‘Strangeways… seems to be everybody in the band’s favourite album – it’s one of the very few things we all agree on nowadays’

Mike Joyce – picture by Paul Husband.

This week, Strangeways, Here We Come, the fourth and final studio album by influential ‘80s Manchester indie-rock band The Smiths – Say It With Garage Flowers’ favourite group of all time – celebrates its 35th birthday.

By the time the record was released, on September 28, 1987, the band had split up, following the departure of guitarist, Johnny Marr.

Many people – the group included – view Strangeways, Here We Come as the band’s masterpiece, although, here at Say It With Garage Flowers, (whisper it) we think The Queen Is Dead, which was released the year before, deserves that accolade. But that’s for another time and place…

There’s no doubt about it, though – Strangeways, Here We Come is one of the greatest rock records of all time. The Smiths’ most ambitious and experimental album, it takes in ghostly piano-led pop (A Rush and a Push and the Land Is Ours), synth brass-assisted glam (I Started Something I Couldn’t Finish), eerie psychedelic atmospherics (Death of a Disco Dancer), witty black comedy set to a lilting acoustic guitar line (Girlfriend In A Coma), epic, orchestral melodrama (Last Night I Dreamt That Somebody Loved Me) and macabre rockabilly (Death At One’s Elbow).

To coincide with Strangeways, Here We Come’s (unhappy) birthday, Smiths drummer, Mike Joyce, generously agreed to raffle off his silver disc of the album to raise money for Back on Track, a Manchester charity that he is a patron of.

Back on Track works with adults to help manage problematic drug/alcohol use, enable a crime-free life, improve mental health and wellbeing, or find a stable home.

To be in with a chance of winning Mike’s special copy of the classic album, enter the raffle here and make a donation.

In another kind gesture, Mike agreed to give Say It With Garage Flowers an interview, in which he shares his memories of recording Strangeways, Here We Come, talks about the brilliance of The Smiths, recalls some of his collaborations after the breakup of the band, and fills us in on his latest musical project, Love Tempo.

“Strangeways… is a great-sounding album – it’s very different from anything we had heard before, but then again I could say that about just about every Smiths album or track,” he tells us. We completely agree with him.


So, let’s talk about Strangeways, Here We Come, which is celebrating its 35th birthday this month. It’s one of the greatest albums ever made…

Mike Joyce: Thank you.

You’re of the opinion it’s the best album The Smiths recorded – and you’re not the only member of the band to think that…

MJ: Collectively, it’s one of the very few things we all agree on nowadays [laughs]. From what I’ve heard, it seems to be everybody’s favourite. I can see why.

Why do you say that?

MJ: From a musician’s point of view and also what we’d experienced as a band prior to Strangeways…  The first album came out, expectations were high, then there was a difficult second album, and a third album where we were retaining the same threads, so we didn’t alienate all the fans we had. We had some very successful albums for a genuinely independent band and we didn’t know Strangeways… was going to be our last album. Well, I didn’t!

I think Johnny might’ve had an idea…

MJ: I don’t know – he certainly didn’t let on if that was the case.

It’s subjective – you speak to some people and they say the first album blows everything out of the water and that it’s miles better than Strangeways…but it’s like ‘what’s your favourite colour?’ ‘Orange is great, but what about blue, or purple? ‘Purple is superb – I’d forgotten about that one…’ It’s just whatever tickles your fancy.

Strangeways… is a great-sounding album – it’s very different from anything we had heard before, but then again I could say that about just about every Smiths album or track.

‘We had some very successful albums for a genuinely independent band and we didn’t know Strangeways… was going to be our last album. Well, I didn’t!’

Have you listened to Strangeways... recently?

MJ: I did listen to it not long ago, because Tim Burgess did a listening party for it. But I hadn’t listened to it in its entirety probably since the day it came out.

When I mentioned that during the listening party, people were very shocked. Do authors sit down and read their books? I don’t know…

I had a CD jukebox that held 200-300 CDs – when I was filling it up, I said to Tina [Christina – wife]: ‘Shall I put a Smiths album in it, or is that a bit tight?’ She said: ‘No – put one in.’ So, I said: ‘Which one?’ And she said, ‘Your favourite.’ So, I did. When we were playing it, Last Night I Dreamt… came on – of course it would, out of the thousands of tracks that are on there – and someone heard it.

They found it so moving that I think they were quite shocked – they didn’t really know that much about The Smiths, apart from Heaven Knows I’m Miserable Now, This Charming Man and How Soon Is Now? When they heard Last Night I Dreamt… they said: ‘Wow – is that you?’ I said: ‘Yes – it’s little ole me…’  It’s a big departure from anything…

I think if you listen to The Queen Is Dead, you can hear the direction The Smiths where heading in, which would eventually lead to Strangeways, like using the Emulator synth strings on the arrangement for There Is A Light…

MJ: Yeah, yeah – and on I Know It’s Over. 

