mayall.

Musically, the album takes the listener on a journey through Worcestershire that’s soundtracked by glam-rock, jangle-pop, psych, Pet Shop Boys-style electro and New Order-esque, Northern melancholy. 

Jangle-pop and psych sounds both featured heavily on the 2018 albums by London cosmic-country-folk five piece The Hanging Stars and Staffordshire band Alfa 9.Songs_for_LP-250x250

With Songs For Somewhere Else – the follow-up to their 2016 debut, Over The Silvery Lake, which was our favourite album of that year, The Hanging Stars made a record that was even better than its predecessor and was a much more varied and adventurous collection of songs – there was the beguiling and soporific Spiritualized-meets-Byrds groove of On A Sweet Summer’s Day, the heavenly, Big Star jangle-pop of Honeywater, menacing Spaghetti Western soundtrack Mean Old Man, the country-rock romp For You (My Blue Eyed Son) and the woozy and playful 1920s-style jazz-blues of Too Many Wired Hours.

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Alfa 9 are also fans of Spaghetti Western soundtracks – their album My Sweet Movida was full of Ennio Morricone influences, retro rock, cosmic-psych-country road trips and ’60s-inspired jangle-pop. 

Back in April, guitarist Leon Jones told us: “We love Morricone and that kind of melancholy there is in a lot of his work. I’m fascinated by the Mojave desert in California and the Joshua Tree, particularly. For someone from the Midlands, it’s a very strange environment…”

Another fan of Morricone is Frank Sweeney, whose band of London renegades The Magic City Trio turned in one of the best debut albums of 2018.

Amerikana Arkana has wonderful orchestral arrangements that recall the dramatic ’60s pop of Nancy Sinatra and Lee Hazlewood, (Black Dog Following Me), Morricone’s moody Spaghetti Western soundtracks (Cousins’ War) and Mexican Mariachi music (Trav’ler), but these story songs are also steeped in the dark traditions of murder ballads, old country and folk laments, outlaw tales and hillbilly blues.510zr7sR2xL._SS500

For more Spaghetti Western sounds and gun-slinging action, may we also recommend another great debut album from 2018  – Sarah Vista’s Killing Fever. Look out for an interview with London-based singer-songwriter Sarah on Say It With Garage Flowers soon… 

ALBUM COVER

Whether your year has been good, bad or ugly, we hope that you’ll take time to listen to some of the albums that were our soundtrack to 2018. 

Here’s the full list of our 35 favourite albums of the last 12 months and a Spotify playlist to go with it*.

See you on the other side…

Say It With Garage Flowers: Best Albums of 2018

  1. Bennett Wilson Poole – Bennett Wilson Poole
  2. Jerry LegerNonsense and Heartache
  3. The Magic City TrioAmerikana Arkana
  4. The Hanging StarsSongs For Somewhere Else
  5. Johnny MarrCall The Comet
  6. Paul Weller – True Meanings
  7. Alfa 9My Sweet Movida
  8. Vinny PeculiarReturn of the Native
  9. RW Hedges – The Hunters In The Snow
  10. Gold Star – Uppers & Downers
  11. Tracyanne & Danny – Tracyanne & Danny
  12. Mark Lanegan & Duke Garwood – With Animals
  13. Elvis Costello & The Imposters – Look Now
  14. Patrick Duff – Leaving My Father’s House
  15. Spiritualized – And Nothing Hurt
  16. The Good, The Bad & The Queen – Merrie Land
  17. Mike Gale – Beachhead Galaxy
  18. Jeff Tweedy – Warm
  19. The Magic Numbers – Outsiders
  20. Luke Tuchscherer – Pieces
  21. Ian Webber – Op-Eds
  22. The Senior Service – King Cobra
  23. Sarah Vista – Killing Fever
  24. Al Joshua – Out of the Blue
  25. Richmond Fontaine – Don’t Skip Out On Me
  26. The Black Delta Movement Preservation
  27. Arctic Monkeys – Tranquility Base Hotel & Casino
  28. Manic Street Preachers – Resistance Is Futile
  29. Matthew Sweet – Tomorrow’s Daughter
  30. Matt Deighton – Doubtless Dauntless
  31. Nick Piunti Temporary High
  32. Alan Tyler – El Tapado
  33. Juanita Stein – Until The Lights Fade
  34. Dom Mariani & The Majestic Kelp – Hi Seas
  35. GospelbeacHAnother Winter Alive 

[Please note: Patrick Duff’s Leaving My Father’s House and Richmond Fontaine’s Don’t Skip Out On Me aren’t currently available on Spotify].

