From cover with love…

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I love James Bond and I love indie-pop, so when I was sent a copy of the new compilation album Songs, Bond Songs – a 26-track collection of Bond songs covered by contemporary US indie-pop acts, I had a licence to be thrilled…

The brainchild of criminal mastermind and executive producer, Andrew Curry, it’s an exciting journey into the world of soundtrack songs from both official and unofficial 007 films.

Things get off to an explosive start with Lannie Flowers’ rip-roaring, ’60s-style garage rock-style version of the James Bond Theme; there’s an outrageous pop-punk take on Thunderball by Jaret Reddick; a gorgeous acoustic rendition of For Your Eyes Only by Freedy Johnston that’s better than Sheena Easton’s version; a funky, yacht rock Never Say Never Again by Minky Starshine and a cool, loungey The World Is Not Enough by Fountains of Wayne side-project Look Park.

I tracked down Andrew Curry to his secret underground lair and got the intel on his latest devious plan for world domination…

Q & A

How did the project come about? Why did you decide to put together a Bond songs tribute album?

Andrew Curry: I had done two compilations prior to Songs, Bond Songs. The first one – Drink A Toast To Innocence: A Tribute To Lite Rock – paid tribute to the soft hits that were so prominent on America’s AM radio stations in the late ‘70s.

The second – Here Comes The Reign Again: The Second British Invasion – focused on the early years of MTV, specifically the British bands that came to dominate the American charts for the first few years of the ‘80s.

For this compilation, I wanted to expand things a bit. Rather than focus on a brief period of pop music history, I thought it would be interesting to see if I could find a concept that could cover a much wider time period. And so Bond music seemed to fit the bill perfectly. I can look at five or six decades of music rather than five or six years.

Are you a huge Bond fan? Which are your favourite Bond films and songs? And which are you least favourites?

AC: I am a Bond fan, though perhaps not quite as enthusiastic about it as I was in my youth. I grew up with Roger Moore as my Bond, and while I know it’s far cooler to choose the movies of Connery or Craig as one’s favourites, I’ve always had a soft spot for the Moore era. Not to mention that I think the songs from the Moore years are, as a group, the best of the franchise.

So while I’ll concede that some of Moore’s films haven’t aged well, I’ll sit down and watch Moonraker or For Your Eyes Only any time they come on. But as it happens, my least favourite Bond film also stars Roger Moore. In A View To A Kill, he just seems so completely disinterested.

As for the music, I’ve been so inundated with it while working on this project that I’m not sure I can pick favourites anymore. But as I said, the Moore years were formative for me, so songs like Live and Let Die, Nobody Does It Better, and For Your Eyes Only were biggies for me growing up. Of the more recent songs, I think Adele did a nice job recalling the Shirley Bassey era with Skyfall. My least favourites? Well, the less said about Madonna’s Die Another Day, the better.

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Andrew Curry

‘My least favourite Bond song? Well, the less said about Madonna’s Die Another Day, the better’

How did you choose which acts to work with and how did you get them involved?

AC: As with my previous projects, I made a list of musicians I wanted to work with, and went about contacting them. Social media makes things far easier than it might have been a decade or so ago.

As for the song assignments, I went to some musicians with definite ideas for which track I wanted them to do.

My wife insisted to me that Freedy Johnston had to do For Your Eyes Only. I loved the idea of hearing Jaret Reddick take a stab at Tom Jones. Having Lisa Mychols do a Lulu song seemed too perfect to pass up. But for the most part, once the musicians had signed on, I’d give them a list of available songs, and let them choose the ones they wanted. People who chose early got a far longer list of songs to choose from!

Do you have a favourite song on the album?

AC: I know I’ll sound dodgy saying this, but I really do like all the songs on the record. But I will say that there were songs that I wondered about when the assignments were being carried out.

Could someone take a song that I didn’t have much use for and turn it into something interesting? And I’m delighted to say that the answer is a resounding yes. A few examples (among many) –  the original Moonraker is the least of Shirley Bassey’s three Bond songs, but Gary Frenay has turned it into a terrific Travelling Wilburys-esque number, complete with Orbison-styled vocals.

I’ve already mentioned that Die Another Day, with its lame overuse of Auto-Tune, is my least favourite Bond song, but in the hands of Big-Box Store (aka Joe Seiders of The New Pornographers), it’s terrific.