But also on Strangeways… there’s rockabilly – Death At One’s Elbow – which is going back to some of The Smiths’ earlier stuff. And then there’s I Won’t Share You, which has a similar feel to Please, Please, Please, Let Me Get What I Want.

Last Night I Dreamt… is my favourite song on Strangeways… and it’s one of my favourite Smiths songs. 

MJ: It’s one of mine, too.

I love the arrangement  – it’s like a pocket symphony. It reminds me of the Walker Brothers or a big ’50s orchestral ballad… 

MJ: It’s not the kind of tune you jam out –  it’s not just going with a riff and seeing what comes out of it, although we did do a bit of that. A lot of the time we ran through a lot in sound checks – we never sat down and said, ‘Right – let’s block book a rehearsal room or studio’. We just kind of jammed and blasted it out.

We had a great working relationship –  we could empathise with whatever the other guy was playing.

‘During Strangeways, Johnny was set up in the control room with an Emulator and he just started playing these incredible string and piano parts. I was taken aback –  I thought, ‘Hold on a minute –  where did he learn to do that?’

We never felt like we were struggling to get things done, further things or finish things when Johnny had come up with a riff. Sometimes, Johnny would come in the room and start playing and me and Andy [Rourke – bassist] would just start playing the drums and bass for it – that’s just what it was like. We knew what we thought was right for it, and, invariably, it was. I suppose it doesn’t happen that often for bands and songs because you’re working on a lot.

The Smiths (Left to right: Andy Rourke, Morrissey, Mike Joyce and Johnny Marr)

In terms of the Emulator, and the way that Johnny was writing at the time, I can remember during Strangeways... [in the Wool Hall studio, near Bath, Somerset ], he was set up in the control room rather than the live room and he just started playing these incredible string and piano parts. I know he’d played those on tracks before, but I was taken aback – I thought, ‘Hold on a minute – where did he learn to do that?’

Watching Johnny writing those parts and working out where they would fit… People throw around the word ‘genius’… but he did that without sitting down or rehearsing with a string section. He’d never been classically trained.

He’s also a better piano player than Morrissey is on Death of a Disco Dancer…

MJ: Well, actually I really like that piano part…

It’s atonal and it suits the song…

MJ: It’s just odd, which kind of goes with the man.

When Strangeways… was released, The Smiths had disbanded, after Johnny left the group. Were you sad that you never got the chance to promote the album or play any songs from it live?

MJ: No – I pulled my sadness back a few notches. I was slightly miffed – the finished article sounded so great – but I was more shocked about the split than not being able to play the songs live. That usurped it. I don’t think we would’ve done a Strangeways… tour – we might’ve played a couple from it.

‘I really like Morrissey’s piano part on Death of a Disco Dancer. It’s just odd, which kind of goes with the man’

Last Night I Dreamt… would’ve been tricky to play live at the time, wouldn’t it? Although Johnny has played it at some of his solo gigs in the past few years…

MJ: Oh, has he? The vocals, the bass and the drums are pretty bog standard – well, not bog standard, I’m sure Morrissey would be delighted to hear me say that – but with the string parts, it would’ve been tough, and there’s some percussion on there. I wouldn’t have thought it would’ve been that difficult to emulate.

We never rehearsed those songs [from Strangeways…]. Death of a Disco Dancer was just a take that we thought sounded great – we were just jamming with a rough framework to work from. The only time when we had an issue technically [live] was with How Soon Is Now? and that was with this bit [he sings the slide guitar part]. We tried it with a trigger, but it didn’t work – sometimes it was not sensitive enough, or it was too sensitive…

Picture by Paul Husband

So, with Strangeways.… turning 35, you’ve generously decided to raffle off your silver disc of the album to raise money for Manchester’s Back on Track charity, which you’re a patron of. How did you get involved with the organisation?

MJ: They asked me to be a patron – I had absolutely no idea what it entailed or about Back on Track, so I went to one of their open days, had a look round and listened to some of the testimonies of the people the charity had helped. It just seemed like such a wonderful place – helping people with rehabilitation from alcohol or drugs or anything that is stopping them being a part of society. It’s quite difficult for some people to come back into society, because all they’ve known are some frighteningly bad environments and they need to keep away from them.

‘The silver disc of Strangeways, Here We Come is precious to me, but I’ve got the memories of playing on the album and that’s more precious than anything’

Back on Track is a start for them and, apart from the obvious psychological and emotional battles, some of these people don’t have any qualifications – Back on Track can help with that and organise interviews for jobs that are available. To actually see and hear someone’s story when you’re sat face-to-face with them, and it sounded like it was all over for them, but, because of Back on Track it wasn’t… it was a no-brainer.

I thought that maybe I could organise some finances for Back on Track by raffling a disc. Everybody’s struggling at the moment and charities are no exception, especially post-Covid.

The [silver] disc of Strangeways… is precious to me, but I’ve got the memories of playing on the album and that’s more precious  than anything. Getting the accolade and receiving something made of glass, metal and plastic is wonderful, but I still received it – even when it’s gone and it’s raised money for the charity –  so I thought, ‘Let’s do it.’

