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…
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).
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.
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.
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.
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.
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.
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.
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.
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…
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*.
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?
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.
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: 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).
My Sweet Movida, the new album from Staffordshire four-piece Alfa 9, is one of my favourite records of the year so far – I love its retro rock, cosmic-psych-country road trips, Spaghetti Western soundtracks and ’60s-inspired jangle-pop.
Produced, written and arranged by the band, it was recorded at Tremolo Studios, in Newcastle-under-Lyme, and The Room, Stoke-on-Trent. I spoke to guitarist Leon Jones to find out why it’s taken five years to come out.
While we were chatting, the subjects of love, sex, betrayal, coincidence and chance also came up in conversation, which was nice…
Q & A
Hi Leon. Alfa 9 have been on my interview hit list for a while and now we’ve finally found the time to sit down and have a chat… How do you feel about it?
Leon Jones: I feel that you’re a perceptive man, Sean, and one of more than good taste. I know you’re a Byrds, Bond and Morricone fan. Do we need to get deeper?
LJ: It’s flattering to be talked about in the same circles as those bands. It’s got to be encouraging hearing others who are aiming at something similar and making it sound relevant. It does feel like there’s a momentum building. Our album’s out, The Hanging Stars and El Goodo have new records out… I really like The Carousels as well…We’re playing with The Hanging Stars in Leicester on June 30 [at The Firebug].
Your new album, My Sweet Movida, is one of my favourite records of the year so far. How does it feel to have it out there? Are you pleased with it?
LJ: It’s been a long process to write, record and do everything to release the album, but that’s kind of how we work…we like to let songs meld and develop, so it takes time. Maybe for our next record we’ll do the whole thing in one take…
It’s your third album – the follow-up to 2013’s Gone To Ground. Why has it taken five years to come out?
LJ: We were doing a lot of gigs following the release of Gone To Ground and then there were babies and cats and stuff like that happening…We’ve got 15 songs written already for the next album, so we’re aiming to be a bit quicker next time
How did you approach this album?
LJ: Well, I think we felt really comfortable with things – we’ve found a great mix in the band and really play off each other, plus we had moved on as songwriters, so it was exciting. After we got a couple of songs going, the album started to get a character of its own. We weren’t afraid of allowing our influences to come through, but we were also confident that it still sounds like us.
‘We’ve got 15 songs written already for the next album, so we’re aiming to be a bit quicker next time’
You wrote, produced and arranged the album yourselves. How was the experience of making this record? Was it an enjoyable one?
LJ: Yes – we love being in control of the process and we’ve always had our own recording set up, starting with a four-track Portastudio. Technology gives us a lot of flexibility that 20 years years ago would not have been possible.
We’re lucky that there’s a studio about a mile from my house with a great old 16-track tape machine. We’ve recorded there on and off for years, so it’s a very comfortable environment for us. We did the basic tracks there, then recorded guitars and other stuff at our place – The Room – then went back there and did vocals.
What can you tell me about the first single, Smile Dog? It’s very psychedelic…
LJ: That was kind of the start of the new album – a jam that took on a life of its own. Those kind of songs are the purest expressions of the band – they just happen.
What influences shaped the songwriting and the sound of the new album?
LJ: It’s pretty clear who we like – The Byrds, The Beatles, Rolling Stones, Paisley Underground, Neil Young, Ennio Morricone, Nuggets, Pink Floyd, Stone Roses, Creation Records – that hasn’t really changed since we’ve been together. That stuff’s the bedrock. I think with this album, we felt confident with the songs and getting them to sound how we wanted them to.
The second single, Movida, continues Alfa 9’s penchant for Ennio Morricone-esque soundtracks, doesn’t it? It has a Spaghetti Western feel…
LJ: Yes – definitely. 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
The song Darkest Sea has a country feel. How did that track come about?
LJ: I wrote an opening theme for an imaginary western soundtrack-type thing that we wrote ages ago and then we eventually added words. We tried a few different arrangements. I think we were listening to a lot of the Handsome Family at the time we recorded it.
I love the song Different Corner – it’s gorgeous jangle-pop and very Byrdsy. What can you tell me about that song?
LJ: It’s about love, sex, betrayal, coincidence and chance…the dark end of the street.
