2022: The year of the Hollow Heart

Say It With Garage Flowers chooses its favourite albums of 2022 and takes a closer look at the stories and influences behind some of the best Americana records released this year.

2022 was better for me personally than 2021, when I experienced some tough times following the death of my dad, but, on the socio-political side of things, it’s been a difficult 12 months, with chaos in government, a cost of living crisis and general uncertainty casting a long, dark shadow across the country.

Music is always there to get you through the bad times, as well as the good, and the album I kept coming back to in 2022 was Hollow Heart – the fourth offering by London’s cosmic country kings, The Hanging Stars, so I’ve chosen it as my favourite record of the year.

The Hanging Stars

It was uplifting musically, but lyrically it was often tinged with sadness, and it wasn’t afraid to comment on the state of the country – the ‘60s-garage-rock-meets-The-Byrds song, I Don’t Want To Feel So Bad Anymore, was written about being completely helpless at the hands of the Tory government, while the West Coast psych-pop of You’re So Free concerned itself with anti-vaxxers and how Brexit and Trump’s presidency created social divide.

Speaking in February 2022, when he gave me the first interview about Hollow Heart, ahead of its release, the band’s frontman, Richard Olson, said: “There was a lot of sadness. Our default setting is fairly optimistic, but I think the lyrics are the darkest I’ve ever written.”

I think the new record is their best to date. It’s even better than its predecessor, 2020’s A New Kind of Sky, which was a mix of cinematic sounds, psych, jangle-pop, folk and country-rock. Released in the wake of Brexit, thematically that album dealt with the idea of escaping and getting away to a better place.

‘There was a lot of sadness. Our default setting is fairly optimistic, but I think the lyrics are the darkest I’ve ever written’

To make the follow-up, the band and producer/musician, Sean Read (Soulsavers, Dexys Midnight Runners) decamped to Edwyn Collins’ Clashnarrow Studios in Helmsdale, in The Highlands of Scotland, which overlooks the North Sea.

Edwyn offered us the use of his studio – it felt like being anointed – and Sean is one of the two engineers who he lets work there – the stars aligned,” said Olson.

“That happened during the pandemic, so we had to find a window when we were allowed to do it. It was quite a project, transporting six people to Helmsdale, with a bunch of instruments.”

He added: “We drove in two cars and we set to work – we grafted and we were so focused. It was magical from start to finish. When you’re standing in the studio, and the sun’s setting over the bay, and you’re singing Weep & Whisper, that shit makes you think that you’ve made it! We got given this chance and we had to deliver the goods.”

And deliver the goods they did. Opener, the slow-building love song, Ava, is stunning – it creeps in with some gorgeous, haunting pedal steel and twangy guitar, then blossoms into magnificent, blissed-out and anthemic country rock.

Second single, Black Light Night, is irresistible – pairing a seriously dark and foreboding lyric with music that evokes vintage R.E.M – guitars are set to jangle and the harmonies wing their way down from (near wild) heaven.

The dreamy Weep & Whisper – “There’s a girl I used to know. She wore her hair long in an endless satin bow” – is much more subdued – a folky shuffle that Olson describes as a love song to youth. It sounds like it’s been hanging out at Scarborough Fair with Simon & Garfunkel.

The majestic and shimmering Ballad Of Whatever May Be could be The Stone Roses doing country rock, and first single, Radio On, melds the best of Big Star with The Velvet Underground.

Hollow Eyes, Hollow Heart – one of the album’s heavier and darkest moments – is brooding psych-folk in the vein of Fairport Convention.

You’re So Free has Ethiopian jazz piano and echoes of ‘60s West Coast pop group The Turtles, while Edwyn Collins guests on the moving and filmic, Rainbows In Windows, providing spoken vocals inspired by The Velvet Underground’s The Gift.

Opening with a great, jangly guitar riff that Roger McGuinn would’ve killed for back in the day, the sprightly I Don’t Want To Feel So Bad Anymore nods to The See See – the band The Hanging Stars came from – but throws in a unexpected, baroque-space rock mid-section.

“This is probably the most traditional record we’ve ever done – in the sense that we had some songs, we went to the studio to finish them off and we had x amount of time to make the album,” said Olson.

“It was good for us and it was a joy to see everybody flourish in the studio in their own way. It brought out what we’re good at. We also wanted to think about the sonics – Sean came into his own and we had so much fun doing it. We threw the rulebook out of the window – we had to.”

And did Olson think it’s their best album? “Of course it is. You wouldn’t be making records otherwise,” he told me.  “With this album, we had to be The Hanging Stars and I think we did a pretty damned good job of it.”

It’s hard to argue with him.

One of my other favourite UK Americana albums of the year was Leo, the third solo record by former Case Hardin frontman, Pete Gow.

The trademark orchestral sound he debuted on 2019’s Here There’s No Sirens and its follow-up, The Fragile Line – from 2020 – was bolstered by some impressive, rich and soulful horn arrangements courtesy of his producer, multi-instrumentalist, Joe Bennett (The Dreaming Spires, Bennett Wilson Poole, Co-Pilgrim, Saint Etienne).

Leo felt like the natural successor to Gow’s previous two solo records, which were also created with Bennett (bass, piano, organ, vocals, strings, horns) and drummer, Fin Kenny, who, like Gow, are both workhorses of the UK Americana scene.

Photo of Pete Gow by David Cohen

Reviewing the album for Americana UK earlier this year – I gave it 9/10 – I said: ‘Leo is Gow’s most accomplished and ambitious album yet, with Bennett taking his collaborator’s wry story songs about barrooms, booze, rock ‘n’roll and record collections and turning them into widescreen epics, the orchestral and brass arrangements perfectly complement these lyrically deft tales and the lives of the characters that inhabit them.’

Leonard’s Bar, which is the centrepiece of the album and where the record takes its title from, reminds me of one of those Springsteen story songs, written about people and their small town lives, but with a hint of Nick Cave about it, too.

It’s about a former criminal who’s fallen on hard times and finds himself caught up in a difficult situation – one last job – thanks to his brother-in-law, Leo.

Telling me about the track, Gow said: “That song was written about my first trip to the States with my partner and my first trip back to her hometown, which is Baltimore, or thereabouts. I had a notebook with me the whole time and I was jotting stuff down. At the time, her brother was going through a divorce and living at his mum’s – that’s where I met him.”

He added: “The barman in the song with ‘This’ and ‘That’ tattooed on his knuckles was just a guy that served me, my partner and her cousin drinks one afternoon in a Baltimore bar. I saw it and wrote it down.”

Another UK Americana artist with a knack of writing great story songs is Michael Weston King – the record he released this year, The Struggle, was his first solo album in 10 years.

A stunning collection of moving, well-crafted and wonderfully arranged songs, recorded in rural Wales, with producer, engineer and musician, Clovis Phillips, the record saw Weston King stepping away from his day job, as one half of husband-and-wife country / Americana duo, My Darling Clementine (with Lou Dalgleish), and, instead, mining a rich seam of late ’60s/ early ’70s singer-songwriters, like Mickey Newbury, Dan Penn, Jesse Winchester, John Prine, Bobby Charles and early Van Morrison.

Michael Weston King

Mixed at Yellow Arch Studios in Sheffield with Weston King’s long-time collaborator/producer, Colin Elliot (Richard Hawley / Jarvis Cocker), musically, it explores country-soul, Celtic folk and jazz, and lyrically it tackles subjects including the Trump presidency, mental health issues, loneliness, death and the tales of a wayfaring singer-songwriter.

Two of the songs were co-writes. Sugar was penned with US singer-songwriter, Peter Case, while Theory of Truthmakers sees Weston King putting music to unused lyrics by his friend, Scottish songwriter and musician, Jackie Leven, who died in 2011.

Telling me about the idea behind the album, Weston King said: “If I’d had the budget, I wanted it to sound like Mickey Newbury in 1970, but that would’ve meant an orchestra on every track.

‘I certainly wasn’t trying to make an Americana or country record, but country-soul was always at the heart of it’

“One of the songs, Another Dying Day, was the starting point – it was the most Newburyesque song. We put strings on it and approached it in the same way that he’d recorded a lot of his stuff, with a lot of nylon-strung guitar. Some of the other songs happened organically and went off in other directions.”

He added: “I certainly wasn’t trying to make an Americana or country record, but country-soul was always at the heart of it –  a bit of a Dan Penn and Spooner Oldham vibe. We have some Wurlitzer on there.”

There were also some Americana moments on Breaking The Fall, the first solo album by singer-songwriter, Matt James, who was formerly the drummer with ’90s Britrockers Gene.

Although it’s a debut record, it sounds like a best of collection – 10 memorable, varied and, at times, very personal and emotional, songs that embrace folk, country, soul, indie-rock, Spaghetti Western soundtracks and ’60s pop.

Occasionally it recalls Gene –  the country-soul of A Simple Message and the anthemic ballad Different World – but most of the time, it’s the sound of someone experimenting with different styles and enjoying being in the studio again after a long time away. James left the music industry for several years.

Speaking to me about the record in August 2022, he said: “I’m sort of trying everything out – I have thrown it all in there. Perhaps on future albums I’ll take more of a single direction.”

Stepping out from behind the drum kit to put himself in the spotlight for the first time, he relied on some old friends to help him out.

Former Gene band mates Steve Mason (guitar) and Kevin Miles (bass) were along for the ride, as was keyboard player, Mick Talbot, (The Style Council, Dexys Midnight Runners), who played live with Gene and on radio sessions.