 

‘I’m a bit surprised at how well it’s gone – there’s a really good feeling and we’re inspired’

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Bennett Wilson Poole – photo by John Morgan

It’s been an amazing year for Bennett Wilson Poole, the UK Americana and jangle-pop supergroup formed by Robin Bennett  (The Dreaming Spires), Danny Wilson (Grand Drive, Danny and the Champions of the World) and Tony Poole (‘70s rockers Starry Eyed and Laughing – ‘the English Byrds’). 

Their self-titled debut album has received great reviews – it’s Say It With Garage Flowers’ favourite record of 2018 – and the band has played a string of well-attended shows, been nominated twice in the UK Americana 2019 Awards – for UK Album of the Year and UK Artist of the Year – and played live on The Andrew Marr Show on BBC TV and Robert Elms’ BBC Radio London show.

In an exclusive interview, Danny Wilson reflects on the group’s success, chooses some of his favourite albums of 2018 and gives us a sneak preview of what Bennett Wilson Poole have planned for next year… Could there be a second album on the way?

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Q & A

I’m delighted to tell you that your record, Bennett Wilson Poole, is my favourite album of the year… I’m going to publish the full list later this month, but I wanted to give you the heads-up…

Danny Wilson: What an honour! I didn’t think it would be your album of the year… I wouldn’t have dreamed of it! I loved making the album with the other guys and I think it’s a great record.

I was the first journalist to interview Bennett Wilson Poole, back in February this year, after your second ever gig, which was at the Union Chapel, in Islington…

DW: You certainly were…

It’s been a great year for you, hasn’t it? There’s a lot of love for Bennett Wilson Poole out there…

DW: There is – it’s touching. It’s really lovely. I’m a bit surprised at how well it’s gone – not because the music isn’t good, but because you just never know… You can spend years in your main bands trying to push an elephant up the stairs and it’s tough… I think all of our combined histories have helped – they’ve made it more palatable and immediate for people to get into.

It’s not easy for anyone, but the shows have been selling – when the wheels are greased a little, it’s really nice. We’re not turning up to shows and wondering if anyone’s going to be there, which makes life a lot easier. Things have gathered a bit of steam.

You’ve been nominated for two UK Americana Awards – the winners will be announced in January 2019…

DW: I’m totally thrilled that we’ve been nominated – it’s amazing. I really hope that we win one – Danny and the Champs won a few and it does have a knock-on effect in terms of bums on seats – you can’t argue with that. We’re really honoured to have been nominated – if we get given the thumbs-up by people, that’s a lovely thing.

When you appeared on the Robert Elms radio show recently, you played a great new song called I Wanna Love You (But I Can’t Right Now). It has a very poignant lyric and an instantly addictive melody. It’s a song about falling out of love with America because of the current political situation, but it also celebrates some of the great things that America has brought us, including Andy Warhol, Jack Kerouac’s On The Road, De La Soul, Aretha Franklin, The Grateful Dead, Bob Dylan and Martin Luther King…

DW: It’s a love song to America. – Robin and I wrote the song together. Weirdly, Bennett Wilson Poole is the only act I’ve ever been in that’s overtly political in any way. I like protest songs and political music – Ohio by Crosby, Stills, Nash & Young; Billy Bragg; Paul Weller; Elvis Costello – even Simply Red – but I’ve never felt in a position to do it.

It’s fairly obvious that everyone involved in the Bennett Wilson Poole project are humanists – they want the best for people who aren’t getting the help they need, but that’s about as far as I’ve ever gone in terms of being overtly political – being a friendly person. I think everybody should be like that, regardless of their politics, but with Bennett Wilson Poole it’s the first time I’ve done political songs.

‘Bennett Wilson Poole is the only act I’ve ever been in that’s overtly political in any way. I like protest songs and political music, but I’ve never felt in a position to do it’

So can we expect a second Bennett Wilson Poole album next year?