I’m sure you’ve got a few other discs at home…

MJ: Yes, I have…

Thank God you didn’t choose to raffle off The Queen Is Dead. Timing is everything, isn’t it?

MJ: I don’t know if that would’ve been the best or the worst thing…

‘When I play with any artist, I really do have to find out about them – that’s why I’ve never done any session work. I want to know what their dreams and aspirations are, and what they hate and love’

You’d certainly have got some PR coverage out of it… Let’s talk about some of the other music you’ve been involved with after The Smiths. After they disbanded, you and Andy Rourke played with Sinead O’Connor. You’ve played with quite a few controversial singers, including John Lydon, in PIL, haven’t you?

MJ: I love it! When I play with any artist, I really do have to find out about them – that’s why I’ve never done any session work. I can’t go into an environment where it’s like, ‘Hi – this is Tony, this is Dave, this is Emma – off you go’. I don’t want to do that and I never will.

I have to understand a bit about these people – know them and feel them. I want to know what their dreams and aspirations are, and what they hate and love. I what to know everything about them because when I’m playing drums with these people, we’re having a conversation musically. I want to be able to give them what they want. We play a little bit – I know where their head’s at and what they want. By going and having a few beers with somebody, you can find out a lot about them, without asking them questions directly.

All the people that I’ve worked with are very interesting, intense and different. They’re very driven and some of them are very fragile – strong but not. They’re interesting characters and it’s fascinating, because I get to see everything – the audience, the singer, the band… I’m in a really privileged position, literally.

You played with P.P. Arnold, didn’t you?

MJ: Yeah – it was just a small kind of thing. I was working with a guy called Grant Ainsworth, who’s a fantastic keyboard player and a good mate of mine. We got in touch with her through our management at the time, but we didn’t really have the songs for her level of expertise. We did a couple of things – they were alright, they weren’t ‘chuck it in the bin’, but with her legacy, I felt someone like Mark Ronson should’ve stepped in there and done something superb with a full-on band. She was one of the Ikettes and she toured with The Rolling Stones – the stories that she had…

Have you read her book, Soul Survivor, which came out this year?

MJ: No – I didn’t even know she had one out. I’ll get hold of that. She used to talk to me about her and Jimi, who had a thing. I was like Jimi who? And she’d say, ‘Hendrix’….  and I’d say ‘Oh!’ And she’d talk about Brian being upset. And I’m like, ‘Brian? Brian Moore?’ And she’d say, ‘Brian Jones.’ It was unbelievable. She’s one of the loveliest people – inside and outside of music. That was a lovely little period of my life. We tried but we didn’t succeed, but I didn’t mind that – we didn’t have the right armoury for her, or to bring out the best in her. It was a great experience because she was such a sweetheart.

You and I have a mutual friend, singer-songwriter, Vinny Peculiar. You and Andy – and Craig Gannon, who was also in The Smiths – played with him, didn’t you? He’s such a great artist – his lyrics are wonderful.

MJ: Aren’t they just? That’s why I wanted to play with him. I heard his music and I thought ‘This is great’. I said to Andy, ‘Have a listen to this – these are good songs’. And they were – and they are. We had a good time playing with him for a few years, but I felt my time working with Vinny had come to an end – it had reached fruition. He’s a good friend – we went for a curry about a month ago. He’s a lovely guy.

The Smiths – Photo by Pete Cronin/Redferns

Why did you and Andy work so well together as a rhythm section? What was the chemistry? Didn’t Morrissey, or was it Johnny, once say you could’ve played with Elvis you were that good?

MJ: I remember that quote. I’ve not revisited it since you’ve mentioned it – it was 25 years ago and it was Johnny. He said, ‘If Elvis had had me and Andy as a rhythm section, he would’ve been a bigger star’. It was tongue-in-cheek, obviously. I love Andy – we got very tight on tour and we were rooming together. The way that I played and the way that he played worked together and so did the parts we wrote.

Andy’s quite a busy bassist –  he’s not a pedaller, he’s on the note. You can take his bassline away and it’s a song in itself. If I was a busy drummer, it would sound shit – there would be too much going on. I think that helped in the way that we played together – when I heard him playing those really busy basslines for the first time, I’d go very simple, which is what I do anyway. I like to play a rhythm rather than try and stamp my authority on the whole track – and that works. Our friendship was a massive part of it – we saw each other every single day for five years. It wasn’t just, ‘I’ll see you for rehearsals on Friday’.

Does it upset you when people say the legacy of The Smiths has been tarnished by some of the things that have happened since the band broke up?

I interviewed Johnny 20 years ago, when he’d launched The Healers, and he told me that other people – not just the band themselves  – had tarnished the legacy of The Smiths, like Warner Bros, who messed up a Best Of compilation when it came to mastering it and doing the artwork and the credits, etc.

‘If somebody doesn’t want to listen to a Smiths record for whatever reason, then don’t listen to it – it’s okay, I don’t mind’

And then there was the court case, which you brought against Morrissey and Johnny, and, in more recent times, Morrissey has upset people with some of his controversial views, so some people have decided they can’t listen to The Smiths anymore. Do we have to separate the art from the artist?