I’m sort of trying everything out – I have thrown it all in there. Perhaps on future albums I’ll take more of a single direction’

Production duties were taken care of by former Gene associate, Stephen Street, (The Smiths / Morrissey, Blur, The Cranberries) – sonically, the album is rich, colourful and diverse – and there was some guitar work by James’s friend, Peredur ap Gwynedd (Perry for short), from electronic rockers Pendulum.

Photo of Matt James by Embracing Unique: Laura Holme.

 

Low-key first song, From Now On, is a gorgeous, acoustic folk-country campfire ballad, with an accordion keyboard sound, but it’s followed by the powerful, extremely personal and upbeat Champione – a moody indie-rocker written about James’s father, who was blighted by mental health and addiction issues. Once again, there’s a slight country influence, thanks to the atmospheric slide guitar.

The emotional title track, which is another ballad and sounds quite like one of the more reflective moments by his old band, sees James contemplating his time away from music and creativity: “Don’t leave me in the dark – just take me straight back to the dancing.”

And, on that note, Sad is a big, infectious Northern Soul-style floor-filler, like late Jam or The Style Council, and, appropriately enough, it features Mick Talbot on organ.

The mighty Born To Rule has triumphant Spaghetti Western / mariachi horns on it, the twinkling Snowy Peaks is a festive-themed love song that scales dramatic heights – the choral middle eight sounds like The Beach Boys in church – and the dark, yet ultimately optimistic, High Time, recalls life-changing events, including a near-fatal car crash and a chance encounter that led to the formation of Gene.

From Americana to Canadiana… singer-songwriter, Jerry Leger, describes his latest album, Nothing Pressing, as his ‘deepest artistic statement yet’.

It’s also one of his strongest and darkest records. Largely written and recorded in the wake of a close friend’s death and with the shadow of Covid hanging over it, Leger said it’s an album about survival – mental, physical and artistic.

Some of the songs, like the stark, stripped-down and folky Underground Blues and Sinking In, were recorded in his Toronto apartment, using two SM58 microphones fed into his vintage 1981 Tascam four-track tape recorder.

“I spent a lot of the lockdown writing and demoing using the four-track,” he told me. “I wasn’t writing with the pandemic in mind – and some songs were written before it happened – but the album does have a feeling of isolation, reflection, longing and gratitude.”

He added: “It was spring of last year that I unexpectedly lost one of my best friends. I think it’s unavoidable that things like that seep in. It’s a surreal feeling losing someone close. I wasn’t consciously writing with him in mind, but I can now hear traces of me dealing with it in a few of the songs.”

The raw and punchy Kill It With Kindness,  upbeat rocker Have You Ever Been Happy?, the Neil Young-like Recluse Revisions, the classic country-sounding A Page You’ve Turned, and the Beatlesy love song With Only You were laid down in the studio with his long-time producer, Michael Timmins (Cowboy Junkies), and Leger’s band, The Situation (Dan Mock (bass/vocals), Kyle Sullivan (drums/percussion). There are guest contributions on the album from Tim Bovaconti (pedal steel) and Angie Hilts (vocals).

‘I wasn’t writing with the pandemic in mind – and some songs were written before it happened – but the album does have a feeling of isolation, reflection, longing and gratitude’

The song, Nothing Pressing, which opens the record, and the tracks Protector and Still Patience are solo acoustic, recorded live in the studio with few embellishments, save for Mock’s overdubbed harmony vocals and, on the title track, Timmins’s ukulele.

The follow-up to his 2019 studio album, Time Out For Tomorrow, Nothing Pressing is a great collection of songs – and often painfully honest. On Still Patience, over a sparse backing of guitar and Wurlitzer, Leger sings: “I go drinking by myself, when I got nobody else, for misery is company.”

At times sad and reflective, it’s an album that doesn’t shy away from tackling personal issues, such as mental health, depression and seeking solace in alcohol, but it’s also a record that believes a problem shared is a problem halved.

“I really hope that this record is given the attention it needs. It’s not really an undertaking [to listen to], but it requires a little more work than Time Out For Tomorrow, which was very inviting,” he said,

“It could be very helpful for a lot of people – it’s one of those records that I would go to for a different type of comfort. I need to know that other people are going through all these crazy feelings too.”

It was certainly an album that helped me get through 2022 and, on that note, here’s the full list of records I’ve enjoyed over the past 12 months, with an accompanying Spotify playlist. I hope you can find room in your heart for some of these songs – hollow or otherwise…

Say It With Garage Flowers: Best Albums of 2022

  1. The Hanging Stars – Hollow Heart
  2. Arctic Monkeys – The Car
  3. Matt James – Breaking The Fall
  4. Pete Gow – Leo
  5. Michael Weston King – The Struggle
  6. Jerry Leger – Nothing Pressing
  7. Michael Head & The Red Elastic Band – Dear Scott
  8. Nev Cotttee – Madrid
  9. Johnny Marr – Fever Dreams, Pts 1-4.
  10. Beth Orton – Weather Alive
  11. PM Warson – Dig Deep Repeat
  12. Daisy Glaze – Daisy Glaze
  13. The Magic City TrioThe Magic City Trio
  14. The Delines – The Sea Drift
  15. Nick Gamer – Suburban Cowboy
  16. Duke Garwood – Rogues Gospel
  17. M. Lockwood Porter – Sisyphus Happy
  18. Thomas Dollbaum – Wellswood
  19. Vinny Peculiar Artists Only
  20. GA-20 – Crackdown
  21. Wilco – Cruel Country
  22. Andrew Weiss and Friends – Sunglass & Ash
  23. Jessie Buckley and Bernard Butler – For All Our Days That Tear The Heart
  24. Morton Valence Morton Valence
  25. M Ross Perkins – E Pluribus M Ross
  26. The Lightning Seeds – See You In The Stars
  27. Monophonics – Sage Motel
  28. Andy Bell – Flicker
  29. Spiritualized – Everything Was Beautiful
  30. Leah Weller – Freedom
  31. Pixy Jones – Bits N Bobs
  32. The Boo Radleys – Keep On With Falling
  33. Gabriel’s DawnGabriel’s Dawn
  34. Alex Lipinski – Everything Under The Sun
  35. The Gabbard Brothers – The Gabbard Brothers
  36. Triptides – So Many Days
  37. Ian M BaileyYou Paint The Pictures
  38. Gold Star – Headlights USA
  39. The Chesterfields – New Modern Homes
  40. Kevin Robertson – Teaspoon of Time
  41. The Boys With The Perpetual Nervousness – The Third Wave Of…
  42. Elvis Costello and The Imposters – The Boy Named If
  43. Nick Piunti and the Complicated Men – Heart Inside Your Head
  44. The Senior Service – A Little More Time With
  45. Bangs & Talbot – Back To Business
  46. Monks Road SocialRise Up Singing!
  47. Electribe 101 – Electribal Soul
  48. Ricky Ross – Short Stories Vol.2
  49. The Low Drift – The Low Drift
  50. The House of Love – A State of Grace
  51. Foxton and Hastings – The Butterfly Effect
  52. Graham Day – The Master of None
  53. Delvon Lamarr Organ Trio – Cold As Weiss
  54. Mark E Nevin – While The Kingdom Crumbles
  55. Paul Draper – Cult Leader Tactics
  56. Liam Gallagher – C’mon You Know
  57. Teddy and the Rough Riders – Teddy and the Rough Riders
  58. Brim – California Gold
  59. The Haven Green – To Whom It May Concern
  60. Steve Cradock – Soundtrack For An Imaginary Film

‘This album kind of took care of itself…’

Picture credit: @davidgleavephoto

We talk to Say It With Garage Flowers favourite, Nev Cottee, about his new great album, Madrid, which, with its lush orchestration, cinematic atmosphere and groovy, psychedelic sounds, soaks up influences like ’60s Scott Walker, Ennio Morricone, Lee Hazlewood, Leonard Cohen and Serge Gainsbourg.

If that wasn’t enough, we also ask him if it’s true he’s relocating from Manchester to the Spanish city the record shares its name with, and get some top tips on where to get the best tapas, menú del día and olive oil.

Not only that, but he also kindly shares with us some cautionary advice on drinking wine in the afternoon…

 

It’s mid-October and Manchester-based singer-songwriter, Nev Cottee, is speaking to Say It With Garage Flowers from his allotment.

”It’s a glorious day – autumnal vibes,” he says. “It’s good to crack out the tweeds and the layers, isn’t it? A proper pair of shoes, socks… get the coat collection on the go after the summer – it’s a good time of year. Everything’s died off, so I’m just drinking a cup of tea and being English, in my allotment. Does it get any more English?”

Ironically though, we’re here to talk about all things Spanish – in particular, his superb new album, Madrid, but, rather fittingly, it does have some glorious autumnal vibes – largely thanks to its lush, Scott 4-like string arrangements and Cottee’s Lee Hazlewoodesque baritone croon.

‘It’s good to crack out the tweeds and the layers, isn’t it? A proper pair of shoes, socks… get the coat collection on the go after the summer’

More on that later, but before we get into the background on the record, we want to confirm if the rumours we’ve heard about him relocating from Manchester to Madrid are true…

“I’m trying, but Covid kind of got in the way – my girlfriend is in Madrid,” he explains. “The dream is to get over there. Madrid’s great, but I’m kind of over living in cities. I’m at that age where it’s too busy, there are too many people and it’s too noisy.

“I live in the centre of Manchester, but I’ve got a little sanctuary – my allotment. I don’t know how I’d balance that in Madrid.

“My girlfriend’s from Granada – a town called Jaén, which apparently has the best olive oil in Spain. That’s been confirmed by various Spanish people – there’s big competition there – but it’s supposed to be the best of the best. So, that’s where I want to go, and eat lots of food with lovely olive oil on it. Let’s see…. in the next couple of years…”

‘I’m kind of over living in cities. I’m at that age where it’s too busy, there are too many people and it’s too noisy’

Meanwhile, back to autumn 2022… Madrid, which is Cottee’s fifth album and out now on Wonderfulsound, could just be his best record yet.