Some of the acts have been pretty faithful to the original versions, but there are also some very different interpretations, aren’t there? It’s a very varied album….

AC: It is, and that’s always what I strive for. People ask how much input I have in the direction a musician takes with a song. I’m always emphatic that once musicians sign on, how they approach their songs is entirely up to them. And almost without fail, that has meant that I’ll get a handful of songs that stick closely to the original and another handful that completely re-invent the source material.

I prefer the Freedy Johnston acoustic version of For Your Eyes Only and Zach Jones’ dramatic take on All Time High to the original versions by Sheena Easton and Rita Coolidge. Do you agree? I think they’ve managed to reinvent some dull, MOR ballads into something that’s much more interesting…

AC: I really love those two versions. And you’re right about the originals. They were released at a time when softer ballads were more in fashion. Freedy’s For Your Eyes Only is stripped-down, just an acoustic guitar and his vocals, and the world-weary way he approaches the song just works. It sounds like a track that would fit comfortably on some of Freedy’s early records. Zach went in a different direction than Freedy, in that his version has a full band. He hasn’t really altered the melody all that much, but he’s given it a soulful quality that Rita Coolidge’s original version couldn’t possibly approach.

I think that in recent years, the quality of Bond songwriting has gone downhill. As the films have improved, the theme songs have got worse. Would you agree?

AC: I think some of the recent songs are decent. I already mentioned Adele’s Skyfall as one example. I always thought of that song as a conscious effort to return to the lush, orchestral Bond songs of the Connery years.

I will say that I was pretty surprised that Sam Smith’s Writing’s On The Wall from Spectre actually won an Oscar. But I’ll also concede that nostalgia will always play a role in which tracks are my favourites. So it’s unlikely that any of the newer ones will ever hold the same place in my mind as, say, Live and Let Die. But if my kids decide to make the follow up to this record 30 years from now, they might just say, “You know, these new songs can’t hold a candle to Sam Smith.”

‘I was pretty surprised that Sam Smith’s Writing’s On The Wall from Spectre actually won an Oscar’

Any plans to do a live show with some of the acts doing the Bond songs?

AC: It’s a far-flung group, so there are no plans at the moment. It would be terrific fun, though.

James_Bond_(Roger_Moore)_-_ProfileWith the recent death of Roger Moore, it’s rather timely – and poignant – to be talking about Bond….

AC: Moore was always my Bond, and he’s who I always think of when I picture the character. He added a bit of camp to the part, which I know some people can’t stand, but which I always appreciated. The opening helicopter sequence in For Your Eyes Only has always been a favourite. It’s silly and over the top, but also completely entertaining. Just like Roger Moore.

Which contemporary artist – UK or US – do you think should write and record the next official Bond song?

AC: This is always a fun game to play. I have a dear friend who is a bigger Bond fan than I am – he even designed the album art.

As I started putting this together, we talked about all the musicians we were surprised never did a Bond song. Sade seems like she was built in a lab with the express purpose of recording a James Bond theme song. Seal had to have written Kiss From A Rose with hopes that it would be in a Bond film, don’t you think? It’s all I hear when I listen to that song.

‘Does Harry Styles have the gravitas to pull off a Bond song? Doubtful’

As for contemporary musicians, I’m pretty ignorant of the most popular acts these days, but I hope they’ll stay away from guys like Ed Sheeran. Does Harry Styles have the gravitas to pull it off? Doubtful. It’s a shame we’ll never hear what Amy Winehouse might have done with a Bond song. Good or bad, it probably would have been pretty interesting.

Any plans for another project? 

AC: I’m in the very early stages of planning for the next one. It’s merely a concept at the moment. I can’t reveal it here just yet, but I will say that it won’t be nearly as many songs as my previous compilations, each of which had more than two dozen songs. A nice album of 10-12 tracks sounds like heaven right about now.

Andrew Curry will return…  

To stream, download and buy Songs, Bond Songs, please visit https://currycuts.bandcamp.com/ .

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

So did he use it on the new album?

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

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

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

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

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

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

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

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

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

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

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

What does he ultimately want to achieve with the band?

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

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

 

 

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Will you be playing any live shows this year?

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

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

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

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

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

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

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

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

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

Best albums of 2016

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Uneasy listening was the musical genre that defined 2016.