MJ: I don’t find it upsetting. We’re talking about somebody that I don’t know. Just because someone has a different view to me… With social media at the moment, I feel like there’s a lot of ‘get the pitchforks out’ if someone says something very different from what you’ve said. Of course I care, but I don’t find it upsetting. If somebody doesn’t want to listen to a Smiths record for whatever reason, then don’t listen to it – it’s okay, I don’t mind.

‘I can isolate 1982-1987 really well – that’s where my dreams were made and everything shone for me. Nobody can ever take that away. Whatever happens afterwards – people whingeing about this, or what somebody said… I’m not really that bothered’

Going back to the other thing you said about Johnny, maybe I’m not as intense as he is about those kinds of things, to be brutally honest. I could say,’Yeah – it’s a travesty and they’ve not done this or that,’ but, do you know what? As far as I’m concerned, I can isolate 1982-1987 really well – that’s where my dreams were made and everything shone for me. In terms of my musical aspirations, I’d arrived at them and nobody can ever take that away. Whatever happens afterwards – people whingeing about this, or what somebody said… I’m not really that bothered.

So, what are you up to now, musically? Any new projects? 

MJ: I do a bit of DJing – it’s a good night and I really enjoy the music.

What’s in your set?

MJ: It’s classic indie – Primal Scream, The Undertones, The Clash, Blondie. It’s the music that I like to listen to and have a dance to. It’s very simple – there are no curveballs in there. I enjoy doing that.

A few years ago, a friend of mine called Rick Hornby, whom I’ve known for 30-odd years, was living in London, doing some session work. He moved back to Cheadle Hulme [in Cheshire], which is about five or six miles away from where I live now. I’ve got a soundproof basement and I asked him if he’d fancy doing a bit of playing and he said he’d love to. So, he came down and we just played – there was no agenda. His guitar sound is superb and I was inspired by it. He was playing some really good parts, but I was more inspired by the sound – it’s a bit like the B-52’s. I’ve not heard a lot of guitarists play like that – it’s bordering on rockabilly, but a bit more modern.

‘Rick Hornby and I have started doing a bit of writing together and we’ve been to see an artist in Manchester – I can’t say who it is – but we’re going do to some recording with him in the States next year. He’s a guy from San Francisco and the band’s called Love Tempo’

We started doing a bit of writing together and we’ve been to see an artist in Manchester who he knows – I can’t say who it is – but we’re going do to some recording with him in the States next year and see what happens. He’s a guy from San Francisco and the band’s called Love Tempo. We’re going to throw it against the wall and see what sticks. I’m really excited about it. I didn’t think that I was going to do much more playing to be honest with you, because nothing had come along that made we go ‘wow’. This did.

I wasn’t that bothered if I didn’t get on a stage again, but, every time I go to a gig, I’m like, ‘God, I wish I could get up and play…’ but then that’s gone by the next day.

‘Fontaines D.C. have completely satiated my need to listen to new music. I’ve seen them live a few times over the last couple of years and each time they get better and better. They’re my new favourite group. I’ve not been as affected by seeing a band since I saw Buzzcocks when I was 14’

Do you listen to a lot of new music or go to many gigs?

MJ: I pick up bits and bobs. Until a couple of years ago, I was doing a radio show, and that dictated that I was keeping my ear to the ground and going to gigs a lot.  I listen to 6 Music and have the radio on when I’m in the car, but it’s mainly Talk Sport.

Fontaines D.C. have completely satiated my need to listen to new music. I’ve seen them live a few times over the last couple of years and each time they get better and better. They’re my new favourite group. I’ve not been as affected by seeing a band since I saw Buzzcocks when I was 14.

You played with them too, didn’t you? 

MJ: [Laughs]: Yes – I did.

Going back to The Smiths. How many times a week do people ask if you The Smiths will ever reform, do you get annoyed by it and what do you tell them?

MJ: Well, what day are we now? It’s Friday and you’re the first person this week. That’s not unusual. I don’t get asked very often, but, it’s usually in an interview situation, not when I’m putting my sourdough in my basket and it goes ‘beep beep’. I don’t get asked then.

In a working environment, like when I’m DJing, people ask me if there’s any chance of it happening. I think Johnny and Morrissey get asked a lot more than I do – probably ‘cos Johnny does a lot more interviews than I do. Andy probably gets asked the least because he doesn’t seem to be doing any live work at all.

‘If The Smiths reformed now and went and played, you wouldn’t be seeing The Smiths.  I like the idea of us not reforming. And even if they did, they might do it, but minus me! I was surprised it didn’t happen earlier’

I don’t get pissed off by it – it’s a natural question and I probably would’ve asked it of a band if I’d seen one member… Actually, I wouldn’t! Every time I see Ian Brown, I don’t ask him ‘When are the Roses getting back together?’