‘I’m fascinated by the Mojave desert in California and the Joshua Tree. For someone from the Midlands, it’s a very strange environment’
Fly – the final track on the album – is an epic closer. Were you aiming for a ’70s Pink Floyd-style, psych anthem? It certainly sounds like it…
LJ: That was another song that wrote itself – we were aiming for nothing, but it just kind of appeared in the room. We’re massive Floyd fans, but I think there’s also a Crosby, Stills, Nash & Young thing happening on it as well.
You have a few gigs coming up this year. What can we expect?
LJ: It sounds like a cliché, because it is, but I think we sound better now than we ever have done. We’ve got a lot of songs worked up – we could do about four hours!
What’s on the Alfa 9 hi-fi at the moment? Any musical recommendations – new and old?
LJ: Michael Head and the Red Elastic Band, The Hanging Stars, Gene Clark, El Goodo, Cowboy, Rain Parade, The Gosdin Brothers, The Easybeats, Spindrift, New Riders of The Purple Sage…
Finally, will we have to wait another five years for your next album?
LJ: Nope – life’s starting to feel very short…
My Sweet Movida by Alpha 9 is out now on Blow Up. It’s available on heavyweight vinyl, CD and download.
The band play The Troubadour in London, 263-267 Old Brompton Road, SW5 9JA on April 7, supported by Usselman.
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.
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.
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!
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.
Some things are meant to happen. The coming together of 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’) to form UK Americana supergroup Bennett Wilson Poole is one such thing…
Fate led to a meeting of minds and musical talent – and thank God it did, as it’s resulted in a wonderful, self-titled debut album that will undoubtedly find itself high up on Say It With Garage Flowers’ favourite records of the year list come late 2018.
Produced by 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).
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.
I met up with Bennett Wilson Poole in a North London pub after their second ever gig – at Islington’s Union Chapel – to find out why this collaboration was always on the cards, how the record was made and why they love working – and playing – together…
Q & A
You’ve formed a supergroup. Are you the new Traveling Wilburys or Crosby, Stills and Nash?
Danny Wilson: Yes! The name Bennett Wilson Poole does kind of have a similar feel to Crosby, Stills & Nash. People have been mentioning the Traveling Wilburys quite a lot. The supergroup thing is mad…
Back in the ‘70s, ‘80s and even the ‘90s there was a trend for supergroups, but it seems to have died off…
Danny: Maybe we’ve brought it back. Howard [Mills – the band’s manager] said that us getting together was inevitable because of where we’re coming from – we all write the same kind of music and we’ve done stuff together before.
So how did you all meet each other?
Robin Bennett: When I had the band Goldrush, we opened for Grand Drive a couple of times and we were fans of theirs. That’s when I met Danny – I then played with Danny and the Champions of the World and on their first couple of albums.
Danny: I made a record with Tony – he produced Hearts and Arrows [by Danny and the Champions of the World].
Tony Poole: I know Danny through a guy called Peter O’Brien, who had a magazine called Omaha Rainbow and who was a fan of my band, Starry Eyed and Laughing. He was a teacher at Danny’s school. Starry Eyed and Laughing played at the school, in Wallington, but Danny probably wasn’t born then…
What year was that?
Tony: 1872! No – it was about 1974.
Danny: Rock photographer Tom Sheehan’s first ever professional photography job was taking pictures of Starry Eyed and Laughing at my school!
So, it was fate that brought you together – it was meant to be…
Tony: Yeah – it’s kind of weird. I was a fan of Danny’s and he asked me if I’d work on Hearts and Arrows. I couldn’t say no – at that point I was doing lots of stuff with bands like Steeleye Span and it was so heartless. I loved mixing music, but I hated what I was doing. We did the Hearts and Arrows album really quickly and everything came together – it was easy. I loved doing it and I loved the music. It was a rediscovery for me.
‘I was doing lots of stuff with bands like Steeleye Span and it was so heartless. I loved mixing music, but I hated what I was doing’
Robin: I was playing a Dreaming Spires gig in Woodstock, Oxfordshire, Tony was there and we got talking.
Tony: I went to their studio in Steventon to listen to some tracks and they put an electric 12-string Danelectro guitar in my hand… I ended up adding some stuff and mixing some of the tracks – it worked out really well.
So what prompted the move to form a supergroup and write and record your debut, self-titled album?