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

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

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

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

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

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

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

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

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

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

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

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The Hanging Stars

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

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

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

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

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

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/

 

 

 

 

 

 

Welcome to the jangle

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The sound of the 12-string guitar is celebrated on a great new compilation album – Twelve String High – which includes 23 jangle pop acts from all over the world, who share a love of Rickenbacker riffs and heavenly harmonies…

From The Byrds to Big Star and The Raspberries to REM, the 12-string guitar has always played an important part in rock and roll history.

The distinctive Rickenbacker jingle-jangle can be heard in folk rock, ‘60s beat, garage, power pop, the psychedelic Paisley Underground scene in ‘80s L.A and the British indie tunes of The Smiths.

There are also a huge number of current bands that owe a large debt to that classic 12-string guitar sound and the best of them are gathered together on an excellent new compilation album, Twelve String High, from Spanish label You Are The Cosmos.

Available on double vinyl, single CD and download, it rounds up 23 acts from all over the world that are known for their love of 12-string guitars and heavenly harmonies.

Things get off to a great start with the brilliant opening track by US singer-songwriter Erik Voeks – the entirely apt and wonderfully euphoric She Loved Her Jangle Pop.

And, if, like the female protagonist in Erik’s song, you love your jangle pop, then Twelve String High is an essential collection. In fact, we’d go as far to say that it’s one of the best compilation albums we’ve ever heard.

The UK is represented by Say It With Garage Flowers favourites The Dreaming Spires (If I Didn’t Know You), as well as Kontiki Suite, Dropkick, The Carousels, The Junipers, The Higher State and The Hanging Stars – whose debut album Over The Silvery Lake is one of the finest records of 2016.

Some of these bands were already on the Say It With Garage Flowers radar, but listening to Twelve String High has opened our ears to a whole lot more acts that we’d love to find out more about.

Who are US band The Parson Red Heads, whose gorgeous ballad It’s Hard For Me To Say is included on the album? And what about Australia’s Wade Jackson, who pitches in with Coming Back, Elvyn from Canada, whose Lotta Lies is one of the highlights, or Sweden’s Arvidson & Butterflies, with their marvellous, organ-heavy Tired of Running?

It’s a jangle out there…

Twelve String High is available now from You Are The Cosmos and the vinyl version can also be bought on import from Sugarbush Records.

‘I’d rather see us in the charts than Gina G’ [Richard Hawley : Oct ’96]

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Before Richard Hawley found fame as a solo singer-songwiter, he was the guitarist in Sheffield indie rockers Longpigs. Back in October 1996, I spoke to him about the Sheffield music scene, the Longpigs’ debut album, The Sun Is Often Out, and touring America…

Imagine the clumsy and naughty fumblings of a young boy…

“My father said I couldn’t touch it, but I got it out one day and he came into the front room and I was playing with it – I was only six,” says Richard Hawley of Sheffield band Longpigs.

That was the day he first played his father’s guitar.

“He said, ‘do you like it, then?’, he showed me some chords and that was it,” says Richard. “When I opened the guitar case, it looked like a spaceship. I didn’t give a shit whether it caught rhinos, or made tea for me mum – it was what I wanted to do with my life. It was a good job it was a guitar and not something that you caught rhinos with, ‘cos I’d ‘ave had a bit of a job finding rhinos round ‘ere.”

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Sheffield may not be known for its rhino population, but it has become a breeding ground for Britpop acts such as Pulp and Babybird.

“Sheffield’s never been famous for anything except steel and Joe Cocker,” says Richard. “The thing that’s beautiful about the city is that you can isolate yourself really easily – you don’t have to be part of a scene. There’s us, Pulp, Babybird, Blameless… That’s a pretty eclectic bunch, really. Just recently, Sheffield has kind of popped its head up again in popular culture. Pulp and Babybird have been knockin’ around for a long time and we’ve been going for three years. Sheffield seems to be a city that produces old men of rock.”

Longpigs have had a pretty tough few years, due to a string of unfortunate events and record company wrangles, but they now seem settled and comfortable and things are finally looking up for them.

‘There was a very dark period where we all nearly got killed in a car crash and we lost our record deal’

“We’re appallingly contented,” says Richard. “There was a very dark period in the past, where we all nearly got killed in a car crash and we lost our record deal. The company closed down in the UK after spending so much money on Police Academy 93 or whatever.

“In retrospect, all those things were quite cathartic. What was important to us was sticking together and making music. We believed that what were doing was good. I’m glad we did. I’d rather see us in the charts than Gina G.”

