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

Robin Bennett

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

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

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

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

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

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

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

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

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

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

Q&A

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

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

What’s been your lockdown soundtrack?

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

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

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

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

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

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

Have you written any new songs during lockdown?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Jason Anchondo, Danny Power and friends at a party

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

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

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

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

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

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

Robin at the piano, recording the album

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

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

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

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

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

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

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

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

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

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

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

There are quite a few guests on the album…

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

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

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

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

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

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

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

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

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

Bennett Wilson Poole – photo by John Morgan

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

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

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

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

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

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

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

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

The Dreaming Spires: Robin and Joe Bennett

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

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

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

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

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

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

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

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

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

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

Sounds of the New West

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

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

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

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

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

Best Albums of 2018

 

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

Bennett Wilson Poole have had a great year.

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

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

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

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

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

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Bennett Wilson Poole – photo by John Morgan

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

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

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

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

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

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

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

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

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

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

Pieces, Luke’s third solo album, is his best yet. An angry, heavy, often political album, it rocks like Neil Young and Crazy Horse. Batten down the hatches, it’s like a hurricane out there… There’s even a nine-minute, epic rallying call (Requiem), which attacks social injustice in the UK and comes across like Luke’s very own Rockin’ In The Free World…

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

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Ian Webber

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

ALBUM COVER

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

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

See you on the other side…

Say It With Garage Flowers: Best Albums of 2018

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

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

 

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

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Bennett Wilson Poole – photo by John Morgan

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

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

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

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Q & A

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

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

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

DW: You certainly were…

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What are your favourite albums of the year?

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

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

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

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

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

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

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

 

‘We love Morricone and melancholy’

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

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Alfa 9

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?

Ha! Let’s see how things go… Do you feel that Alfa 9 are part of a UK scene? There are quite a few current bands doing the rounds whose influences include The Beatles, The Byrds, Big Star, ’60s psych and soundtracks, aren’t there? I’m thinking of  The Hanging Stars, Dreaming Spires, El Goodo, The Raving Beauties, Kontiki Suite, The Carousels... to name but a few.

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].

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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.

 

 

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

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The Raving Beauties – photograph by John Morgan

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

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

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

Q & A

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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The Raving Beauties – photograph by John Morgan

Any plans to hold a tribute gig for Bap?

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

 

 

‘Our tunes are quite jangly, but if you dig a little deeper, there’s more under the surface…’

 

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Bennett Wilson Poole

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… 

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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?

[Everyone laughs]

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.

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Bennett Wilson Poole at the Union Chapel – their second ever gig

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.

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

 

‘This album was nearly half flute-based!’

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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 For Somewhere 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.

It’s beautiful.

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.

HSTARS-PURPLE-19The 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…

Richard: Yes!

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.

HSTARS-PURPLE-24

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.

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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 Else by 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.

They will also appear at The Ramblin’ Roots Revue, Bucks Student Union, High Wycombe: April 6-8. More information here:  https://www.bucksstudentsunion.org/ramblinrootsrevue/ 

http://thehangingstars.com/

 

It’s a jangle out there…

The Hanging Stars
The Hanging Stars

What better way to banish the post-Christmas winter blues than by blasting out some sublime jangle-pop… and there’s plenty of it about.

Three of my favourite new albums of 2018 so far ring like the Bells of Rhymney and owe a large debt to the chiming, 12-string Rickenbacker sound of The Byrds.

Coincidentally, as I’m sitting down to write this article, it happens to be ‘Blue Monday’ – (January 15), supposedly the most depressing day of the year, so it’s a perfect time to lose myself in some gorgeous, shimmering sounds.

Songs For Somewhere Else, the brilliant second album by London psych-folk-country band – and Say It With Garage Flowers favourites –  The Hanging Stars – opens with the beautiful On A Sweet Summer’s Day, which creeps up on you like the first rays of the morning sun – a hazy, lazy ballad with pedal steel guitar and a hypnotic, Spiritualized-like groove.

The album’s first single, Honeywater, has a Big Star feel, the galloping Gram Parsons country-rock of For You (My Blue Eyed Son) could easily sit on The Byrds’ cult classic Sweetheart of the Rodeo, while Mean Old Man doffs its cowboy hat to Ennio Morricone’s Spaghetti Western soundtracks.