Tony: I got a call out the blue from either Robin or Danny to say they’d been writing songs together on FaceTime – that’s the modern world, isn’t it?
Danny: I go in the kitchen, drink a bottle of wine, get a guitar, FaceTime a mate who has a guitar and you have some new songs! It’s good. We’d written some songs and we both said that Tony would be perfect for them – we rang him and he was up for it.
Tony: How could I not be? Everything was so fast – they’d written most of the songs and when they came to my studio, I had some bits of songs that I’d started. All three of us finished them in the room in about 20 minutes – that had never happened to me before. It was unbelievable. We did two recording sessions and then one for overdubs – the spirit of it is the live thing that we did. It’s like Crosby, Stills & Nash – we were sitting around with three guitars and three voices and we recorded it. That’s the meat of it.
‘I go in the kitchen, drink a bottle of wine, get a guitar, FaceTime a mate who has a guitar and you have some new songs! It’s good’
The cover artwork of the album is a nod to the first record by Crosby, Stills & Nash, isn’t it? You’re all sat on a sofa, outside a saloon at Truck Festival, and, just like the Crosby, Stills & Nash cover, the names of the band members don’t match the order that you’re sat in the picture…
Tony: The Crosby, Stills & Nash photo is by Henry Diltz – the picture was taken before the band had decided on the order of the names. When they went back to reshoot the pictures, the house had been torn down.
Robin: What’s even more appropriate is that the structure in our photo also no longer exists…
Tony: The saloon at Truck has been destroyed…
There’s definitely a whole Crosby, Stills & Nash vibe to the record – in more ways than one..
Tony: We didn’t do it consciously, but it seemed natural. When we on our way to do a shoot with photographer John Morgan, we passed the saloon… He took four or five shots and that was it.
Maybe for the next album, you could recreate The Notorious Byrd Brothers cover and replace one of you with a horse?
Tony: It will be me!
Is it fun working together?
Robin: I kind of pinch myself – I just love these guys’ music.
Danny: The same here.
Tony: It’s so natural.
[To Tony]: You produced the album. How was that?
Tony: I take the Jeff Lynne role – I’m a bit of a control freak, but, luckily, everything I do, they like – mostly anyway.
Danny: We love working with Tony. Not only are we all good friends, but me and Robin are massive, massive fans of Starry Eyed and Laughing and Tony’s production is so brilliant. He kept sending us stuff when we were working on the album and asked us for comments. We said ‘it’s brilliant – we love it!’
Robin: That’s not how things usually work…
‘I take the Jeff Lynne role – I’m a bit of a control freak, but, luckily, everything I do, they like – mostly anyway’
Let’s talk about some of the songs on the album. The first single, Soon Enough, came out in early February. It’s a classic jangle-pop tune, isn’t it? It’s very Traveling Wilburys, Tom Petty and The Byrds. You filmed the video at the Didcot Railway Centre museum. How was that?
Danny: The video is a knowing nod to the Traveling Wilburys song End of the Line – we wanted it to be like that.
Robin: It’s also quite A Hard Day’s Night. Quite a lot of our songwriting reminds me of that mid-’60s thing.
The track Hide Behind A Smile is a gorgeous, soulful ballad, but, lyrically, it talks about coping with depression and anxiety…
Danny: Me and Robin wrote that song. I think everyone will understand it – it’s something we all do. We all put on a brave face to mask things – a smile is obviously a facade at times.
The song Wilson General Store, which was written by Robin, was inspired by Danny’s family history. Danny’s grandparents had a shop in Melbourne, Australia called Wilsons Emporium…
Danny: That’s where my mum and dad met.
Robin: In the middle of our writing session, I went to bed and woke up with the idea – we’d been talking about the shop. By the time we started writing again the following morning, I’d already finished the song.
Danny: My folks are huge music fans. I gave my dad a copy of the album, but I forgot to mention Wilson General Store. When he heard it, he said, ‘Is this our song?’ He loved it – it’s his favourite on the album.