DW: I think so – there’s lots of material. It’s been really easy – they are around 17 new songs we’ve written that are all tailor-made. There’s a really good feeling – we’re inspired by Tony and the reception that he’s getting at this stage in his career.

Will you be playing any new songs at your upcoming gigs in Oxford and London this month?

DW: I think we’ll certainly do one or two.

TwelveStringPortada-3You’ve also recorded a cover version of Phil Ochs’ song Changes for a new compilation album that’s just been released – Twelve String High Vol 3: The Last Jingle Jangle Adventure. You’ve given the song a Bennett Wilson Poole jangle-pop makeover…

DW: Yes – It’s very Byrdsian and it’s lovely. Someone from outside of the band suggested that we do it. We have mooted the idea of a covers album – we’ve written a list of songs for it. I wrote an exhaustive list. I don’t know where to go with it – whether it should be like Matthew Sweet and Susanna Hoffs’ wonderful covers albums, where every song is a classic, or to make it much more obscure, but that might be one nerdy step too far… I’m thinking of stuff by The Beau Brummels and some songs from Dion’s folk-rock period, but we’ll see.

What are your favourite albums of the year?

DW: Ryley Walker’s The Lillywhite Sessions is totally amazing – it’s a reimagining of a Dave Matthews Band album that was unreleased. Damien Jurado’s new album [The Horizon Just Laughed] is fantastic and there’s one particular record by Dios [Life Between The Tides] that’s like a shoegazing cross between Neil Young and The Beachboys – it’s a really great record, but no one has been banging on about it. I also liked the new J Mascis album [Elastic Days]. I bought a lot of records this year, as I own a record shop [Union Music Store in Lewes, East Sussex]. I like all the stuff on Loose too – they’re going from strength to strength. They’re my friends and I respect and admire them – they’re amazing.

Finally, any plans for a new album by Danny and the Champs?

DW: Yeah – I think so. We’ve got some gigs booked in Spain and I’ve been just putting together a playlist for the guys of stuff that is informing my thinking on the next Champs album and it’s really not what anyone would expect. It doesn’t mean the album will sound like that, but there will be elements of it.

If the next Champs album turns out like I think it will – although it never quite does – it will be trying to push the envelope in certain directions. I’m really excited about it. I don’t want to make another Champs record that sounds like any of the others – there’s no reason to.

I guess I’m getting my serious folk-country-rock fix from Bennett Wilson Poole at the moment, so I don’t need to add to that. At some point there will be a folk-rock-Americana logjam and I don’t want to contribute to that – I’d rather take a left turn. I’m also going to do a solo album at some point – I don’t what I’m going to do with it, but it will either be an acoustic singer-songwriter record, or I might do a jazz album!

•Bennett Wilson Poole’s self-titled debut album is out now on Aurora Records. The band are playing shows this month at The Bullingdon Arms in Oxford (December 7) and Kings Place, London (December 8).

For more information,  visit: https://www.bennettwilsonpoole.com/

 

‘We haven’t got the budget for playing in full, late ‘60s West Coast regalia and Roger McGuinn wigs!’

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The Raving Beauties – photograph by John Morgan

Late last year, jangle-pop project The Raving Beauties, the brainchild of Belfast writer Brian Bell, who is now based in Brighton, teamed up with Oxford band The Dreaming Spires to release Raving For Bap, a 10in limited vinyl EP dedicated to singer-songwriter Bap Kennedy, who died in late 2016.

The record features five of Bap’s songs, which The Raving Beauties have made their own. The opening track, Walk In Love, is a joyous, chiming guitar anthem that’s befitting of The Byrds, while Moriarty’s Blues is a gorgeous, folky shuffle. The Way I Love Her is infectious, organ-driven power-pop, Hard Street is a down and out ballad with a country feel and Lonesome Lullaby is another Byrdsian belter – 12-string guitars, heavenly harmonies and a life-affirming chorus.

I spoke to Brian to find out more about the EP and to clear up some confusion over how the mysterious ‘fictitious’ band, The Raving Beauties, came into being…

Q & A

Let’s talk about your recent five-track EP, Raving For Bap, which was a tribute to Belfast singer-songwriter, Bap Kennedy (Energy Orchard), who died from cancer in 2016. Proceeds from the record are being donated to Belfast’s Marie Curie Hospice. How did the EP come about?