 

The band released their debut album, The Sun Is Often Out, earlier this year. The songs range from indie rock and pop to torch song ballads, folk and modern blues.

“Crispin [vocals/guitar and main songwriter] fancies himself as Cole Porter. He comes along with his nice songs and our job is ruin them. That’s it, really,” says Richard, who has also recently turned his hand to songwriting.

“Me and Crispin are co-writing stuff and that will probably flourish. It’s still mainly Crispin writing the songs. His twisted outlook on life is definitely something I couldn’t do.”

This December, Longpigs will be shutting themselves away to write new material for their second album.

“We’re looking forward to the next record,” enthuses Richard. “God knows what it’s going to sound like – it will just happen.”

Longpigs have recently returned from a tour of the US and also played in Canada with The Bluetones.

“We don’t hope to break America – we want to mend it,” says Richard. “The two main exports from the US are the beefburger and rock and roll. I definitely prefer rock and roll.”

 

The original version of this article first appeared in Splash! magazine in October 1996.

 

‘Britpop’s dead – it’s a rotten corpse lying on the floor’ [Sleeper: Feb ’98]

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Back in February 1998, it looked like it could all be over for Britpop band Sleeper. Their last few singles had hardly set the world on fire and some of their gigs had been cancelled, due to a lack of interest. But despite all this, when I spoke to frontwoman Louise Wener, she was adamant they weren’t splitting up… In fact, they called it a day a month after this interview…

Are Sleeper well and truly down the dumper?

Last month, rumours about the band’s demise appeared on the internet, and in the NME, a representative from their US record label hinted that there was tension between frontwoman Louise Wener and drummer Andy MacLure, who is also Louise’s boyfriend.

The rumours come as no surprise, though – Sleeper’s last two singles, She’s A Good Girl and Romeo Me, barely dented the Top 40 and two of the dates on their current tour were cancelled due to poor ticket sales.

Despite this, Louise is adamant that Sleeper aren’t about to disintegrate…

“We haven’t got any plans to split up. The press are evil little shits – that’s my response to the rumours,” she says, talking to me on the phone from London.

“We’ve got various problems with our American record company, but it’s not as bad as some people would have you believe.

“Things appear on the internet all the time. The thing about me and Andy splitting up was utterly made up by the NME. I was angry about it for half an hour, but I’ve got used to things like that.”

‘We haven’t got any plans to split up. The press are evil little shits – that’s my response to the rumours’

So, there are no plans for a Louise Wener solo album, then?

“I’ve done 10 solo albums already,” she jokes. “No. I’d have to fight it out with the other pop star called Louise. I wouldn’t know what to call myself. Send your answers on a postcard…”

So is the current mood in Sleeper a healthy one, then?

“Yeah – it is. We’re making plans for the next thing we do, which will probably be quite radically different. We’re pretty up about it – we’re still relevant.”

I ask her if she’s disappointed by the poor performances of the band’s recent singles and the lack of interest in their gigs.

“It was kind of our turn,” she says. “Every band goes through up and down phases. It’s just life and you have to get on with it. We think that we made a really great album [Pleased To Meet You]. You have to go forward with your own belief in what you do. Things just go up and down – that’s the nature of most bands’ careers.”

Ironically, Sleeper’s latest album, Pleased To Meet You,  is their best yet. Although by no means a classic – and it could hardly be described as a massive departure for the band – it’s more eclectic than their past offerings.

She’s A Good Girl touches on soul, Romeo Me is all-out, Pretenders-style guitar pop, Firecracker is Alvin Stardust-esque glam, and Breathe and Because of You are haunted by the ghost of trip-hop.

Does Louise think that Sleeper should’ve overhauled their sound more dramatically to fit into the current post-Britpop climate?

“Britpop’s dead – it’s a rotten corpse lying on the floor,” she says. “I think it’s good that it has gone and that everything’s changing. It’s really interesting to see what’s going to happen next. That’s why music’s exciting.

“Maybe we didn’t change enough to go with it. We kind of thought we’d come back and everything would be exactly the same. Maybe we lacked some foresight.”

Pleased To Meet You did see a big shift in Louise’s lyric writing. No longer was she penning observational songs about commuters and office workers – instead she addressed more personal issues.

“I couldn’t keep writing about other people, ” she says. “It [observational songwriting] was the essence of what Britpop was about, but that kind of life is alien to me now. It’s not something that belongs to me anymore.”