You’ve filmed a promo video for your PledgeMusic campaign in which you feature in a Two Ronnies-inspired comedy skit…
Danny: With that video and the one for Soon Enough, we’re quite happy to be humorous and have a laugh. I think it takes something to be removed from your ‘day job’ project and to give you the distance, so you can show your personality – there’s no trying to be cool. It just is what it is and it frees you up – it’s been a pleasure because it’s not too important. Sometimes the precious things that you hold on too tightly to can be crushed…
Hate Won’t Win is one of the songs on the album that has a darker edge. It’s a protest song and was written in response to the murder of Labour MP Jo Cox, in 2016. Musically, it’s a nod to Ohio – Crosby, Stills, Nash and Young’s classic counterculture anthem about the Kent State University shootings in 1970, isn’t it?
Tony: Yes – when I heard the news about Jo Cox it was a Thursday [June 16, 2016]. I remember sitting in the garden with a guitar and I thought about the story behind Ohio. Neil Young had written the song, Crosby got them in the studio and the song was out a few days later.
My tune came from the same place – I wrote a verse that was kind of reportage and was quite vicious. I sent Danny and Robin a phone recording of it and when they turned up at mine on the Saturday, Robin had written another verse and we finished it off and recorded it – it was out on YouTube on the Monday [as Hate Won’t Win (Song For Jo Cox)]. It was an echo of the time of Ohio. What can you do? We can’t change the world, but we put it out there… On the album, we purposely haven’t used the subtitle (Song For Jo Cox), as it’s now universal, but it’s still a nod to her – she inspired the song.
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. But it’s not like ‘we’ve suffered for our art, now it’s your turn’ – we don’t do that.
Danny: Interestingly it’s the flip side of what I was saying about doing the videos. Working with these guys on a song like Hate Won’t Win is something that I wouldn’t approach in one of my normal projects – it gives me an extra dimension. It’s not a career move – it’s just something I really love doing. You can afford to be a bit more serious, or, like in the videos, a bit funny.
Robin: With this record we were able to do some things that we might not feel brave enough to do with our other projects.
The album closes with Lifeboat (Take A Picture of Yourself) – another song that tackles a social issue. Tony, you started writing it after seeing a photo of a refugee boat in the Mediterranean adjacent to an article on selfies…
Tony: It was so vivid – the world we’re living in and the other world. I had the idea – picture yourself in that lifeboat. You can’t explain things too much – they just come out.
It’s a great song – with the heavy electric guitar, it’s very Neil Young-sounding. The lyric even mentions the phrase ‘on the beach’, which is the title of a 1974 Neil Young album…
Tony: We were sitting in the recording studio with a pad and it took five or 10 minutes.
Robin: I couldn’t tell what Tony was singing, so I just wrote down what I heard.
Tony: I was singing phonetic stuff and he turned it into words for the chorus.
‘With this record we were able to do some things that we might not feel brave enough to do with our other projects’
You’ve played a couple of gigs as Bennett Wilson Poole – one in Oxford and one in London, at the Union Chapel. What it’s like playing the album live?
Tony: It’s taken it to a new level – as we’re playing it, we grow into the songs. As we get further along, we’ll get right under the skin of them. It was quite a fast recording process, but it’s somehow like a record that was made by somebody else. I keep listening to it… Vanity, eh?
Robin: We are slightly distanced from it – it is like hearing someone else’s album. You’re not hearing your own voice all the time.
Danny: When I do a new album with the Champs, it’s so raw to me – I hate all of my vocals and the songs! It’s so difficult to listen to it, but with this album, I listen to it everyday! I don’t know what that says about me…
That you’re in the wrong band?
Tony: 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…
[To Robin]: I’d like to ask you about the song Find Your Own Truth, which you wrote. It’s not the first time one of your songs has dealt with the subject matter of looking for the truth. I’m thinking of the title track from the Dreaming Spires album Searching For The Supertruth…
Robin: The evidence is piling up! I don’t know why… I wrote Find Your Own Truth in five minutes, which doesn’t happen very often. It’s one of my more cosmic songs. I’ve been working on a solo album – I had a list of songs and that was one of them, but it really felt like it could be a Crosby, Stills & Nash thing.
Tony: Robin sent his home demo to me and we put some harmonies and electric guitar on it. The idea was for it to be a song like Helplessly Hoping [by Crosby, Stills & Nash] – that was my vision for it.
You’re launching the album with three gigs at the Betsey Trotwood in London – March 21-23. That’s a London residency…
Robin: When Danny suggested three nights at the Betsey, I thought he was insane, but they’re all sold out.