I think it’s because The Smiths had a relatively short career – only five years. A lot of people, like me, got into them after they’d split up – they never got the chance to see the band play live.

MJ: I think you’re right. I’ll tell you what, if The Smiths reformed now and went and played, you wouldn’t be seeing The Smiths.  I like the idea of us not reforming. And even if they did, they might do it, but minus me! I was surprised it didn’t happen earlier. There’s a reason why bands split up. They don’t say, ‘I’ll see you right I’ve got your number and I’ll check in every couple of weeks to see how you’re doing’. It never happens it’s a massive fucking breakup. It’s a divorce. People don’t ask you if you’re gonna get back with your ex-wife again! ‘It’s been 35 years, come on! You did love her…’

The idea of doing it? We’re all four very different people than we were when we were rehearsing in Crazy Face. It’s a lifetime that’s gone by.

The Smiths – photo by Stephen Wright

I think there’s a quote that Morrissey said: ‘Why would I go on stage with people that I don’t even know?’ Well, that’s exactly how I feel. I don’t know Morrissey and Johnny – I know Andy, because I’ve seen him since The Smiths split and up to the present day, but I haven’t seen Morrissey or Johnny, or sat down or spoken to them for 30-odd years. Why would I want to do that?

The financial gain is something that everybody talks about they say everybody’s got a price. Well, I don’t think so. It depends on how much you want the money, doesn’t it? Maybe you haven’t got a price and someone says: ‘We’ll give you £1oo,000,000  each.’ And the answer is still ‘no.’ ‘We’ll give you £5oo,000,000’ the answer is still ‘no.’ Maybe they’d then just leave them alone because it’s not going to happen. The rumours do come out it seems to happen just before either a Morrissey or a Johnny tour. I don’t know [laughs]... It make sense put it in the news…

There have been a lot of books published about the The Smiths, and Morrissey and Johnny have both written their autobiographies. Would you ever write one?

MJ: No. It’s funny – after an interview, usually, someone says to me, ‘Have you ever thought about writing a book?’ I have thought about it and then I think about not writing a book. It’s as simple as that. I have no desire, but a lot of people want to hear what I’ve got to say. Maybe it might happen, it might not happen… I just can’t be arsed. I know that’s not the most eloquent answer to your question.

There’s more to life than books you know…

MJ: But not much more.

To enter Mike Joyce’s charity raffle for Back on Track, please click here. 



Mike Joyce – picture by Paul Husband


Best albums of 2017

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This year has been a remarkable one for new music – in fact, I’d go so far as to say it’s the greatest in the history of Say It With Garage Flowers, which launched in the summer of 2009.

Most of my favourite contemporary singer-songwriters and bands unleashed new albums in 2017 and I was lucky enough to interview several of them to find out the stories behind the songs.

Sadly, I haven’t been able to arrange an in-depth chat with the man whose album has made the top-spot in this year’s ‘Best Of’ list, although we did come very close to doing an interview a few weeks ago, but it got postponed at the last minute. I live in hope that we can rearrange it for next year – both of us dearly want it to happen…

In the meantime, I will have to be content with listening to his latest record, A Short History of Decay, which is my favourite album of 2017.


The second solo record by John Murry – an American singer-songwriter who was raised in Tupelo, Mississippi, but now lives in Kilkenny, Ireland –  A Short History of Decay is the follow-up to his 2012 masterpiece, The Graceless Age – one of the greatest records of the last few years.

Back in 2012, I said of The Graceless Age: ‘It’s a deeply personal work that deals with the darker side of life, including drug addiction, loss and loneliness –  it’s one of those records that’s meant to be listened to on headphones, alone, late at night, as it draws you in with its lush orchestration, gorgeous, spiralling melodies and twisted tales. Misery seldom sounded so sublime.’

Five years later, Murry finally released its successor. It was always going to be a tough act to follow such a brilliant record as The Graceless Age, but for Murry it was doubly difficult. Since its release, he’d had personal problems and demons to deal with, including family issues and the death of his close friend Tim Mooney, of American Music Club, who had produced his first album.

Michael Timmins from Canadian alt-country act Cowboy Junkies came to Murry’s aid. He’d seen him supporting his band in Glasgow and was captivated by his performance – I’ve seen Murry play live 13 times and he is one of my favourite artists to watch in concert. His shows are intense and extremely powerful – you never know what you’re going to get, but it’s always one hell of a ride. He is an extraordinary performer.

‘It was always going to be a tough act to follow such a brilliant record as The Graceless Age, but for Murry it was doubly difficult – he’d had personal problems and demons to deal with, including family issues and the death of his close friend Tim Mooney’

Timmins and Murry talked about making an album together – Timmins wanted to capture the rawness of Murry’s songs – and the result is A Short History of Decay.

It was recorded over five days in Timmins’ Toronto studio with a band comprising of his brother Peter (Cowboy Junkies) on drums and Josh Finlayson  (Skydiggers, Gord Downie, Lee Harvey Osmond) on bass. John brought along Cait O’Riordan (The Pogues, Elvis Costello), whom he’d met in Ireland – she contributed backing vocals to the album.