‘We might just get an Uzi and kill a few people’

This month, Sleeper are heading out on a national tour and, after that, there’s going to be some serious rethinking on the musical front.

“Me and Andy are planning to go and live in America for six months to write and do some other stuff,” says Louise.

“Whatever happens next, it will be quite different. It will be a good thing. We’ll be shaking ourselves up a bit.”

So what can we expect?

“We might just get an Uzi and kill a few people.”

 

The original version of this article first appeared in Splash! magazine in February 1998.

Out of Order [Monaco: June ’97]

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I revisit a 1997 encounter with pop duo Monaco, during which I upset Peter Hook by asking him if their debut long-player, Music For Pleasure, was simply the album New Order never got round to making…

There is dissension in Monaco.

The duo, who are Peter ‘Hooky’ Hook – the bassist from New Order – and guitarist David ‘Pottsy’ Potts, are in dispute over their debut album, the sublime, all-out pop record Music For Pleasure.

I am backstage with them at Portsmouth Guildhall, shortly before they are due on stage to support The Charlatans.

“I don’t think it is pop,” says Hooky. “I think to call it ‘pop’ demeans it.”

But Pottsy doesn’t agree: “I don’t think it does.”

Hooky replies: “I think of it more as AOR.”

“Is that Any Old Rubbish?” quips Pottsy.

“Any Old Iron,” says Hooky.

 

To my ears, Music For Pleasure is undoubtedly a great pop album. It veers from chart-bothering romps like the hugely infectious What Do You What From Me? and the E’d up, hands-in-the-air, cheesy, hedonistic house of Sweet Lips, to classy, heart-melting ballads like Blue and Tender, and even finds time to stop off at a rave (Junk) and take its place on a football terrace for the big Beatles/Oasis-style sing-along that is Buzz Gum.

But, despite the fact that I love the album dearly, at the back of mind there’s something that’s nagging me every time I listen to it…. Isn’t it simply the album that New Order never got round to making?

Let’s face it – sizeable chunks of Music For Pleasure do hark back to the glory days of the Manchester band. Hooky’s trademark bass sound is all over the new record and Pottsy’s vocals even recall those of New Order frontman Bernard Sumner…

“This is definitely the album that New Order never made ‘cos they weren’t fucking round when I was doing it – the lazy bastards!” booms Hooky.

He adds: “No – I think you might be looking for something a little too much. People might say that the music’s as good as New Order – and it does have slight leanings towards it – but I don’t think it’s fair to say it’s New Order again.

“A lot of the songs are nothing like bleedin’ New Order,” he says, grumpily.

“They’re good, but the only thing that makes them sound like New Order is the bass, really.”

I’m sorry I asked…

‘This is definitely the album that New Order never made ‘cos they weren’t fucking round when I was doing it – the lazy bastards!’

Monaco were formed from the ashes of Revenge – the band that Hooky started as a New Order side project. Pottsy joined Revenge to augment their live shows, but the group soon fell apart and him and Hooky were left on their own.

Says Hooky: “The two guys I was working with dropped off. Pottsy was the only one that showed any interest. We started writing together – it was quite easy for the two of us to do it.”

So, Monaco were born.

Pottsy explains: “I wasn’t playing my songs in Revenge, so I couldn’t put my heart and soul into something that wasn’t mine.”

Hooky says that with Revenge, he deliberately tried to shy away from the New Order sound and do something different.

“I made a conscious decision that I didn’t want it to sound like New Order.”

He adds that he left behind the thing he was good at in order to learn something new.

Revenge didn’t work out, though, so is that why, with Monaco, he decided to return to the thing that he does best?

“Well – yeah, with a lot of coaching from Pottsy,” he says. “He was more into it than I was. There’s always that bit of a paranoid thing that I get whenever anyone says to me, ‘as soon as you start playing, we always hear New Order’.

“Sometimes I just think ‘cheers’,” he adds, sarcastically.

‘Everybody says that Electronic sounds like New Order without the bass. I bet Bernard fucking hates that, ‘cos he hated the fucking bass playing towards the end of New Order. He was sick of me!’

But returning to what he does best has certainly been a good move for Hooky. Monaco’s debut album is a triumph and it’s a stronger record than Raise The Pressure – the difficult second album by Electronic, the duo his New Order bandmate, Bernard Sumner, formed with former Smiths guitarist, Johnny Marr.