Can we expect a triple live album?
Danny: Good idea.
Robin: We are recording the shows – the Betsey is our spiritual home. We’ve all played there.
Tony: The lovely thing about doing three nights there is that even though we’re only playing to 30-40 people each night, it’s got the feeling of three nights at Wembley. Some people have bought tickets for every night, so we’re going to mix it up.
When you’re watching us, you can relax because we’re pals and you can see we’re all getting on. There are three times in my life I’ve had that happen – my band, Starry Eyed and Laughing; when I produced The Men They Couldn’t Hang in the ’80s; and with this band. Sometimes when you watch a band, you can see that they’re not getting on and it makes you feel bad…
So, can we expect a second album from Bennett Wilson Poole?
Robin: I think we could do it.
Tony: Absolutely. We’ve got an extra track that’s not on the album – it’s really good. It’s like a rare Beatles track.
•Bennett Wilson Poole release their self-titled debut album on April 6 (Aurora Records).
For information on their PledgeMusic campaign, please click here.
They will play three album launch shows at The Betsey Trotwood, in Clerkenwell, London – March 21-23. All three shows are sold out.
Bennett Wilson Poole will also appear at The Ramblin’ Roots Revue, Bucks Student Union, High Wycombe: April 6-8.
Songs For Somewhere Else, the new album by London cosmic-country-psych-folk five piece The Hanging Stars, is the follow-up to their brilliant 2016 debut, Over The Silvery Lake, which was Say It With Garage Flowers’ favourite record of that year.
The band’s latest release is even better than its predecessor and is a much more varied and adventurous collection of songs – there’s 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.
I met singer-songwriter/ guitarist Richard Olson and bassist Sam Ferman in a basement bar in Soho to find out the stories behind these Songs ForSomewhere Else. Topics for discussion included the joy of listening to The Byrds, importing Ennio Morricone-style whistling from Portland, Oregon and funereal horns from Majorca, and why the flute is nothing to be scared of…
Q & A
How does it feel to have the new record done and dusted and out there?
Sam Ferman: It’s great – it’s funny, really because people who hear it will think that there’s been a two-year gap, but we started recording it before Over The Silvery Lake came out. It’s had a long gestation, but it’s the first one we’ve done with both Patrick [Ralla – guitar, keys and vocals] and Joe [Harvey-Whyte – pedal steel, dobro], who are now full-time members of the band. It’s a reflection of that set-up, whereas with the first one, there was a lot more toing and froing with members.
Richard Olson: Those days of saying ‘we’re going to make a record, write some songs over six months and record them in two weeks’ just don’t happen anymore. In some ways, maybe that would be nice, but it’s an ongoing, growing thing – it’s painstaking. Trying to get five people to do the same thing at the same time is hard enough – Sam and me have got bloody heads from banging them against the wall and trying to get things going and sew up this tapestry that we try and do. There are so many threads that need to be right. It’s almost surreal when you know the record is going to come out – sometimes you think that we’re going to make such fools of ourselves.
Why do you say that?
Sam: It’s self-doubt.
Richard: That’s the whole process – it’s painful as hell, but then a week later you think, ‘fucking hell – we’re very talented people!’
You are… and you’re very prolific…
Richard: We’re already halfway through the third record!
Sam: When Rich and me came to sequencing this album – which songs would go on it and in which order – that really put into perspective the arc of history over that two-year period. We listened back to stuff and realised how we’d changed in that time. It’s interesting how certain songs were recorded in a certain style.
For example, Pick Up The Pieces, which is on the album, was a song that we recorded for the first album, but, for a number of reasons, we felt that it didn’t work on that record.
Richard: It didn’t fit.
Sam: There was something missing at a certain point on the new album – it needed some energy – and putting Pick Up The Pieces on it gave it some more life.
This album was all recorded in Bark Studio, in Walthamstow, wasn’t it?
Sam: Apart from Pick Up The Pieces, which was done in L.A.
Richard: It feels like we’re getting a really nice reception for this album, which is amazing.
The new album is richer and more eclectic than the first one. Was it a conscious decision to include a variety of musical styles this time around?