Recorded at OO Studios in Spain and The Magic Lantern in Wales, it’s lush, dramatic and cinematic – first single, Renunciate, is haunted by the spectre of Leonard Cohen, Silver Screen and The Ring sound like long-lost Lee Hazlewood songs, Under The Skin is pure Scott 4, but with Bollywood strings, the instrumental title track is weird and groovy Serge Gainsbourg-style pysch-funk – think Histoire de Melody Nelson – whilst Johnny Ray is Ennio Morricone on horseback with Hazlewood, galloping off into the sunset, and A Million Years is upbeat orch-pop with a classic ’60s feel.

“This album kind of took care of itself. I had about three or four songs – the first single, Renunciate, and a few others, and I built on those themes to get a coherent album,” says Cottee. “I’m a bit of a one for trying to curate an album, so it’s a work that hangs together.”

Picture credit: @davidgleavephoto

Q&A

When we last spoke, in 2020, for the vinyl release of your debut record, Stations, I asked you about your plans for the next album. You said you were working on a record with the working title of Solitary Singer and that you were listening to a lot of Scott Walker again.

You planned to go to Prague to record with an orchestra, to make a record that sounded like Scott 4, but you said that you’d also written another album – for a Lee Hazlewood alter ego.

You told me you wanted to write 10 songs that could stand up in the Hazlewood oeuvre. So, now you’ve got a new album out, Madrid, that sounds like Scott 4 and Hazlewood, as well as Leonard Cohen and Serge Gainsbourg, but it was recorded in OO Studios, in Spain, and The Magic Lantern, in Wales… How and why did the plans change? 

Nev Cottee: I was hoping to get a live orchestra on it, but it was far too expensive – even in Prague. Someone said Prague is cheap, but it was still coming in at several thousand pounds, plus it was in Prague… It sounded interesting, but, in the end, I worked with the same producer, Mason Neely – we’ve done five albums now.

He scores all my songs – he’s classically-trained. He knows what he’s doing – unlike me. I provide melodies and hints and ideas. I send him stuff that’s on my phone – I hum along what I think the strings should do, and then he adapts it into actual real music.

He’s got a team of musicians – he did a couple of days down in Wales, at Magic Lantern, in Wales. He had a cellist and a viola player, and we got cracking with the strings.

There’s a definite Scott 4 feel to some of the songs…

NC: There are elements of Scott 4 – that’s always going to be the case with my albums (laughs).

I gave Mason references. For the song, Under The Skin, I wanted a repetitive string loop – real strings, but as if they were done on a machine. I was referencing The Flaming Lips and Scott 4 to get that weird, repetitive psych thing going on.

There’s a song called Angels of Ashes on Scott 4, which is phenomenal – it builds, but you don’t realise that you’re just listening to the same chord structure, again and again. It hits you about three minutes in – it’s amazing how he takes you on that journey. I started off with that in mind. I was attempting that, but it became something else.

The strings sound quite Bollywood…

NC: You’re right – it’s the repetition. We wanted a live take, but as if it was done on an edited repeat loop. It was an experiment. I wanted The Flaming Lips to do a remix of it. I did a bit of work with Nell Smith – she did an album of Nick Cave covers with them. She met Nick Cave and I think she’s going to do a song with him.

Under The Skin is a bit psych and a bit trippy. The lyrics go down that road – there’s a drug psychosis thing going on. A geezer who’s lost somewhere, losing his mind. Who knows?

Mason and I did some mad instrumentals too – we were just kicking some ideas around and jamming, with the idea of making some songs, but then decided they didn’t need vocals, as they were great instrumentals.

The instrumental title track is groovy, cinematic and psychedelic…

NC: Yeah – it’s straight out of the Serge Gainsbourg book. It’s very drum-heavy – Mason’s amazing on it. We said, ‘Don’t hold back on anything – if you can get a drum fill in anywhere, or a bass run, do it. Keep playing crazy stuff for as long as you can and see what comes out’.  Nothing stays the same. There was going to be a vocal, but it was too mad to fit one on.

Did you have a definite idea of what you wanted this album to sound like?

NC: You’re always aiming for something, but then it just becomes its own thing. Once you’ve got two or three key tracks that defines the rest of the album – ‘Right, that’s got a single vibe, that’s a standout track, so let’s build all the others so it all fits together’…

My mate, Al, always tells me off when we’re in the pub, because he’s into albums that are really disparate and mad, like The White Album or 666 by Aphrodite’s Child – that’s his touchstone album. He says, ‘Just have loads of mad stuff and eventually it will sound good together’… I’m a bit of a one for trying to curate an album, so it’s a work that hangs together.

‘Mason Neely scores all my songs – he’s classically-trained. He knows what he’s doing – unlike me’

Maybe the ‘kitchen sink’ philosophy might be a good idea somewhere down the line – have some songs that have nothing in common and put them on an album… It would always have something in common because it would have my voice spread all over it – that’s the glue that ties it together.

This album kind of took care of itself. I had about three or four songs – the first single, Renunciate, and a few others, and I built on those themes to get a coherent album.

Have you renunciated anything recently?

NC: (laughs). No. I did a year of being a veggie but I like meat too much, and being in Spain, you’ve got not chance – you’re just going miss out on so much. If go out for menú del día [menu of the day], you get three courses and a bottle of red wine for about 10 euros. They introduced it to Madrid in the ’60s, for people who worked there but who didn’t have time to return home to make dinner.

Picture credit: @davidgleavephoto

The state, under Franco, implemented measures for certain cafés to sell menú del día. It’s good, cheap food – not amazing – but the standards are high in Spain because the produce is great.

The problem is that if you get a bottle of wine at one or two in the afternoon, you really do have to watch yourself… It’s dangerous out there! I don’t like drinking early, but, when you’re in Spain, there’s no other way. But then the Spanish stop, you see, but the English carry on…

‘Everyone wants to renunciate, but if you really want to do it, you’ve got to get to India, go halfway up the Himalayas, sit there in a loin cloth, do nothing and don’t eat – don’t even eat the snow’

The song, Renunciate, is very tongue-in-cheek. It’s about ideals. You always see these articles – on fitness and what to eat – the Sunday supplements are full of them. ‘Don’t eat that, do this, do that…’ The whole song’s an extreme version of all those ideas.

Everyone wants to renunciate, but if you really want to do it, you’ve got to get to India, go halfway up the Himalayas, sit there in a loin cloth, do nothing and don’t eat – don’t even eat the snow. They’re the renunciators – they’re the real deal.

We’re all sliding around at the other end of the scale: ‘I’m not going to smoke anymore – oh, I might have a cigarette’, or ‘I’m giving up drink for a month – oh, me mate’s going for a pint, sod it, I’ll go’….

I don’t think any of us have mastered the art of renunciation, if you want to do that, which I don’t think I do. When I was young, I had this idea that you would do that if you’d committed to being a yogi, but then you realise that life isn’t like that… Moderation is the key.

The song Johnny Ray sounds like it was influenced by Ennio Morricone…

NC: Yeah – that’s a song I’ve been playing live for quite a while. On some of Scott Walker’s albums, he has these beautiful ballads but he also throws in some songs in with that driving beat… I wanted to do that – it’s like Morricone too. Western and filmic. The lyrics are about an existential loner – that’s Johnny Ray, ‘God’s lonely man – a modern day Lone Ranger.’

‘God’s lonely man‘ is from Taxi Driver – Paul Schrader. Me and me mate always used to say it. It’s when you can’t get a girlfriend, you’re on your own and you’re drinking too much…

There are some Leonard Cohen influences on this record too…

I’m really into the late-period Leonard Cohen stuff – the three albums he did before he died. You Want It Darker is a masterpiece – absolutely wonderful. I was influenced by some of the instrumentation on that – a bit more stripped-down. It doesn’t have to be full-on drums and bass – you can use congas and percussive elements.

Two of my favourite songs on the album, Silver Screen and The Ring, both have a Hazlewood vibe…

NC: Hazlewood is always there. Silver Screen came out of a jam with Mason – heavy Serge bass. Those wacky and crazy songs he did – he used a lot of jazz musicians. Those pretty groovy drums and that deep, clicking bass.

I did my vocals with Martin Coogan. The song had a few lyrics – we sculpted this idea of a love of film and the silver screen. He said, ‘What you need to do is put some dialogue from a film on it’. At the time I was watching Albert Finney films – I went through his back catalogue and pretty much watched everything. I was on a Finney fest. Saturday Night and Sunday Morning is his pinnacle.

You get certain songs where they just arrive, fully-formed, in about two minutes. The Ring wrote itself – the words just tumbled out. It was the easiest thing in the world and was inspired by those duets Hazlewood did with Nancy Sinatra.

I did try to get a female vocalist on it – I asked Tess Parks, but she was dead busy and we couldn’t get into the studio. It was done remotely, but we just didn’t nail it. Maybe we’ll sort it for the next record.

‘I’m really into the late-period Leonard Cohen stuff – the three albums he did before he died. You Want It Darker is a masterpiece – absolutely wonderful’

So, what about that Lee Hazlewood alter ego album you wanted to make? What’s the plan for it?

NC: It’s demoed and it’s a thing in itself. It really does push the Lee Hazlewood button. I’m hoping to do some recording with Shawn Lee, but he’s just broken his leg, falling down the stairs – I saw that on Instagram. None of us are getting any younger.