“Bernard’s always got a little problem,” says Hooky. “Everybody says that Electronic sounds like New Order without the bass. I bet he fucking hates that, ‘cos he hated the fucking bass playing towards the end of New Order. He was just sick of me!”

Both members of Monaco seem thoroughly content at the moment and the band looks like being a long-term project.

“At the moment, it feels very natural,” says Hooky. “I’m quite happy to go out there and watch the kids have a good time. I’m just doing it for the kids, but I’m actually enjoying it myself.”

He adds: “The album simply is ‘music for pleasure’ and even though some people say it’s quite melancholic, I always find there’s a certain pleasure in being melancholy – especially as you get older.”

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The original version of this interview first appeared in Splash! magazine in June 1997.

 

Britta Pop

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Picture of Britta by Luz Gallardo

Britta Phillips, who, with her husband Dean Wareham (Luna and Galaxie 500) makes up US duo Dean & Britta, has just released her first solo album – Luck or Magic – a great collection of curious cover versions and self-penned tracks, from haunting ‘60s pop to Euro synth sounds. I talk to her about Bond songs, making the new record, playing bass in Luna and which she prefers, luck or magic?

I am sitting with Britta Phillips in the Martini Bar of London’s Barbican and, rather fittingly, we are talking about James Bond songs.

Daydream, which is the opening track on her debut solo album, Luck or Magic, is dramatic, moody and cinematic and sounds like it was inspired by ‘60s spy film soundtracks.

“I wrote that song in 2000 – after I’d joined Luna. I was really into Dusty Springfield then – Dean had given me a mixtape with Dusty on it and I wanted to write a song where I could sing it a bit like her,” she says.

“The song sat there for a while – it didn’t make it on to the first Dean & Britta album – but I really liked it, so I re-recorded it and added a Bond feel to it. It sounds a little bit like Nancy Sinatra’s You Only Live Twice.”

I suggest to Britta that her and Dean would be ideal for writing a Bond song.

“I would love to – if they ever want a Bond song, Dean and I are available,” she says.

I tell her that I could imagine a Dean & Britta Bond song that was in the same vein as those wonderful, haunting, orchestral ‘60s Nancy Sinatra and Lee Hazlewood ballads Some Velvet Morning and Summer Wine.

Britta agrees, adding: “They’re pretty, but they’re dark…”

Pretty and dark would be a good description of Britta’s Luck or Magic album – a record that is half original songs and half cover versions.

There are gorgeous, haunting renditions of pop obscurities like Evie Sands’ One Fine Summer Morning from 1969 and Dennis Wilson’s 1970 b-side Fallin’ In Love, stripped-down, electronic takes on The Cars’ Drive and Fleetwood Mac’s Landslide, as well as her own compositions, including the cold, Krautrock synth groove of Million Dollar Doll and the Velvets-like closer Ingrid Superstar, with its psychedelic guitars…

So, how does it feel to have released your first solo album?

Britta Phillips: It’s very exciting. I’m very happy with it. I knew I would do one someday, but time flies… My friend Scott Hardkiss [San Francisco DJ and producer], who I met about 10 years ago, invited me to lunch in 2012 and said, ‘you should do a solo album and I’m gonna produce it’. And I said,’oh, alright’…

Sadly, Scott died in 2013…

BP: Yes – a year after we’d started working together. We didn’t get that much done, [in that first year] because we were both so busy….

You’ve been writing solo songs throughout your whole career, haven’t you?

BP: Yes – the oldest song on the album [Daydream] was written in 2000, about six months after I’d joined Luna. One of the other songs [Million Dollar Doll] has music that was written for the Frances Ha film soundtrack.  The music for Ingrid Superstar was written for 13 Most Beautiful[Songs for Andy Warhol’s Screen Test] but I wrote the lyrics later.

You’re known for being one half of Dean & Britta and also the bassist in Luna, but what’s it like stepping out on your own and being a solo artist?

BP: It’s mostly very exciting, but I feel a bit naked…I’ve always been in bands.

Why did you decide to make an album that’s half original songs and half cover versions?

BP: Dean & Britta always did a couple of covers and so did Luna. I always knew I was going to do a couple of covers, but it didn’t know it would be half… When I started to talk to Scott about the record, he had about 10 or 15 ideas for covers, but, as it was my first solo album, I wanted it to be at least half original songs.