Brian Bell: I’d known Bap since the early Noughties, when a mutual friend, James Walbourne [The Rails, The Pretenders] introduced us on the basis that because we both came from Belfast, we’d probably get on, which we did, very much so. Aside from being such a talented guy, Bap was a very genuine, kind person and great company – his self-deprecating wit and killer one-liners were something to behold.

Before meeting him, I’d been aware of his music and really admired it. I really loved and connected with songs like Sailortown and Sweet Irish Rose, off the first Energy Orchard album, and I’d bought his Domestic Blues album when it first came out.

In the years that I was seeing Bap most regularly, I’ve fond memories of his legendary Sunday gigs at the Boogaloo in Highgate, North London, where he’d be mixing up his own stuff with Elvis and Hank Williams covers. Everybody would be lapping it up and the craic was tremendous.

In more recent years, I’d kept in touch with Bap when he moved back to Holywood in Northern Ireland and always looked forward to meeting up with him whenever I was back home visiting family.

‘I’ve fond memories of Bap’s legendary Sunday gigs at the Boogaloo in Highgate, where he’d be mixing up his own stuff with Elvis and Hank Williams covers’

When we lost Bap to cancer, in November 2016, it was obviously a very upsetting and difficult time for everyone who knew and loved him. In the months after his passing, he was on my mind a lot and I guess my appreciation of his songs had deepened, which is probably when the idea for a tribute record started hatching. Bap’s widow Brenda has been doing an amazing job of looking after his legacy and continuing to share and celebrate his music, so I hope we can add to that in some way. It was also important from the outset that the record would be a fundraiser for the Marie Curie Hospice in Belfast, as Bap’s family think the world of the staff there for the care they gave Bap towards the end of his life.

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The EP is a collaboration between The Raving Beauties and Oxford band The Dreaming Spires. What’s your relationship? How did you end up working together? 

BB: In 2016, The Dreaming Spires included The Raving Beauties track Arrows on the guest artist side of their Paisley Overground 12in mini album and we were on the same label – At The Helm – at the time. We did a launch gig for the record together in Brighton, which went really well.

My friendship with the guys started there and we ended up doing another gig together as The Raving Beauties at Truck Festival in 2016, which was a lot of fun. I’d chatted with Joe Bennett [from The Dreaming Spires] about recording some new songs together, but with Bap being on my mind so much, I felt a tribute EP was what we should do next.

Luckily, Joe and the rest of the guys – Robin Bennett, Tom Collison and Fin Kenny – were well up for it, so we all got together at Joe’s studio in Oxford last Spring to start working on it, with Joe producing. There was a great vibe and a lovely spirit of camaraderie, which I hope comes across on the record.

With the EP, you and The Dreaming Spires have put your own spin on Bap’s songs – there’s a US West Coast, ‘60s jangle-pop feel to some of the songs. How did you approach the tracks and how did you decide which ones to cover?

BB: Joe, wisely I think, didn’t want to get too swayed by listening to Bap’s originals – he just wanted me to turn up with the chords and lyrics, so we could try to put our own stamp on them. You’re right about the American West Coast influence, and I suppose the idea was broadly along the lines of imagining how Bap’s songs might have been interpreted by a Californian guitar band in the late ‘60s. I can’t be too coy about the likes of Spirit, The Byrds, Buffalo Springfield, The Monkees, Love and The Youngbloods all being an influence.

In terms of choosing songs, it was a case of picking songs I particularly loved that I imagined could also lend themselves to being done in a different way. There are other Bap songs that I love just as much, but I don’t feel would necessarily suit being re-worked in that style.

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I want to ask you about the origins of The Raving Beauties. I’ve heard a rumour that the band doesn’t really exist – it’s fictitious… Can you clear this up?

BB: In the last 10 years, I’ve got into writing fiction – I did a Creative Writing MA and had a pulp fiction novella – Die Hard Mod – published under the pen name Charlie McQuaker.

One of my short stories that I’d read at spoken word nights in Brighton was called The Unsung Classic, which was about an ill-fated retro band of the ‘90s called The Raving Beauties. I remember a lot of ‘60s time warp guys hanging around Brighton, who’d based their whole image on Gene Clark circa 1967 – that scene inspired the story. I then had the idea to make an EP of what this fictitious band might have sounded like and managed to convince Gordon Grahame – an incredibly gifted Scottish singer-songwriter/producer – to collaborate with me on some recordings.