When he’s better, I’m going to try and do the Hazlewood album with him. There are lots of duets on it. The Ring turned out really well for this album. I might have another go at it with a female singer.

‘I was speaking to the label about doing a Best Of. I want to call it Nevolution – the Best Of Nev Cottee’

There’s supposed to be a bit of a dialogue in the song, so that will probably end up on the Hazlewood album, but as a different entity. I really want to nail that Hazlewood sound, which is no mean feat.

The way I see it, I’ve done five albums now – that’s the end of that phase. I was speaking to Miles [Copeland] at the label [Wonderfulsound] about doing a Best Of – I want to call it Nevolution – the Best Of Nev Cottee. That will put a full stop on that phase and then we’re away…

Me and Mason have done what we set out to do with the albums – I think they’ve got better and better as we’ve progressed. We’ve tried lots of different things – we’ve done everything – it’s time to move on and try a different producer.

‘I remember George Harrison saying that he’d never listened to Revolver. I was like, ‘Bollocks – you’ve listened to it!’ But he was there – he doesn’t need to listen to it, does he?’

I’m not going to use Mason on the Hazlewood album – I want to move in a different direction and try other things. The Hazlewood one’s amazing – I think the songs are really good, if I say so myself.

I love this album [Madrid], but you’re always excited about the next thing… I’m sure you’ve heard many musicians say that – you’ve written it, you’ve demoed it, then you’ve recorded it, mixed it, mastered it, listened to it… By the time it’s out, you’re onto the next thing and you’re excited by that. I always used to think musicians and bands were being stuck up… ‘Oh, no – we didn’t listen to the album…’ I kind of get it now, ‘cos they were there when it was recorded.

I remember George Harrison saying that he’d never listened to Revolver. I was like, ‘Bollocks – you’ve listened to it!’ But he was there – he doesn’t need to listen to it, does he?

When you listen back to an album, all you hear are the mistakes – what you should’ve done and different ideas…

On that note, how were the sessions for Madrid

NC: It was the same drill – I’ve been working with Mason for a long time. I sent him the demos and he sent ideas back.  I went down there for a few weeks, back and forth… Once you know each other it’s good – you’ve got that shorthand with how you work – it’s fast – and you’re not afraid of saying the wrong thing.

Let’s talk about some of the playing on the record…

NC: I play guitar on it – a bit of acoustic and electric – and I did some basic keyboard strings that Mason then turned into stuff, and also some bass. Mason’s a drum man and he does a lot of keys and samples. We used Rod Smith, who is an old friend of mine, on backing vocals. I was glad to get Caroline Sheehan on this album – she’s an amazing vocalist who’s based in Manchester. If you follow her on Instagram, [you’ll see] she’s the busiest woman in the world. Jimmy Hanley played mandolin and a bit of guitar. He’s in a great band from Manchester called Small Black Arrows.

I was trying to get Little Barrie on the album, but I couldn’t get hold of him. He’s big mates with Shawn Lee. I’d love him to do some nice guitar work on the Hazlewood stuff – some ’60s vibes. So, pencil that one in.

Any live shows planned?

NC: Early next year – hopefully a UK tour. Six or seven dates. The band are all really busy – they’re all young, dead energetic and in other bands. They’re doing too much. What’s wrong with them? They’ll realise soon enough…. I’m doing some album playbacks and I might do a few acoustic shows.

‘I was trying to get Little Barrie on the album, but I couldn’t get hold of him. I’d love him to do some nice guitar work on the next record – some ’60s vibes’

You’ve done Madrid. Where next? Can we expect any more geographically-themed albums? Are you going to travel around the globe, stopping off at cities for musical inspiration? 

NC: [laughs]. I’ve love to do that. Imagine that – you just go to a country and call the album after wherever you are. That would be a good job. I’ve just been in Greece for three weeks. I was in Corfu and then I went island hopping.  I did it years ago and it was a dream to go back. I went to Poros, Spetses and Hydra, which is where Leonard Cohen lived in the ’60s. I went to his house – I did a pilgrimage. It was amazing.

Aerial view of Madrid La Latina district at sunset.  Photo: Eldar Nurkovic / Shutterstock.

I’ve never been to Madrid. Any recommendations?

NC: It’s all about knowing which bars serve the best free tapas and the best menú del día. The areas you need to go to are La Latina, Lavapiés and Conde Duque, which is great. Start off in Conde Duque – there are loads of bars there and there’s always live music. You can’t really fail – just wander around. It’s trial and error. The Spanish have sussed the eating and drinking part of life out, as well as the sun positioning – they’ve got that down as well – but I’m not sure about the political side of things.

 

Madrid by Nev Cottee is out now on Wonderfulsound. 

https://wonderfulsound.bandcamp.com/album/madrid

There are two album playback events in London and Manchester taking place this month: October 26 and 30, respectively.

Info on London here and Manchester here.

‘I hope my next album will sound like Scott 4. You’ve got to aim high’

 

Manchester singer-songwriter Nev Cottee’s 2013 debut album, Stations, has just been reissued on vinyl for Record Store Day by his record label, Wonderfulsound. 

It sounds like Lee Hazlewood fronting Spiritualized and when Say It With Garage Flowers first heard it, seven years ago, we said: “his atmospheric, late-night laments are steeped in Northern melancholy and laced with psychedelic effects and gorgeous string arrangements.”

We also compared his baritone voice to Scott Walker, Richard Hawley and Leonard Cohen, and named his haunting country-folk song Oslo as one of our favourite tracks of that year.

To celebrate this year’s vinyl release of Stations, we spoke to Nev about his memories of writing and recording his debut album, asked him about his misspent youth trawling Manchester record shops, and got the inside track on his next album – a collection of orchestral songs inspired by Scott 4. 

Q&A

How does it feel to have Stations out on vinyl?

Nev Cottee: It feels very good. I’m in-between albums at the moment – I’m in the process of finishing the next one – so it’s good to keep the momentum going and to keep things ticking over. It never came out on vinyl. For the first album, I wasn’t on Wonderfulsound – I did it off my own back, with a couple of actor mates, Jeff Hordley and Graeme Hawley, who, very generously, paid for some of the recording and for it to come out on CD and digitally. I wanted to get it out on vinyl eventually – it’s always nice to have it on a bit of plastic, with some lovely artwork. It was good timing with Record Store Day – it all came together.

Do you buy much vinyl?

NC: I used to – I buy the odd thing now and again. I dip my toe in. I did all my record buying as a youth. I used to spend an absolute fortune, when I had no money – we all did the same, didn’t we? Scouring the record shops of Manchester – that’s when I was really into it. Then I had to buy them all again on CD… Now I’m streaming and I think, ‘wow – I think I’ve bought this record three times now.’

I like to buy records at gigs – if I go to a gig and see a band I like, I’ll make a point of going to the merch stall. My vinyl days are done, but I DJ a lot and that’s when I get back into playing records – it’s a chance to dust off the collection. That’s when I’m thankful for my misspent youth. At home, I spin the odd record, but I listen to a lot of radio shows on my computer.

Do you have a favourite record shop?

NC: There are two in Manchester that I like – one is Vinyl Revival. It’s run by an old friend of mine, Colin White, and it’s been going for years. It’s a great shop – he’s a lovely guy and really knowledgeable. It’s great to go in, have a chat with him and see what he’s got.

I also like Piccadilly Records – I can remember when it used to be just off Market Street. They were friendlier in Piccadilly Records than they were in Eastern Bloc, where I had a bad experience with a condescending geezer behind the counter. I think everyone’s had an experience like that. I was only a kid – I was 14. He gave me grief for something I bought. I think my brother had recommended a band to me – it might have been The Inspiral Carpets, but I’m not sure. He took the mickey out of me – he was trying to be cool. When you went in Piccadilly there was a lovely, friendly vibe.

Stations was your solo debut. How do you feel about it now? Have you listened to it recently?

NC: I remember seeing George Harrison speaking on The Beatles Anthology documentary series – he said he’d not listened to Revolver since the day it came out. I thought, ‘bollocks – no way! Everyone listens to Revolver every day.’ I’m not comparing myself to George Harrison, but, in recent years, after releasing my own records, I’ve realised there’s no point listening to your own records, because all you hear are the mistakes and you think about the choices you should’ve made, but didn’t. It’s quite a frustrating experience – there’s not much pleasure to be gained from it. Plus the fact that while you’re making it, you’re listening to it continually for the whole process – mixing, mastering… Those songs become lodged in your brain. If you hear them out of context, like when you walk into a bar, it can be pleasurable. Saying that, I think Stations still stands up – it sounds pretty good and it’s quite lo-fi.

There are a few things I might have done differently, like made it a bit bigger production-wise, but maybe that’s its charm. It has almost a demo quality to it – we used a really basic drum machine on some of the tracks. Carwyn Ellis had a retro drum machine app on his phone. I like the feel of it. I wasn’t coming out all guns blazing – it’s a gentle introduction.

What are your memories of writing the songs and recording the album? 

NC: Writing the songs was a long process – it’s the same with every band’s first album, isn’t it? They’ve had a collection of songs that they got together when they started the band and they build on that. The songs were from over a five-year period. You’re always trying to second guess the first album, saying it will be the best one ever, but as you move on and do the next album, you’re less questioning – you just get on and do it.

‘I lead quite a solitary existence, so lockdown wasn’t a great shock to me. I was keeping it real and I was very productive. I had my studio set up and I started writing a lot of songs’

Recording it was a very quick process – we did it in Carwyn’s house, in Cardiff – me, Carwyn and Mason Neely, who has produced all my albums. We were up early doors and we did it in five or six days. It was very intense and it was good – we worked hard at it, from nine in the morning to seven or eight at night, but we broke off for a cup of tea every now and again. Everyone was really productive and it was really enjoyable.