Talking about the sessions, Timmins said: “I felt that it was important that John got out of his own way and that we set up a situation where he would just play and sing and the rest of us would just react, no second guessing, just react and capture the moment. It was a very inspired and inspiring week of playing and recording. Very intense. And I think we captured the raw essence of John’s writing and playing”. 

They certainly did – A Short History of Decay is looser and much more raw than its predecessor. The wonderful first single, Under A Darker Moon, has fuzzy, fucked-up guitars and punk-rock sensibilities, but, at its heart, is a killer indie-pop tune.

My favourite track on the album is Wrong Man. A dark, stripped-down, Springsteen-esque ballad that deals with the breakup of Murry’s marriage – “I’m the wrong man to ride shotgun on your murder mile” – it makes for uncomfortable listening, but is such a beautiful song, with a simple, sparse keyboard and guitar arrangement. 

A Short History of Decay has its fair share of gallows humour, too. Despite its title, One Day (You’ll Die) is one of the album’s lighter moments  – a weird, mutated, but very catchy, pop-reggae (!) groove, with a guitar solo that sounds like it’s been lifted from the ’50s rock ‘n’ roll instrumental Sleepwalk by Santo & Johnny.

Similarly, Countess Lola’s Blues (All In This Together) is another song with an irresistible, sing-a-long melody, but when the dirty garage guitar comes in, it kicks ass. 

The album’s closing track is a stunning cover of What Jail Is Like by The Afghan Whigs. I will scratch my way out of your pen, just so that I can claw my way back into it again,” sings Murry, over psychedelic guitar sounds.

It’s great to have him back.

This year also saw the return of another Say It With Garage Flowers favourite. Back in 2014, miserablist duo Pete Fij (Adorable and Polak) and Terry Bickers (The House of Love and Levitation) released their debut album, Broken Heart Surgery, which topped my end of year poll.

2017 saw them follow it up with the brilliant We Are Millionaires – an album that I played to death this year. 

As I wrote back in the summer, ‘like its predecessor, it’s full of deadpan humour and dry wit. With influences including John Barry, The Velvet Underground and Lee Hazlewood, and lyrical nods to movies The Third Man and The Birds, it’s like a soundtrack to an imaginary, downbeat, British, black and white kitchen sink-drama-meets spy-film – part Hancock, part Hitchcock – but this time around, there’s even some optimism.’

And while we’re on the subject of Lee Hazlewood, the legendary moustachioed maverick is a huge influence on Manchester singer-songwriter Nev Cottee, whose third album, Broken Flowers, was another highlight of this year. 

His darkest record to date, it was written in the aftermath of a failed relationship. Nev’s rich, baritone voice is backed by lush, cinematic strings and the album moves from twilight country music to bluesy psych-rock and spacey, hypnotic grooves. First single, Open Eyes, sounded like Lee Hazlewood hanging out in Cafè del Mar.

Staying with Manchester melancholy, Morrissey came back in 2017 with Low In High School – his strongest album in years – but, sadly, the record was overshadowed by controversial comments he made in the press. Songs like the brassy, glam rock swagger of My Love, I’d Do Anything For You, the electro-tinged I Wish You Lonely and the epic Home Is A Question Mark would easily find their place in a list of his greatest tracks. 

Ex-Only Ones frontman Peter Perrett surprised everyone by releasing a superb solo album, How The West Was Won, which was loaded with wry songs in the vein of Dylan and Lou Reed.

Husband and wife country duo – and Say It With Garage Flowers regulars – My Darling Clementine – returned with the excellent Still Testifying. Their third album saw them building on the Southern soul sound that they explored on their 2013 record, The Reconciliation? More Delaney & Bonnie than George & Tammy, and with gospel leanings and luscious horn arrangements, it could’ve emerged from Memphis, Alabama or New Orleans, but it was actually made in Tooting, South London.

Another husband and wife duo who are no strangers to country music – The Rails – impressed me with their second album, Other People.

Recorded in Nashville and produced by Ray Kennedy [Steve Earle and Lucinda Williams], it was a darker, heavier and more electric record than their critically acclaimed 2014 debut Fair Warning

Moving away from the band’s traditional folk roots – it had ‘psychedelic’ tinges and  ’60s organ –  it wasn’t afraid to speak its mind and deal with modern social issues.

Gravel-voiced Mark Lanegan’s Gargoyle was also high up on my list of 2017 albums of the year. The latest in a long line of great releases by him, it continued to mine the seam of dark, brooding electronic rock he’s explored over his last few records. 

Singer-songwriter Richard Warren – who’s played guitar for Mark Lanegan and Soulsavers – returned with his latest album, Distentangled. It was less dark than some of his previous releases – more soulful and stripped-down – but still with a nod to the ’50s sounds of Sun Records, melancholy, late-night ballads in the vein of Nick Lowe, Roy Orbison and Richard Hawley, and twangy guitar instrumentals that could be soundtracks to arthouse films that don’t exist yet. 