There were five covers that I really liked and there were some original songs that I didn’t put on it. I just picked the ones that went best together and that I liked best. I did a Dylan cover – Don’t Think Twice It’s Alright – which I love, but I felt the flavour of it didn’t sit quite as well with the rest of the record. It pulled it more into a retro, ’60s thing – there were already a couple of things like that on the album.

I love your version of the Dylan song – it has a gorgeous country feel. In the end, you put it out on a limited double A-side vinyl EP with Dean’s version of the ’60s song Hey Paula, by Paul & Paula. I managed to buy a copy, but, if you don’t mind me saying so, the cover artwork is a bit rude…

BP: Dean picked that – I had nothing to do with it. He thought it was very funny. My mum pleaded with me to take the cover art off my Pledge campaign….

Are there any other songs you covered that didn’t end up on the album?

BP: I did Bang Bang [Nancy Sinatra], Daniel Johnston’s Honey I Sure Miss You and Led Zeppelin’s Babe I’m Gonna Leave You. I’ve also got some original songs that I want to finish.

You’ve covered a ‘60s song on your album – One Fine Summer Morning by Evie Sands, which comes from her 1969 debut album. I must admit, I don’t know much about Evie Sands…

BP: Oh – She’s amazing. I believe she was Dusty Springfield’s favourite singer. She lives in LA and I met her recently.

Has she heard your version of her song?

BP: I’ve Facebooked her about it, but I haven’t heard back. I don’t know if she got my message…

I’m sure she’ll like it…

BP: She’ll be happy… Her version is a little more country sounding.

You’ve also covered an obscure Dennis Wilson song –Fallin’ In Love – which was a b-side to his first solo single in 1970…

BP: I can imagine the Evie Sands and the Dennis Wilson songs being huge hits, but they never were. They’re amazing songs.

I really like the haunting strings and the twangy guitar on Fallin’ In Love…

BP: Thanks – Dean’s on guitar and the strings are just me noodling on the MIDI [synth]. My version is like a girl group doing it – it has bigger drums.

Let’s talk about your song Million Dollar Doll. To me, it sounds like it could’ve come from the soundtrack to the film Drive. It has an ’80s electronic Europop feel…

BP: I’m so glad you think so – I love that soundtrack. When I started making my record I was really into the Drive soundtrack and Chromatics and Glass Candy – anything Johnny Jewel produced – as well as LCD Soundsystem. I was yelling the lyrics like I thought he [James Murphy] might.

I like the trance-like, nighttime groove on Million Dollar Doll…

BP: It’s motorik…

Which leads us nicely on to the track Drive. This time, you’ve chosen to cover a song by The Cars…

BP: It was a huge song and not a cover I ever would’ve picked. It was Scott’s choice. He also chose Landslide and a bunch of other big covers for me to sing – I picked the obscure ones.

You’ve stripped it right back and made it more minimalist and electronic…

BP: Yeah – it’s the robotic ARP arpeggiator [synthesizer] – that’s what made it for me. I wasn’t sure about doing a big cover, but then I loved it…

And you’ve covered Fleetwood Mac’s Landslide – a well-known song – and made it your own, with some burbling synth sounds…

BP: It came out great – we stripped it down. You’ve got to do something different, or what’s the point? I’m not going to beat Stevie Nicks’ version – no way… I love Dean’s guitar solo on it.

Why did you choose to do a version of Wrap Your Arms Around Me – a 1983 solo song by former Abba member Agnetha Fältskog?

BP: It was obscure to me. I had never heard it, but I guess it was a hit somewhere. A friend, Chris Hollow from The Sand Pebbles, who are an Australian band, suggested it to me. He sent it and said, ‘Britta should cover this’.

I’m always fascinated when people really want to hear me sing a song. If somebody takes the time to tell me I should cover something, then I’ll try it.

Wrap Your Arms Around Me is a great Europop tune – it has a killer chorus…

BP: I cut out one line. Agnetha sings, ‘make love to me now like never before.’ It makes the song a little bit too silly or kitsch… Those words would not come out of my mouth.

Is the title track of your album, Luck or Magic, an old song of yours?

BP: No – it’s a new song. I was looking through my old diaries for inspiration. Back then, I was very emotionally distraught and I think that makes for better writing material.

So, lyrically, it harks back to the time when you first met Dean?