Do you have a favourite song from it?

NC: Oslo – it’s the one that really came together and it has some great bass playing from Mason, which elevated what was a folky, picking song to something completely different. When he threw that bassline down, it blew my mind and I saw where we could go. That’s the joy of working with top mates and musicians who come up with great ideas and take songs to the next level. It’s a great collaborative process.

Let’s talk about 2020. How were you during lockdown and the Covid-19 crisis?

NC: I was OK – I lead quite a solitary existence anyway, so it wasn’t a great shock to me. I was keeping it real and I was very productive. I was in Manchester – I had my studio set up and I started writing a lot of songs. For the first few weeks it was quite a novelty, but then you just have one of those days… you’ve not seen many people, or spoken to anyone. We’re social animals and we need interaction – even if it’s just a quick ‘hello’ on the street. It must’ve been terrible for some people.

What can you tell us about the next album?

NC: I’m finishing my new album. I’m hoping to get it done by the end of the year. It has the working title of Solitary Singer. I’ve been listening to a lot of Scott Walker – again. I’m putting strings on it – I’m going big and I’m hoping to go to Prague to work with an orchestra. I hope it will sound like Scott 4. You’ve got to aim high. Watch this space.

For my sins, I’ve also written another album – I’ve created a Lee Hazlewood alter ego and I’m channelling the whole Hazlewood vibe. I wanted to write 10 songs that could stand up in the Hazlewood oeuvre and I’m very excited by them.

Stations by Nev Cottee is out now on Wonderfulsound.

https://wonderfulsound.bandcamp.com/album/stations-2020

 

How the North West was won

Remember life before lockdown? At the start of the year, all we had to worry about was how to cope with a massive, post-Christmas comedown – little did we know what was around the corner…

Luckily, as 2020 kicked off, here at Say It With Garage Flowers, we had Choke Hold, the debut single by UK Americana band West on Colfax, from Preston, to cheer us up. As we said at the time:Influenced by Teenage Fanclub, Big Star, Wilco and Son Volt, it’ll put a jangle in your January… 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.’

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

Now, five months later, after two more singles – the similarly jangly and equally irresistible Misty Morning Blue and the ragged country-rock of Barfly Flew By – as well as an impromptu EP called Lockdown Lowdown, which was hastily put together while the band members were in isolation and showcases a more mellow, acoustic side to their sound, including the gorgeous, banjo-assisted ballad, Back Out On The Run, West on Colfax are gearing up to release their first album Barfly Flew By.

It’s already one of our favourite records of the year. From the ’70s Rolling Stones country feel of The Line, with its bluesy guitar licks and warm Hammond organ, to the late-night barroom romance of Cowgirl of the County (“She was the cowgirl of the county – she leant into me gently. We chose the songs on the jukebox – I don’t think I’ve been as happy”), the twangy Tinsel Heart, the rough and ready, battered and beaten-up road trip of Tyre Marks (“The tyre marks you left across my heart are all that’s now left…”) and the world-weary, yet, ultimately, optimistic, electric piano-led ballad, Light Again, which closes the album, it’s clear West on Colfax wear their classic country, rock ‘n’ roll and Americana influences on the sleeves of their well-worn plaid shirts. These are songs that are best listened to while staring at the bottom of your glass, but they also have a reassuring warmth to them. The band describe their music as, ‘tales of love, life and hard-lived lives but with hope.’

In an exclusive interview, we chat to Alan Hay (vocals and guitar); Scott Carey (bass) and Pete Barnes (lead guitar and vocals) about the roots of the band, get the inside story on the writing and recording of the new LP, find out how these barflys have been coping with the Covid-19 lockdown and ask them to tell us what music has been keeping them sane…

Q&A

How did the band come together?

Alan Hay: I came across some guys who were looking for a singer – Wilco were mentioned, so I was in! We were just doing cover versions and it was very casual, but, after a while, I approached Scott with the idea of doing some original stuff and taking things a bit more seriously.

Scott Carey: I met Alan when I was in a fledgling Americana covers band called The Low Highway and we needed a singer. Alan answered the ad and although he’d never sung in a band before there was something about him. We became friends very quickly, bonding over our love of Americana music. Someone suggested doing a couple of our own original songs. I was reticent at first, as it’s hard pushing your own stones up a hill.

The covers we were doing were fairly obscure to your average pub punter – Wilco, The Jayhawks, Mudcrutch, Richard Hawley, The Band etc. Alan asked me if had any lyrics? I said, ‘No – but leave it with me.’ That night I sent him the words to The Line, which is the second track on our album, and he turned it into a song that we actually liked.

Alan Hay: vocals and guitar

That opened the floodgates and led to The Low Highway set becoming mostly originals. Since then we’ve written enough for four albums and we’re still going. We had some line-up changes and then Alan and I decided to give it a go [as West on Colfax]. We then found a great lead guitar player, Pete Barnes, through an advert, and changed our drummer three times! We’ve just got together with a multi-instrumentalist called Ian Aylward-Barton, who has provided the final piece of the puzzle.

‘I came across some guys who were looking for a singer – Wilco were mentioned, so I was in!’

Pete Barnes: I joined Alan and Scott in very early 2018. They already had the band name and were working on some originals of theirs with a drummer, Adrian, and keyboard player, Nick. I was looking for something to do musically and their ad caught my eye, as it was very different to the usual – it was specific, pretty straightforward and name-checked some lesser-known bands that I was into, like Whiskeytown. The problem was that the ad was for a drummer, not a guitar player. I answered it anyway, and I thought, ‘well I can probably hire a kit for a bit and I know I can bash out a basic beat’.

As it transpired, the original drummer, Adrian, had re-joined the band in the meantime, so Scott, having discovered I was really a guitar player, asked me to come down and try out on guitar. I quickly relaxed and realised they were a good bunch of guys – the music came together really naturally. We played a few gigs and recorded a couple of songs, Stars and The Line, then, a bit later, Adrian decided playing originals wasn’t really his thing so he left, followed by Nick a few months later. Eventually we found Mike to play the drums, and then Ian joined more recently.

The band name is a reference to the work of songwriter and author Willy Vlautin (Richmond Fontaine, The Delines), isn’t it? The first album by The Delines is called Colfax

SC: Yes. I had the phrase ‘West on’ for a couple of days and was playing Colfax by The Delines. I asked Alan if West on Colfax would be a cheesy name? He said it wouldn’t. Shortly afterwards I went to a book reading and a performance by Willy Vlautin and The Delines. I told him about the name and he seemed genuinely chuffed. He signed my copy of his novel Don’t Skip Out On Me: ‘To West on Colfax – good luck with your band!’

You’re based in Lancashire – the North West. What’s the Americana scene like there?

SC: We all live about a 20-mile radius away from our base, which is Preston. We have been trying to start a scene there, putting on a quarterly Americana night at The New Continental, whose promoter, Rob Talbot, is really supportive of us.

We’ve built it up with regular people returning and we’ve been making friends along the way with local bands that we’ve put on : Red Moon Joe, The Amber List, Simon James and the River Pilots, and The JD Band, as well as artists from Manchester: Matt Grayson lead singer of The Swells, and Cornelius Crane.

We’ve played with Matt Hill [aka Quiet Loner] – I worked with him in London – and Nev Cottee, who I played with in Seventh House and also in the first line-up of his solo band. We’d like them to appear with us in Preston in the future.

You’ve had a busy year so far. You put out your debut single, Choke Hold, in January, then you followed it up with two more, plus the Lockdown Lowdown EP, and now your debut album is out soon. How has the Covid-19 lockdown affected you as a band? Obviously it’s meant that you haven’t been able to play any gigs…

SC: The album was going to have three different songs on it, but lockdown put that on hold, so we’ve been sending songs to each other during isolation. We’ve been able to look at a more acoustic sound, which we will be exploring more in the future, in tandem with the more upbeat material.

AH: The lockdown has probably affected the band more than any other part of my life – a lot of things have just carried on as normal, but with minor disruption. Yes, we’ve had to rethink our plans for 2020, but I suppose we’re fortunate that we don’t rely on our music to make a living. I’m lucky that I’ve been able to carry on going out to work as normal, so haven’t had the psychological or financial worries that a lot of people have had during lockdown.

Scott Carey: bass

‘We’ve been sending songs to each other during isolation. We’ve been able to look at a more acoustic sound’

PB: Lockdown has been strange for us, as it has for everyone. We are all key workers, so we’ve still been going to work, or working from home, but obviously, we’ve had no rehearsals or been meeting up. On the flip side, it has been quite productive, as we’ve produced the Lockdown Lowdown EP, which contains songs that may not have come out yet under normal circumstances. In fact they weren’t originally planned for the LP, but we decided to put them together with some stuff we recorded late last year, to balance the album out.

I think it makes for an interesting listening experience overall. Also it’s a good indication of where the band are at right now and where we may be heading in the future, as there is a broader mix of styles on there than we might have had if it were not for the lockdown changing everyone’s circumstances.

Let’s talk about your album, Barflew Flew By. How was it written and recorded?

SC: Alan and I wrote most of the songs on the album, but I wrote the lyrics for the track Barfly Flew By and Pete turned it into a song. He also wrote Back Out On The Run, which is wonderfully catchy and mellow – it’s our Elizabeth My Dear.

The process is that I write the lyrics, which are mainly about lessons learnt through life and past experiences, or imaginary characters, like in Barfly Flew By and Cowgirl of the County.  Then I give them to Alan, who has the hard job of making them into something we want people to hear. For every track that makes it, there are two that don’t.