Look out for an interview with The Hanging Stars – and a more in-depth piece about the album – on Say It With Garage Flowers soon.

Staffordshire four-piece Alfa 9 could be cosmic cousins of The Hanging Stars – they both share a love of psychedelic sounds and if you compared their record collections, I’m sure you’d find they both own plenty of albums by The Byrds and The Beatles, as well as cool, cult ‘60s film scores.

My Sweet Movida, the third album by Alfa 9, immediately takes the listener on a trip back to 1966 with the first song Smile Dog – think Revolver-era Fab Four, but with a harder, rockier edge.

Different Corner is a killer jangle-pop song and the moody Movida is The Byrds doing a Spaghetti Western theme – McGuinn meets Morricone. You certainly get your fistful of dollars’ worth with this album – there are yet more cinematic cowboy sounds on Darkest Sea, which is haunting gothic country.

The Byrds are also circling over the superb self-titled debut record by Bennett Wilson Poole – a supergroup formed by Robin Bennett (The Dreaming Spires), Danny Wilson (Grand Drive, Danny and The Champions of the World) and Tony Poole (Starry Eyed and Laughing, who have been called ‘the English Byrds’).

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Bennett Wilson Poole

Created in rural Oxfordshire, it was produced by 12-string Rickenbacker maestro Poole. High on harmonies and brimming with backwards guitar effects and soulful songs, it’s a shining light in these dark times that we’re living in, but it doesn’t shy away from tackling social issues – the blistering, anthemic protest rock of Hate Won’t Win addresses the murder of politician Jo Cox and brings to mind Crosby, Stills, Nash and Young’s Ohio, while the beautiful, sensitive, stripped-down ballad Hide Behind A Smile deals with depression.

High on harmonies and brimming with backwards guitar effects and soulful songs, it’s a shining light in these dark times, but it doesn’t shy away from tackling social issues – the blistering, anthemic protest rock of Hate Won’t Win addresses the murder of politician Jo Cox’

Things lighten up with the irresistible, bouncy sunshine pop of Wilson General Store, but the record ends with a brooding, dark and stormy, ragged Neil Young-style epic guitar workout called Lifeboat (Take A Picture of Yourself) – its lyric even name-checks Young’s 1974 album On The Beach.

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It would be wrong to write an article on jangle-pop without mentioning UK label Sugarbush Records, which continues to put out great, vinyl-only releases by bands whose ‘60s and ‘70s musical influences tend to be found in the ‘B’ section of a record shop – namely The Byrds, Big Star, The Beatles and The Beachboys.

Carlisle group Kontiki Suite fall firmly into that category – their 2015 album, The Greatest Show On Earth, which is the follow-up to their 2013 debut, On Sunset Lake, has been re-released on limited edition vinyl by Sugarbush, and is an essential listen if you dig psychedelic jangle-pop.

Harking back to the 1968 masterpiece The Notorious Byrd Brothers, there are gleaming guitar lines (Bring Our Empire Down), cool, country-rock cuts (the harmonica and pedal steel-flavoured My Own Little World and Pages of My Mind) and cosmic voyages (Burned), but also a hint of late ‘80s indie with the sweet, blissed-out Here For You Now, which sounds like it’s been hanging out in The Stone Roses’ Mersey Paradise.

Set the Rickenbackers for the heart of the sun and welcome to the jangle…

Songs For Somewhere Else by The Hanging Stars is out on February 16, on Crimson Crow: http://thehangingstars.com/

My Sweet Movida by Alfa 9 will be available from March 9. It’s on Blow Up Records: http://www.blowup.co.uk/records

Bennett Wilson Poole is released on April 6 on Aurora Records: More info at https://www.pledgemusic.com/projects/bennett-wilson-poole

The Greatest Show On Earth by Kontiki Suite is available now on limited edition vinyl [only 300 copies]: Sugarbush Records: http://www.sugarbushrecords.com/2017/06/kontiki-suite-greatest-show-on-earth.html

https://kontikisuite.bandcamp.com/

 

‘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.