‘I remember a lot of ‘60s time warp guys hanging around Brighton, who’d based their whole image on Gene Clark circa 1967’

In 2015, The Raving Beauties released their debut album of ‘60s-inspired guitar pop….

BB: The original plan was to put a vinyl EP out as a ‘benign hoax’, purporting to be the lost recordings of some long-forgotten retro band called The Raving Beauties, but when I sent the tracks to Jim Walker, after his At The Helm label had just been launched, he said he loved the songs, but would only release something if we made a full album.

That gave myself and Gordon the impetus to go back into his home studio and, in a relatively short time, we came up with something that I’m still pretty proud of.

The finished album was a mix of my songs, Gordon’s songs and a few co-writes that came together really quickly. My abiding memory is of it being a huge buzz, like being a teenager again. We had this in-joke when something was going particularly well, when we’d just look at each other, do the double thumbs-up and say ”Brilliant!” in a comedy Scottish accent.

I knew at the time that Gordon was doing me a big favour by indulging me with this strange project and it was always pretty much with the understanding that it would be a one-off for him, but we’re still mates and it’s totally got his blessing that I’m keeping the project going. The plan is to make another album this year with the musicians from Raving For Bap and other collaborators.

The Raving Beauties have a gig coming up. You’re playing the Ramblin’ Roots Revue festival in April (6-8, Bucks Students Union, High Wycombe). What can we expect?

BB: The plan is to do the Raving For Bap EP, plus some songs from the first album – The ‘Spires boys have kindly signed up to be honorary Raving Beauties.

I wish I could say we’ll be doing the set in full, late ‘60s West Coast regalia and we’ll all be sporting Roger McGuinn wigs, but, unfortunately, we haven’t budgeted for that!

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The Raving Beauties – photograph by John Morgan

Any plans to hold a tribute gig for Bap?

BB: Yes – we’re hatching a plan and hopefully will be able to confirm something soon. Fundraising-wise, we’ve joined forces with Bap’s sister, Marian, who has already raised over £2,000 for the hospice, and we’ve set ourselves the target of raising a grand total of £5,600 by June 17,when Bap would have been 56

What does the rest of 2018 hold for The Raving Beauties?

BB: Some Girls from The Raving Beauties’ first album is getting another lease of life thanks to You Are The Cosmos including it on their next 12 String High vinyl compilation. which is due out in April/May. I always felt that song could make an impact if it reached the right ears, so fingers crossed, it will happen this time around… I’ll also soon be starting work with the guys on the new Raving Beauties album. We want to retain some of the jangle, but get a lot more adventurous, too.

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

BB: I tend to mainly listen to instrumental stuff, particularly ‘50s jazz, so the likes of John Coltrane, Oliver Nelson, Miles Davis and Chet Baker are on the stereo a lot. For anyone who likes that kind of thing, I’d recommend the soundtrack to Listen Up Philip by Keegan DeWitt.

‘We want to retain some of the jangle, but get a lot more adventurous, too’

Another soundtrack that I keep coming back to is The Hired Hand by Bruce Langhorne, which is such a sparse, haunting and beautiful piece of music.

I’m always hoping to hear a new killer pop song on the radio, but, to be honest, the last one that really jumped out at me was Mean Streets by Tennis from a few year back.

I think Fleet Foxes are probably the band that has impressed me most in recent years, closely followed by Temples. I’ve loved Nick Drake and John Martyn since I was a teenager and that’s something I’ve been coming back to a lot recently too.

Bap’s album The Sailor’s Revenge has been another constant. It’s his masterpiece and deserves to be in any ‘Top 10 Greatest Irish Albums of All Time’ list.

 

Raving For Bap by The Raving Beauties is out now on Farm Music – more info here.

The band’s self-titled debut album is currently available from At The Helm Records. 

The Raving Beauties will be playing at The Ramblin’ Roots Revue, Bucks Student Union, High Wycombe: April 6-8.

More information here:  https://www.bucksstudentsunion.org/ramblinrootsrevue/