AH: We didn’t have to write songs specifically for the album – a lot of the songs had been around in the live set for a few years, but some weren’t intended for this record. We had about half the album recorded, but lockdown forced us to re-think. It’s not the album we intended to make, it’s born out of circumstance, but I’m glad about that. I think it’s got more balance to it than it might have had.

PB: Whoever has an idea brings it to rehearsal and we all try to contribute and improve on it. It’s a fairly democratic process and I have found there is a lot of room in Scott and Alan’s songs for me to add things and play quite freely. The arrangements get shaken out a bit during rehearsals and, again, it’s quite open. We seem to have a pretty natural chemistry, so it never feels like we have to force anything – it tends to come quite easily. We’re just moving into me doing lead vocals for my own songs, like Back Out On The Run, which, hopefully, will broaden our sound a bit more.

‘We recorded most of the album straight to tape, so we captured a live performance for the basis of each track – it’s not perfect, but I think that’s good. Imagine the Felice Brothers recorded to a click track – that would be awful!’

SC: We recorded the album with Matt Gallagher and his pal David Shurr, who are both really good artists in their own right, at The Premises in Preston. Wilco are one of Matt’s favourite bands and Sky Blue Sky is his favourite LP – I agree with him on that, so I knew he was the right person to record with. We hit it off instantly.

We recorded most of the album straight to tape, so we captured a live performance for the basis of each track, like bands used to do. It means it’s not perfect but I think that’s good. Imagine the Felice Brothers recorded to a click track – that would be awful! They’re a much better band than us, but we love that vibe.

The first single, Choke Hold, reminds me of Teenage Fanclub…

SC: Yes – we’re huge fans. Teenage Fanclub sound like Big Star, who in turn, wanted to be The Byrds – it’s linear. We’re all looking back to go forward. That said, we believe we have something to offer – we’re more than a tribute act and we are proud of our songwriting. Our other influences are Drive-By Truckers, Richmond Fontaine, The Byrds, R.E.M, Golden Smog…

AH: We have some of the same influences as Teenage Fanclub – The Byrds, Big Star etc. I’m a big fan. Wilco are a huge influence as well – the list is endless, I think all the music you absorb during your lifetime has some influence, whether you realise it or not.

PB: Alan and Scott love Teenage Fanclub – that comparison has been made a lot. They never featured in my imagination much, to be honest, but since joining the band I’ve listened to them for the first time and appreciate them a bit more.

Pete Barnes: lead guitar and vocals

We all have different influences. Aside from the obvious Americana ones we share, like Neil Young, War On Drugs, Wilco, Whiskeytown, The Jayhawks, The Byrds etc, I also listen to other genres – all sorts. I think the other guys are the same. We like anything that’s good, really – we’re all massive music fans. Sixties stuff like Love, as well as folk music, like Bert Jansch and John Martyn, are influences.

‘Guitars are where it’s at for us, but we’ll listen to anything within reason. Influences only get you so far I guess – it’s when you start doing your own thing that it gets more interesting’

I’m getting into Townes Van Zandt and I also quite like some early ‘90s shoegaze-type bands like Slowdive – their most recent album is fantastic. Those very early Verve singles and their b-sides, Gravity Grave, She’s A Superstar and Feel, as well as their first album, A Storm In Heaven, meant a lot to me growing up, along with some some ‘70s punk and New Wave. The Pogues and The Dubliners are in there too, as well as Miles Davis and Can, and some ambient/electronic music too. Guitars are where it’s at for us, but we’ll listen to anything within reason. Influences only get you so far I guess – it’s when you start doing your own thing that it gets more interesting. I think, in truth, we’re all probably more obsessed with our own band than any other.

I think your song The Line sounds like The Rolling Stones at times…

SC: I’ll leave Alan to answer that, but being told we sound like The Stones and Teenage Fanclub is okay by me.

AH: It’s a fair comment. I love The Stones and I wrote the music in an open G tuning, on a Telecaster, so maybe that was inevitable. The Line was the first song Scott and I wrote together. I love the lyrics – there are some great lines in there.

Back Out On The Run is one of my favourite songs on the album – it has a more stripped-down, traditional country/ Americana feel than some of the others. What can you tell me about it?

PB: The song is a pretty dark, small town love story about truth, retribution and freedom. It’s about long-lost lovers brought back together by seismic events. It’s quite a short track on the album, but it’s like a mini movie in my head.

‘I’ve gone through some bleak years, which I thought would crush me, but I’m still going. I’ve leant on songs my whole life. I hope we can prop someone up, if only for three minutes – that would mean everything’

I wrote the song pretty quickly and recorded it at home. It’s really just me playing guitar and singing, with a bit of extra guitar and backing vocals, so it is simple and stripped-back. A bit later Ian put his banjo on and that was it. I really like the energy and simplicity of it. It does sound a bit different to the other songs and it’s a new direction for us, which I’d like to take further and build on.

SC: Pete sings on it and he has just a natural ability to sound melancholy, but be darn catchy while doing it. I wake up with that song and Light Again in my head a lot.

Let’s talk about Light Again, which is the final song on the album. It’s about being world-weary – someone who is being dragged down by the toil of everyday life, but it’s ultimately an optimistic song isn’t it? It feels apt for these times.

SC: Yes – exactly. It’s about depression and how it’s circular. Dark times and good times. It’s a message of hope, of saying: ‘look you’re down now, but hang on, you’ll get through it’. I’ve gone through some bleak years recently, which I thought would crush me, but I’m still going. I’ve leant on songs my whole life. I hope we can prop someone up, if only for three minutes – that would mean everything.

In true Americana fashion, there’s a fair amount of melancholy, heartbreak and drinking on the album. When it comes to the drinking, I’m particularly thinking of the title track and Cowgirl of the County. What can you tell me about those songs?

SC: Barfly and Cowgirl are two sides of one coin. They are about how men in general deal with problems from the bottom of a jar. The character in Cowgirl realises he’s just like his dad but is rescued by love. The Barfly character has no such luck – he’s damaged and broken and lives out his days in a perma-neon lit gloom, where hope is for others. The guy and his ‘friends’ who live this life aren’t hopeless, but have resigned themselves to it – that is all there is for them.

 

Are you big drinkers?

SC: I used to drink heavily, but not now, as it doesn’t help me.

AH: I’ll give you the same answer I give my doctor – I enjoy a small sherry on the Queen’s birthday.

PB: I think we all like to have a drink to unwind sometimes.

Have you written and recorded any new songs during lockdown?

SC: I’ve written five new lyrics, which I’ve sent to Alan. He’s put them on the pile and I’m waiting to see how they’ll turn out.

AH: We’ve always got songs on the go. We recorded our EP in lockdown but didn’t write the songs at that time.

What are your plans for the rest of the year? Will there be another single from the album? Will you be playing gigs when the live music scene returns?

SC: We have some songs we’ve already worked on that are lined up for another album – we’re getting them to a stage where we can record again. We want to play some gigs. There’s a country music festival in Wrexham at the end of August – I just hope it happens. We were looking at doing an Americana all-dayer at The New Continental – it may now have be a Christmas special.

AH: I don’t see another single coming from this album, so the next release will be something new. We had a couple of exciting gigs lined up that had to be postponed, so we’re looking forward to new dates for those.

You’re releasing your material on your own label, Greenhorse Records. Do you plan to sign any other artists to it?

SC: Yes. For now it’s a vehicle for West on Colfax, but I want to put out a compilation of the bands that have played our Americana night. In the future we’d love to put someone else’s record out, if we find the right album.

 

What’s been your lockdown soundtrack? Any recommendations?

PB: I’ve quite liked the quieter lifestyle to be honest, and having some time to be more relaxed and not rushing about everywhere. Music-wise, I spend a lot of time listening to our band or my own songs that I’m working on. Other than that I’ve been listening to The Jayhawks’ Tomorrow the Green Grass for the first time in a long while, and I’ve heard a bit of the new Jason Isbell album [Reunions], which is quite good. I’ve also been listening to Tennessee Square by Whiskeytown and I’ve really got into Sunflower Bean over the past couple of years. I think they’re a brilliant group  – a fantastic rock ‘n’ roll band and great musicians and songwriters.

‘Our label, Greenhorse Records, is a vehicle for West on Colfax, but we’d love to put someone else’s record out, if we find the right album’

I heard Elephant Tree on the radio recently for the first time and I really like their new album Habits – it’s a bit like Alice In Chains meets Slowdive. It’s not very Americana, but I’m into any genre really, as long as it is good music and moves me.

I briefly met Joana Serrat after she supported The Delines in Bury last year and I picked up a copy of her record Dripping Springs, which is a great album. The songs are simple but well arranged and accompanied. It sounds very natural and immersive – she has a beautiful voice.

AH: There’s so much good, new music around and it’s so accessible that it’s hard to keep up. My daughter bought me the re-release of OK Computer on vinyl, which has rekindled my love of Radiohead so, yeah, I’ve been listening to a lot of Radiohead.

SC: Of late I’ve been listening to Dropkick – we want them to come to Preston, so we’ve discussed gig swapping in the future. I’ve been watching Peter Bruntnell’s home gigs streams, as well as Wilco gigs on YouTube, and I’ve been listening to Jeff Parker’s new LP, as well as various old stuff. I’ve made a Spotify playlist – some of the tunes that are helping us keep sane.

 

You can listen to West on Colfax’s lockdown soundtrack here.