Richard: I tell you what was a conscious decision – we really wanted more of a collaborative effort and that’s one of the reasons… On A Sweet Summer’s Day – which is the first song on the record – is, musically, all Sam, but I put lyrics to it. I was like, ‘this is stunning – let me have a go at it.’ We’d never really worked like that before. I was really pleased with it. I was like, ‘that worked’.
‘It feels like we’re getting a really nice reception for this album, which is amazing’
I have shedloads of songs lying around – playing with Joe and Patrick, who are both younger guys than me, has opened things up – it’s so much fun playing with those dudes and we all felt that we wanted to step up. They’ve made us up our game. For You (My Blue Eyed Son) is an old song of Patrick’s from a band he was in called the New County Flyers, and Honeywater was a collaboration between Patrick and me.
Sam: Doing the recording session for Honeywater really sticks out for me – we did everything in a day and then we mixed it a week later. It was really satisfying – we’d all been in the zone and put something down and there’s nothing I’d change about that song.
Sam: Thank you.
Richard: The gods were with us in the studio that day.
Sam: It was a ‘hairs standing up on the back of your neck’ moment. We thought, ‘this one’s a real goer’.
Richard: It’s a cliché, but I felt like we’d won the Lottery, but trust me, we didn’t… It was like we’d been given a present – it was amazing.
Sam: One of the great things about this album is that you hear Patrick and Joe’s influence.
And it’s more of a representation of what you sound like live…
Sam: Exactly. They’re brilliant musicians and they’ve been involved in the writing process.
There are several other collaborations on the album – you’ve worked with guest musicians, including your US friends Collin Hegna (Federale, Brian Jonestown Massacre), Miranda Lee Richards – on the duet How I Got This Way – and Christof Certik (Brian Jonestown Massacre, Winter Flowers), as well as Alison Cotton on viola (Left Outsides, Eighteenth Day Of May), Luke Barlow (Nought) on flute and Thomas Wake on clarinet…
Richard: It’s so much fun – it’s lovely to play in a group and to play on bills with different people. One day, the Brian Jonestown dudes are in town and they’re staying at my house, or Miranda’s in town…. The fact that we can do that makes it great – it’s the sum of all the parts.
‘I love celebrating our own little scene. That’s what it’s all about. We embrace it’
You have the nucleus of the band, but it’s like an extended family – a collective…
Richard: Exactly – I love the idea of that and I’m proud of those people. I’ve known a lot of them for a long time. I love celebrating our own little scene. That’s what it’s all about. We embrace it.
Let’s talk about some of the songs. On A Sweet Summer’s Day has a hypnotic feel – it’s like early Spiritualized meets The Notorious Byrd Brothers…
Richard: Lazer Guided Melodies is one of my favourite records and there’s very much a Byrds thing going on, too.
Sam: When I first started playing with Rich, I was 24 – I’m 30 now – he said to me, ‘have you listened to The Notorious Byrd Brothers?’ I hadn’t – there were no famous hits on that record. I remember going out the next day and getting it on CD. It really made me think about how a lot of the music that I thought was quite left field was actually really middle of the road. It’s a really far-out record.
Richard: But it’s still so gentle on the ear – sonically and songwriting-wise, it’s so pleasing, When you discover it, it feels like one of those records that, wherever you are, whatever age you might be, it will make a mark on you – it’s like Love’s Forever Changes.
Moving on from The Byrds, what can you tell me about Mean Old Man, which is one of my favourite songs on the new album? It sounds like an Ennio Morricone Spaghetti Western soundtrack – it has cool whistling on it…
Richard: Collin, who plays bass in the Brian Jonestown Massacre, has his own band called Federale – they’re pure Spaghetti Western – and he’s a proper, shit-hot whistler. He’s on that track – he sent us his whistling from Portland.
The Good, the Bad and the Oregon?
Richard: Oh my lord – I can tell you’re a journalist…
Sam: It also has some Soviet rock oohs and aahs in the middle eight.
Too Many Wired Hours – the second track on the album – is a 1920s, jazzy, bluesy stomp. It has a clarinet on it and it reminds me of The Kinks and The Coral.
Richard: Yeah – I don’t mind that. The clarinet was Sam’s idea. In my mind, it sounds like David Lindley’s Kaleidoscope.
Sam: It totally does, but that’s a pretty niche reference.
Richard: I’m a big fan of Kaleidoscope.