A debut album that I fell in love with this year was This Short Sweet Life by Nottingham’s Torn Sail – coincidentally an act linked to Richard Warren, who played with them in a previous incarnation.

Written and produced by singer-songwriter Huw Costin, it was a haunting and gorgeous record –  sad, but also uplifting and spiritual – an intimate, late-night soundtrack for the lost and the lonely that reminded me of Jeff Buckley at times.


Two of my favourite albums of 2017 weren’t actually from this year! Soul legend P.P. Arnold and Neil Young both released ‘lost’ long-players.

Arnold’s album The Turning Tide was a collection of songs from ’69 and ’70. Produced by Barry Gibb and Eric Clapton, the album was aborted and remained unfinished. Thankfully the master tapes were finally located, the tracks were completed and the album was issued 47 years later. It’s a great collection of groovy soul-shakers – her blistering versions of Traffic’s Medicated Goo and The Stones’ You Can’t Always Get What You Want are guaranteed floor-fillers – and tender ballads, like the lushly-orchestrated gospel song Bury Me Down By The River. 

Young’s intimate Hitchhiker – it’s just vocals, acoustic guitar and harmonica – was recorded in a single night, in Malibu, California in 1976, but didn’t see the light of day until September this year. I’m so glad it did – it’s up there with his best work.

The dark and menacing title track is jaw-dropping – a staggeringly honest autobiographical tale, which sees Neil on a road trip with just his drug stash for company, before things take a turn for the worse and he ends up a paranoid wreck who has to escape from the L.A. rock ‘n’ roll scene and hole up in the countryside…

L.A. is the home of singer-songwriter Marlon Rabenreither, who, under the name Gold Star, released his excellent second album, Big Blue, this year, and, funnily enough, it often sounds like ’70s Neil Young, as well as early Ryan Adams. 

I’d like to say thanks to Alex Lipinski who invited me to his album launch at Pretty Green in London’s Carnaby Street in November this year – I loved his latest record, the raw and bluesy Alex, with its mix of Dylan and the La’s.

And finally, I must mention the UK label Sugarbush, which continues to put out great jangle-pop, power-pop and psych albums on vinyl – both new releases and re-issues. This year saw Scottish guitar band The Carousels, who are on Sugarbush, release their gorgeous second album, Sail Me Home, St.Clair, which was heavily indebted to the sound of the Byrds’ 1968 country-rock cult classic, Sweetheart of the Rodeo

I’m listening to it now, as I write this article and sail off into 2018… 

Here’s a list of my favourite albums of 2017 and a Spotify playlist to go with it:

1) John Murry – A Short History of Decay

2) Pete Fij & Terry Bickers We Are Millionaires

3) Morrissey – Low In High School

4) Mark Lanegan – Gargoyle

5) Nev CotteeBroken Flowers

6) My Darling Clementine Still Testifying

7) Torn Sail This Short Sweet Life

8) The Rails Other People

9) Peter Perrett – How The West Was Won

10) Neil Young – Hitchhiker 

11) PP Arnold The Turning Tide

12) Gold Star – Big Blue

13) Richard Warren Disentangled

14) The Carousels Sail Home, St. Clair

15) Jeff Tweedy – Together At Last

16) The Clientele – Music For The Age of Miracles

17) Ralegh Long – Upwards of Summer

18) Jason Isbell & The 400 Unit – The Nashville Sound

19) Mark Eitzel – Hey Mr Ferryman

20) Alex Lipinksi Alex

21) Little Barrie – Death Express

22) The National – Sleep Well Beast

23) Juanita Stein – America

24) Martin CarrNew Shapes of Life

25) The Dials – That Was The Future

26) Michael Head & The Red Elastic Band – Adios Senor Pussycat

27) Chris Hillman – Bidin’ My Time

28) Liam Gallagher – As You Were

29) William Matheny – Strange Constellations

30) Cotton Mather – Wild Kingdom

31) Matthew Sweet – Tomorrow Forever

32) Daniel Wylie’s Cosmic Rough Riders Scenery For Dreamers

33) The Jesus & Mary Chain – Damage and Joy

34) Duke Garwood – Garden of Ashes

35) Timber Timbre – Sincerely, Future Pollution

36) Luke Tuchscherer Always Be True

37) Frontier Ruckus – Enter The Kingdom

38) Sophia Marshall – Bye Bye

39) Co-Pilgrim – Moon Lagoon

40) GospelBeacH Another Summer of Love

41) Bob Dylan – Triplicate

42) Papernut Cambridge – Cambridge Circus

43) Luna – A Sentimental Education

44) Steelism – Ism

45) The Len Price 3 – Kentish Longtails

46) Wesley Fuller – Inner City Dream

47) Hurricane #1 – Melodic Rainbows [UK version]

48) Alex Lowe – Rancho Diablo

49) The Blow Monkeys – The Wild River

50) Colman GotaFear The Summer




Best Albums of 2014


This year’s Say It With Garage Flowers number one album can be easily filed alongside Bob Dylan’s Blood On The Tracks, Nick Cave’s The Boatman’s Call and Ryan Adams’ Heartbreaker as one of the greatest breakup records of all time.