Barflew Flew By (Greenhorse Records) is released on June 17.

https://westoncolfax.bandcamp.com/

 

 

 

 

 

Best Albums of 2019

From a haunting and cinematic masterpiece about love, loss, grief and existentialism to power-pop, New Wave, pastoral country-rock, Americana, lo-fi Beachboys sounds, psychedelic blues and dark disco, Say It With Garage Flowers chooses its favourite albums of 2019…

2019 was an emotional year for me – I became a dad for the first time. In March, my wife, Susie, gave birth to beautiful twin boys, Ronnie and Roddy, and our world changed forever… I’ve always been over-sensitive, but such a major life event left me feeling even more sentimental and soft-centred, which undoubtedly had a major influence on which album I would choose as my favourite record of the year – Ghosteen by Nick Cave and The Bad Seeds.

The first record he’d wholly written since the death of his teenage son, Arthur, in 2015, and the third album in a loose trilogy, Ghosteen is a haunting and cinematic masterpiece.

Its lyrics tackle love, loss, grief and existentialism and are set to minimalist, otherworldly and ambient soundscapes for synth, piano and strings. At times, the songs are extremely harrowing, but also moving, beautiful and optimistic. A double album, Cave said of the record: “The songs on the first album are the children. The songs on the second album are their parents. Ghosteen is a migrating spirit.”

When I first heard it on an overcast October morning, I was astounded by the stunning opener, the mesmerising Spinning Song, reduced to tears by the second track, the piano ballad Bright Horses, and by the third song, the plaintive and hymn-like Waiting For You, I was in bits…

The album’s closing epic, Hollywood, which clocks in at just over 14 minutes, is one of the most astonishing pieces of music I’ve ever heard. It’s stripped-down, brooding and atmospheric, with eerie electronic effects, a ghostly choir and low, rumbling bass in the background – like waiting for an oncoming storm to strike…  Ghosteen is truly stunning – a career high point.

Several of Say It With Garage Flowers’ favourite artists put out great albums in 2019. We’ve highlighted just a few of them below. There’s also a list of our 40 best albums of the year at the end of the article and an accompanying Spotify playlist – we’re really spoiling you…

English husband and wife duo The Rails – James Walbourne and Kami Thompson – released their best long-player yet. Cancel The Sun – their third record – was produced by Stephen Street (The Smiths, Morrissey, Blur) and saw them moving further away from their folk-rock roots – Kami is the daughter of Richard and Linda Thompson – cranking up the electric guitars and embracing power-pop and New Wave, (Call Me When It All Goes Wrong, Ball and Chain, Waiting On Something); ‘60s-style country-soul (Something Is Slipping My Mind) and Beatlesy psychedelia (the title track).

Hollywood is one of the most astonishing pieces of music I’ve ever heard. It’s stripped-down, brooding and atmospheric, with eerie electronic effects, a ghostly choir and low, rumbling bass in the background’

Their gorgeous trademark harmonies were still in place and there were some folky ballads (Mossy Well and Leave Here Alone), but this time around, James, whose other job is as the guitarist in The Pretenders, really cut loose and pushed his extraordinary playing to the fore.

Cancel The Sun was very instant and direct – it didn’t mess around and had a harder, poppier feel than their last two records. Speaking to us earlier this year, Kami said: “This time, we didn’t rule anything out – we just wanted to make a bigger record.”

Commenting on working with Stephen Street, James said: “We wanted someone a bit different – who would take it forward – and who had perhaps more of a rock edge. We were thinking of the sound of Graham Coxon’s [Blur guitarist] solo records – in-your-face guitar.”

When we told James that we thought they’d made their best yet, he said: “That’s very kind of you – I appreciate that. After you make a record, there comes a point when just you don’t have a f***ing clue about what you’ve just done. This record is a truer reflection of what we listen to.”

James also cropped up on two of Say It With Garage Flowers’ other favourite albums of 2019 – he played guitar on two tracks on Spread The Feeling, the long-awaited new record by the Pernice Brothers, which was a brilliant mix of Smiths and New Order-like jangle-pop, ’80s US  New Wave and melancholy Americana, and also turned in a neat guitar solo on the country-folk song You Can Help Me, which featured on Manchester crooner Nev Cottee’s latest album – the superb River’s Edge, which was influenced by ’70s Neil Young, Crosby, Stills & Nash and Tom Waits, and had an optimistic, mellow and pastoral feel. Produced by Mason Neely (Wilco, Edwyn Collins), River’s Edge was a beautiful album. Highlights included Nightingale, a nocturnal, Tom Waitsian lullaby with piano and brass, and the Nancy and Lee-esque ballad Roses – a duet with mysterious guest vocalist Veronica, who sounded like Nico. The first single, Hello Stranger, was cinematic psych-rock, with a [Cortez the] killer, Neil Young-style electric guitar solo.

‘Nev Cottee’s latest album, the superb River’s Edge, was influenced by ’70s Neil Young, Crosby, Stills & Nash and Tom Waits, and had an optimistic, mellow and pastoral feel’

Talking to Say It With Garage Flowers about the album, Nev said: “I wanted to do something that was acoustic-based and had a few piano songs – to take it into Neil Young territory, but, in the end, it didn’t end up like that, as other influences got in the way. Ultimately, what I found out is that only Neil Young can do Neil Young songs and I’ve got to do mine…”

Cottee was part of the stellar cast of artists who contributed to this year’s two albums by the Monks Road Social collectiveDown The Willows and Out Of Bounds – headed up by Blow Monkeys frontman Dr. Robert. 

Recorded over two 10-day sessions in the residential Monnow Valley Studio in Monmouth, Wales, the records are two of the most eclectic collections of songs you’re ever likely to hear – from jazzy comedown ballads to Balearic beats, to soul, psych-rock, folk, drum and bass, country, blues, indie-rock and funk, they’re a melting pot of musical ideas and feature a seriously impressive line-up of guests.

Over the two albums, Dr. Robert’s collaborators include – wait for it, take a deep breath… singer-songwriter Kathryn Williams; Matt Deighton, guitarist and frontman of ‘90s acid-jazz outfit Mother Earth, who’s played with Paul Weller and Oasis; keyboardist Mick Talbot of The Style Council; drummer Steve White (The Style Council and Paul Weller); UK blues singer Angelina; Dick Taylor of ‘60s rockers The Pretty Things; Northern Irish artist Pat Dam Smyth; Brand New Heavies vocalist Sulene Fleming; London-based singer Samantha Whates; Midlands mod-soul band Stone Foundation; Nev Cottee; orchestral arranger Ben Trigg (Richard Ashcroft and Dexys Midnight Runners) and percussionist and programmer Steve Sidelnyk – to name but a few…

Dr. Robert oversaw the production of the albums and was also responsible for writing – and co-writing – many of the tracks, some of which are new versions of songs that have appeared on his solo albums, while others were penned especially for the project, or brought to the table by those involved. The Monks Road Social collective are playing their first ever live show, in London, at the Jazz Cafe, in 2020, and Say It With Garage Flowers hopes to be there.

‘The Monks Road Social records are two of the most eclectic collections of songs you’re ever likely to hear – from jazzy comedown ballads to Balearic beats, to soul, psych-rock, folk, drum and bass, country, blues, indie-rock and funk, they’re a melting pot of musical ideas’

Telling us about the making of both the records, Dr. Robert said: “We recorded both albums in separate 10-day sessions in Monnow Valley Studios, down in Monmouth.

“They were pretty intense sessions, but since my only vice these days is coffee, I was up for it! I did quite a bit of preparation beforehand, because I knew it would be crazy, and, if I didn’t have a plan, it could have all gone a bit Pete Tong…”

Dr. Robert

He added: “As we began to assemble the players, something kicked in and we were drawn together by intrigue and a mutual love of playing music for its own sake. That bit was important – there has to be joy and a spark – the gold dust is in the groove…”

Isle of Wight-based singer-songwriter Angelina – part of Monks Road Social – released her second album, Last Cigarette, this year.

Written in the aftermath of a failed relationship, it was raw, visceral, menacing and angry – a heavy and psychedelic, garage-rock blues record that was a lethal cocktail of dirt, dust, diesel and Louisiana swamp juice.

Scorching opener, Throw Petrol At The Sun, had an oily, clanking rhythm and manic, trippy flute, first single, Devil’s Wishing Well, was built on a funky, Beck-like groove, See Through Dress was a smouldering, late-night tale of getting revenge on a soon-to-be ex-lover – she takes his last cigarette and stubs it out on the dress he bought her – and the riotous, rock ‘n’ roll gospel-soul of God Bless The Road was inspired by playing a gig in a Berlin biker bar, with bonfires burning outside.

‘Written in the aftermath of a failed relationship, Last Cigarette was raw, visceral, menacing and angry – a heavy and psychedelic, garage-rock blues record that was a lethal cocktail of dirt, dust, diesel and Louisiana swamp juice’

The album saw Angelina reunited with Rupert Brown (drums, percussion, auto harp and backing vocals), who worked on her debut album, 2016’s folky and rootsy Vagabond Saint, but this time around she recruited ace electric and slide guitarist Barrie Cadogan (Little Barrie, Primal Scream, Edwyn Collins), and The James Hunter Six’s Jason Wilson on double bass.

Session musicians Joe Glossop (keys) and Gary Plumley (flute) were also along for the ride, as were five singers from the People’s Choir of St Louis.

Speaking about the influences behind the album, Angelina said: “I love the sound – and the truth – of those early blues artists, like Blind Willie Johnson, Ma Rainey and Charley Patton, but it wasn’t a conscious design to make a blues record – that was just what came out naturally…”

She added: “I always try and walk on the sunny side of the street, but I do have a habit of finding the shadows…”

Another artist who is no stranger to the darker side of life is gravel-voiced Mark Lanegan, who released his eleventh studio album, Somebody’s Knocking, in 2019.