The most country-sounding song on the album – and another of my favourites – is For You (My Blue Eyed Son). It’s like The Byrds, circa Sweetheart of the Rodeo, or The Flying Burrito Brothers…
Richard: It’s Patrick’s song, but I wrote quite a lot of the lyrics for it. It sits so comfortably on the album and with who we are – and it’s shitloads of fun to play!
Sam: It feels magical when we do it live.
Dig A Hole has a colliery brass band arrangement on it…
Richard: That was one of the songs that we worked the hardest on. It’s a story song… The brass was done by a friend of ours called Leon Beckenham, who was in the band Fanfarlo. He’s a fantastic horn player and he lives in Majorca – he did a great job.
So this album has whistling imported from Portland and horns from Majorca on it…
Sam: I can remember Rich playing the song to me on acoustic guitar in the backroom of his old house in Tower Hamlets Road about three years ago. I thought it had such a beautiful transition from a very melancholic, plaintive, beautiful verse to a countrified chorus.
Richard: We call it shoegaze-country.
Sam: With the horns, it sounds like a cross between a Northern English brass band and a New Orleans funeral march. It’s one of my favourite songs on the album – I think it’s absolutely beautiful.
Richard: It’s a story about a failed relationship and trying to escape from it…
‘It sounds like a cross between a Northern English brass band and a New Orleans funeral march. It’s one of my favourite songs on the album’
A lot of the songs on the album have references to drinking in them…
Richard: There’s a lot of regret and excess on this record – and the day after the excess… I write most of the lyrics. I worked really hard at it and I’m pleased with a lot of them.
The final track on the album, Water Song, has a flute on it. It’s not the first time a flute has been heard on a Hanging Stars album, is it? You’re not afraid to use a flute, are you?
Richard: There’s no reason to be afraid of a flute.
Don’t fear the flute!
Sam: I get Love, or Nick Drake’s Bryter Layter vibes on that track.
Richard: I would say Genesis – Selling England by the Pound. I’m not afraid to say that. Water Song is a lullaby.
Was the flute played in Walthamstow?
Sam: It was.
So, there’s whistling from Portland, horns from Majorca and flute from Walthamstow…
Sam: This album was nearly half flute-based! There are five songs that didn’t make the record and they were all flute-based.
You could release a mini-album of flute songs…
Sam: The idea has been floated.
Or should that be fluted?
Richard: [laughs] Jesus Christ!
‘There’s no reason to be afraid of a flute’
Sam: In sequencing the album, we had 16 or 17 songs… some of which might make the next record. We can’t be sure at the moment. The great thing about being in this band is because we’re constantly working and recording, every time it comes round to doing an album, there are songs that didn’t make the previous one and there are songs on the next one that might not make it. We are building a body of work. It’s about having the albums speak to us rather than having to cram stuff in.
Richard: I like that! Let the album speak to you.
The album title, Songs For Somewhere Else, sounds like you’re saying that this record is a means to escape from the troubled world we’re living in…
Sam: That makes sense – it is about escaping. The world is horrible and it always has been. Why do humans engage with music, art and literature? To rationalise the horror, or to escape it entirely. This record treads a line between coping and escaping. All the music that I really love is sadness viewed through a prism of beauty. Some people will say it’s a coping mechanism to deal with the horrors of life, but I think it’s a way of seeing stuff that’s happened to you – or that you think about – in a new way.
‘This record treads a line between coping and escaping. All the music that I really love is sadness viewed through a prism of beauty’
Where would you suggest that this album is best listened to?
Richard: On headphones, in the comfort of your own home. With any album that I’m involved in, all I want is for it to take you somewhere. I discover music all the time – it’s all about goosebumps and getting a present that you want to go back to. You just want to listen to it again – whether you’re at work, or at home, or wherever you are. That’s the stunning beauty of music – it’s magical.
You’ve achieved that with this record.
Richard: Thank you so much.
After the interview, Richard pulls out his phone and a pair of headphones and lets me listen to a rough demo of a new track that could be destined for the third Hanging Stars album. It’s another gorgeous, country-tinged gem, but it’s not for now – it’s a song for somewhere else…
• Songs For Somewhere Elseby The Hanging Stars is released on February 16 on Crimson Crow.
The band play an album launch party in London, at The Victoria, Dalston, on February 22.