BP: Yes – we were having this torrid romance and I was feeling very vulnerable. The lyrics are trying to be tough about it – me saying, ‘I know it’s gonna last – I don’t give a shit – let’s go!’

The song has almost a funk groove…

BP: I never played anything funky on bass before this, but I was listening to slightly funkier and dancey things.

So, are you a secret funk bass player?

BP: Yeah (she laughs). Well, I love Sly Stone and Chic/Bernard Edwards and Tina Weymouth [Talking Heads]. I’ve been dabbling – getting my toes wet.

There’s also a funky feel to your song Do It Last. It sounds a bit like Daft Punk…

BP: That was the very last song I wrote. I had a piano sketch that was bouncy and very McCartney. I went through about eight different demos of that song and I just wanted to get away from that, so I rearranged it and I changed the chords.

I was listening to the Daft Punk song Something About Us and I thought I would try something like that, with the bass and the drums… It’s weird – I was hearing some kind of solo Lennon influence, but I don’t imagine anyone else hears it. It’s sort of ‘70s – a bit Hall & Oates and a little bit funky. It’s kind of light and sexy, but there’s a dark edge to it.

The closing track on the album is Ingrid Superstar – the title sounds like the best song Lou Reed never wrote… Musically, it has a very Velvet Underground sound to it and features Luna’s Sean Eden on ‘guitar swells’.

BP: It’s mostly me playing guitar, trying to play like Dean and Sean, who’s doing some trippy backwards bits on it. It’s a kind of T Rex groove.

Let’s talk about Luna – the band is coming to the UK in October and you’ll be playing the Penthouse album in full… On your gigs in the States, you’ve been opening for Luna, too. How is it being your own support act?

BP: It’s a little bit tiring, but Luna is my backing band, too, so it’s pretty good.

We’re going to play the whole of Penthouse and then do all the other songs that people usually want to hear.

 

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Luna

Are there any plans to make a new Luna record?

BP: We’re recording covers – we’ve been in the studio with Jason Quever. He produced Dean’s last solo record. We’ve recorded six covers and we’re probably going to record six more – I don’t know about originals at this point. It’s been a good way to ease us into the studio.

How is it being in Luna for the second time around – you split up in 2005, but reformed in 2015…

BP: We’re really enjoying it – there’s no pressure. We’re not trying to be the next new thing and get on the radio and sell a shitload of records. We’re just playing because it’s a great band and it’s fun to play with Luna and reconnect with the fans – Luna fans are amazing. There are some upsides to getting older – part of that is the history with the audience and a band. Rather than a band on stage performing and showing off, it’s much more of a communal thing, which sounds very hippie…

So, what about making another Britta solo album?

BP: I would like to do another one for sure, but I don’t know when. I haven’t thought about it. I feel like it will be a lot less confusing this time. It was so shocking when Scott passed away – I was slow to want to start on the record again.

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Pic of Britta by Shelby Duncan for The Standard Hotel

 

Did you feel like you owed it to Scott to get the record out there?

BP: I definitely did, but it was hard – I didn’t know when would be the right time to start working on it again. Then I heard from Scott’s widow, who sent me a mix of one of the songs that’s not on the album, and she really wanted me to finish it, so I thought, ok – it’s not too soon…

Who would be your dream musical collaborators?

BP: Oh, boy – there are so many… There are electronic and dance people like Johnny Jewel and also indie – the guy from Tame Impala [Kevin Parker] is great and I like Cate Le Bon, but I’d be afraid to work with her. I wouldn’t be able to speak to her because I have such respect and admiration for her. She’s one of my favourites.

What other music are you currently enjoying – old and new?

BP: I like Kamasi Washington, the jazz guy who plays with Kendrick Lamar. I’m always discovering old stuff. I’m enjoying James Last! Have you ever heard of him? He does great covers.

So, finally, if you had to choose, which would it be: ‘luck’ or ‘magic’?

BP: Magic. Growing up in the ‘70s and having really kooky parents, I did believe that magic was real for quite too long a time. My parents believed in UFOs, the Loch Ness Monster, Bigfoot and ESP – all that stuff. I had very magical thinking. Even though I don’t believe in it now, there’s a part of me that emotionally believes in it. To me, science is magic – you can explain it, but it’s still pretty magical…

Britta Phillips’ Luck or Magic is out now on Double Feature Records. Luna will play the O2 Academy in London on October 7.

http://brittaphillips.com/

 

britt cover