Broken Heart Surgery by singer-songwriter Pete Fijalkowski (Adorable and Polak) and guitarist Terry Bickers (The House of Love and Levitation) is intimate and stripped-down, with nods to Johnny Cash, Spiritualized, John Barry and The Velvet Underground. A raw, deeply personal, melancholy album, it documents the breakup of a relationship and the aftermath, but is shot through with plenty of gallows humour and deadpan wit. 

On the record, there are several lyrical references to material possessions – leaving them behind, or being saddled with someone’s else’s old stuff. There’s a lot of emotional baggage involved, but also a lot of physical baggage, too… There are some brilliant lyrics on the album – some of which made me laugh out loud when I first heard them. For example, “Hope – it’s more addictive than coke. Yeah – it’s cupid’s cruel joke…” (Betty Ford) and  “[she] just left me with cutlery and a whole pile of her duff CDs…” (Queen of Stuff).


When I spoke to Pete earlier this year, he told me: “I wanted the album to reflect the various aspects of a breakup, so while some of the subject matters are taking place more in the head, there are others that have a very physical location and an obsession with small details – the division of objects between a couple (Breaking Up), the forgotten objects left behind in a now half-empty flat (Queen of Stuff) or the changing soundtrack to a couple’s life as their relationship deteriorates – from furtive whispers and kisses, to slamming doors and uneasy silences (Sound of Love).”

Asked what he wanted to achieve with the album, Pete said: “First and foremost, I wanted to make an album that I was proud of.”

Rest assured, he can hold his head up high – it’s a stone cold classic.

While we’re on the subject of masters in melancholy, Morrissey made a welcome return this year with World Peace Is None Of Your Business – his first album in five years. His best long-player since 1994’s Vauxhall & I, it was a glorious comeback record, with epic ballads (I’m Not A Man, Mountjoy), unabashed pop songs (Staircase At The University, Kiss Me A Lot, The Bullfighter Dies ) and lavish, exotic arrangements, including mariachi brass, strings and flamenco guitar.

Alas, due to a dispute with his record label, Harvest, the album is currently not available on Spotify or iTunes, so, instead, here’s a YouTube clip of the mighty Staircase At The University…

Other notable 2014 albums included Fair Warning by folk-rockers The Rails; Charade – the debut album from LA-based country singer Meg Olsen; A Swirling Fire Burning Through The Rye by San Fran garage-psychers Cool Ghouls ; Phantom Radio by the Mark Lanegan Band, which explored dark, electronic territory; The Breaks by former Boo Radley Martin Carr – gorgeous, lush guitar pop – and Alexandria by alt. country artist Chris Mills, which was his first album in five years and saw him team up with a new backing band – The Distant Stars.

Everything But The Girl’s Ben Watt impressed with his solo album Hendra, which featured former Suede guitarist Bernard Butler on a poignant set of songs that, at times, recalled the legendary John Martyn, while Cherry Ghost’s latest record, Herd Runners, was a soundtrack for the lost and lonely, similar to Richard Hawley’s late night laments…

Chris Mills
Chris Mills

Finally, it would be remiss of me not to mention News From Nowhere – the ‘long-lost’ debut by ’90s Britpop band Speedy. Recorded in 1997, the album finally saw the light of day earlier this year and was well worth the wait. The band even reformed and played live for the occasion. 

I  played a small part in getting the album released – a 2009 blog I wrote about the record attracted some interest and one thing led to another…

Here’s a list of my favourite 30 albums of 2014 and a Spotify playlist to go with it. 

1) Pete Fij & Terry Bickers – Broken Heart Surgery

2) Morrissey – World Peace Is None of Your Business

3) The Rails – Fair Warning

4) Mark Lanegan Band – Phantom Radio

5) Martin Carr – The Breaks

6) The New Mendicants – Into The Lime

7) Chris Mills & The Distant Stars – Alexandria

8) Cherry Ghost – Herd Runners

9) Ben Watt – Hendra

10) Meg Olsen – Charade

11) Johnny Marr – Playland

12) Cool Ghouls – A Swirling Fire Burning Through The Rye

13) Damon Albarn – Everyday Robots

14) The Delines – Colfax Avenue

15) Beck – Morning Phase

16) Speedy – News From Nowhere

17) Temples – Sun Structures

18) Cleaners From Venus – Return To Bohemia

19Manic Street Preachers – Futurology

20) Kings of The South Seas – Kings of The South Seas

21) Gallon Drunk – The Soul of the Hour

22) Len Price 3 – Nobody Knows

23) Little Barrie – Shadow

24) Tweedy – Sukirae

25) The Autumn Defense – Fifth

26) Neville Skelly – Carousel

27) Johnny Aries – Unbloomed

28) Pete Molinari – Theosophy

29) Dean Wareham – Dean Wareham

30) Elbow – The Take Off and Landing of Everything