On the track Penthouse High, he sang: “There’s ghosts inside this house…” It sounded as if the place was haunted by the spectre of Joy Division’s Ian Curtis, as the Manchester post-punk band – and the outfit they morphed into, New Order – were two of the most obvious influences at work on this record. Name and Number was powered by a doomy, Peter Hook-style bassline, which also sounded like The Cure, Playing Nero was all ’80s synths and drum machines and Dark Disco Jag had a sinister electro groove.

Lanegan also made another album this year – Downwelling, which was attributed to Not Waving and Dark Mark. A collaboration with experimental producer Alessio Natalizia, it explored dark electronic territory and served as a great companion piece to Somebody’s Knocking. 

Now for something a bit lighter… Summer Deluxe, the fifth solo album by Hampshire-based, UK singer-songwriter and multi-instrumentalist, Mike Gale, was one of the most gorgeous records Say It With Garage Flowers heard this year.

‘On the track Penthouse High, Lanegan sang: “There’s ghosts inside this house…” It sounded as if the place was haunted by the spectre of Joy Division’s Ian Curtis…’

Adding samples of strings, piano and organ to drum machines, synths, guitars and harmonies, Mike, formerly of Americana band Co-pilgrim and, before them, cult noughties indie-slackers Black Nielson, crafted a blissed-out, lo-fi summer soundtrack that was heavily influenced by The Beach Boys.

There were pure pop moments (Jump Start My Heart and Shoot Shoot The Needle), wonky synth sounds (You Know How I’m Feeling Now) and jazzy tinges (Every Cloud Has A Cloudy Lining), but lurking beneath the sunny, surf’s up melodies, there was an undertow of sadness and world-weariness.

Say It With Garage Flowers has been championing Canadian singer-songwriter Jerry Leger since we first heard his brilliant double album, Nonsense and Heartache, which came out in 2018. It was one of our favourite records of that year.

‘There were pure pop moments and jazzy tinges, but lurking beneath the sunny, surf’s up melodies, there was an undertow of sadness and world-weariness’

This year’s follow-up, Time Out For Tomorrow, was another album that we fell in love with. From the Dylanesque country-rock of first single Canvas of Gold – with slide guitar and organ – to the melancholy, piano-led ballad That Ain’t Here, the blues-folk of Burchell Lake – inspired by a ghost town in Ontario – and the haunting and cinematic mountain tune, Survived Like A Stone – with fiddle and saw – these were raw, powerful and emotional songs.

Asked about the sound of the new album, Jerry told us: “It’s a nice, short and sweet, lean and mean record. Two records I really dug the sound of that I wanted to capture on this record were Nick Lowe’s The Impossible Bird and one of my favourite Lou Reed albums, Coney Islnd Baby – I love that dry drum sound and the real directness of it. Some of the songs just coast along. I also like a lot of Nick Lowe’s older records with Rockpile, where he doubled the electric guitar solos. I doubled my vocals on some songs.”

Here There’s No Sirens, the debut solo album by Pete Gow (ex-Case Hardin) was a brilliant collection of stripped-down, intimate and very personal songs, with acoustic guitar, orchestral arrangements, brass, piano, drums and organ.

Produced by multi-instrumentalist Joe Bennett, (Dreaming Spires, Co-Pilgrim, Raving Beauties / Paul McClure) at Farm Music Studios in Oxfordshire and released on Clubhouse Records, it was both beautiful and unsettling. Opener One Last One Night Stand set the tone for most of the record – it was a big, honest, relationship ballad with a breathtaking cinematic backing, while the song Mikaela sounded like early Ryan Adams, but with mournful horns and sweeping strings.

‘Here There’s No Sirens, the debut solo album by Pete Gow, was a brilliant collection of stripped-down, intimate and very personal songs, with acoustic guitar, orchestral arrangements, brass, piano, drums and organ’

There were also character songs  – the majestic Some Old Jacobite King was steeped in the storytelling tradition and was inspired by a trip to the remote Isle of Skye, while Strip For Me centred on a guy who treats women in a thoroughly unpleasant way – and it name checked porn actress and stripper Stormy Daniels, who was involved in a scandal with U.S. President Donald Trump. Pete Gow also released a limited edition seven-track mini album called The Fragile Line in 2019 – it too was one of our favourite records of the year.

Another Americana album we enjoyed this year was Carousel, by UK singer-songwriter Luke Tuchscherer. A stark and moody solo acoustic record – guitar, voice and harmonica – that was laid down in one day at a studio in New Jersey, it didn’t shy away from addressing political and social issues and was inspired by Neil Young and Bob Dylan.

Opener, My Darling England, dealt with social issues, including class and national identity – the song was written 15 years ago, but, in these troubled times and with the spectre of Brexit looming over us, it was eerily prescient: ‘Now the streets are filled with shadows, every house has its own ghost. The people are growing restless – never getting what they want the most…’

Violets tackled domestic abuse, Potash was penned during the Iraq War and The Night Tom Petty Died  documented how one of Luke’s musical inspirations passed away just as he’d moved to New York from the UK: ‘Sitting at the bar in the Tribeca Tavern, on the jukebox was Learning To Fly – a beer cost more than I could spend. I wished that I was home…’

‘A stark and moody solo acoustic record that was laid down in one day at a studio in New Jersey, Carousel didn’t shy away from addressing political and social issues’

Luke cited Neil Young and Dylan, specifically The Freewheelin’ Bob Dylan album, as his reference points for the record, as well as Townes Van Zandt and Elliott Smith, but, at times, it also reminded us of Bruce Springsteen’s 1982 masterpiece Nebraska – our favourite album by The Boss.

2019 was a decent year for new music, but a bad one for politics, however, some good did come out of the current dire state of the UK, as West Midlands-based singer-songwriter Vinny Peculiar was inspired to write While You Still Can – a socio-political album that took a wry look at the situation the country found itself in. This time around, he made a harder, darker and rockier record with a political edge and plenty of social commentary, but he didn’t dispatch with the vintage pop culture references that we know – and love – him for.

Man Out Of Time was rollicking country-blues with a lyric about the ’70s glam rock years of his youth, while Culture Vulture’s Led Zep-inspired riffs were a nod to his Black Country rock roots. The synth-heavy Ministry Of Fate concerned itself with government media blackouts, Scarecrows was Bowie-esque, robotic funk meets plastic soul and the post-punk, heavy indie-rock of Pop Music For Ugly People tackled political opportunism and personal greed.

‘2019 was a decent year for new music, but a bad one for politics, however, some good did come out of the current dire state of the UK Vinny Peculiar was inspired to write While You Still Can – a socio-political album that took a wry look at the situation the country found itself in’

Question Time – Say It With Garage Flowers’ favourite track – was a Smiths-like, jangly pop song, but with a lyric about a missing female politician, told from the point of view of a suspect under interrogation.

In an interview with Say It With Garage Flowers, Vinny said: “It’s impossible to avoid politics nowadays – things are so polarised, opinions so righteous, news feeds ever omnipresent… This album is a reaction, in parts, to all that and from speaking to people on the sharp end of this Government’s austerity programme – teachers, nurses and shop workers. These are torrid times.”

With Brexit looming, who knows what 2020 will bring, but, rest assured, I’m confident that, like 2019, it will be another great year for new music. I’ve already had a sneak preview of three albums that are due out in 2020 – no spoilers here – but it’s safe to say that they’ll be high up on Say It With Garage Flowers’ list of our favourite records of next year…. In the meantime, here’s our 40 best albums of 2019 and a Spotify playlist to go with them. It’s been emotional…

Say It With Garage Flowers: Best Albums of 2019

  1. Nick Cave & The Bad Seeds – Ghosteen
  2. The Rails – Cancel The Sun
  3. Nev Cottee – River’s Edge
  4. Pernice Brothers – Spread The Feeling
  5. Peter Bruntnell – King of Madrid
  6. Richard Hawley – Further
  7. Pete Gow – Here There’s No Sirens
  8. The Delines – The Imperial
  9. Jerry Leger – Time Out For Tomorrow
  10. The Lilac Time – Return To Us
  11. Morrissey – California Son
  12. Pete Gow – The Fragile Line
  13. Vinny Peculiar – While You Still Can
  14. Those Pretty Wrongs – Zed For Zulu
  15. Monks Road Social – Out of Bounds
  16. PP Arnold – The New Adventures of PP Arnold
  17. Angelina – Last Cigarette
  18. Mercury Rev – Bobbie Gentry’s The Delta Sweete Revisited
  19. Mark Lanegan – Somebody’s Knocking
  20. Monks Road Social – Down The Willows
  21. Mike Gale – Summer Deluxe
  22. Luke Tuchsherer – Carousel
  23. The Rockingbirds – More Rockingbirds
  24. RW Hedges – The Hills Are Old Songs
  25. Bruce Springsteen – Western Stars
  26. Steve Gunn – The Unseen In Between
  27. Nocturum – The After Life
  28. Wilco – Ode To Joy
  29. The National – I Am Easy To Find
  30. Elbow – Giants of All Sizes
  31. Jeremy Squires – Poem
  32. Whoa Melodic – Whoa Melodic
  33. Not Waving & Dark Mark – Downwelling
  34. John Howard – Cut The Wire
  35. Edwyn Collins – Badbea
  36. Iggy Pop – Free
  37. GospelBeacH- Let It Burn
  38. Lucette – Deluxe Hotel Room
  39. Hannah Rose Platt – Letters Under Floorboards
  40. Hurricane #1 –  Buddha At The Gas Pump

•Please note – at the time of writing, Spread The Feeling by Pernice Brothers, The Fragile Line by Pete Gow and More Rockingbirds by The Rockingbirds are not available on Spotify.

 

 

 

‘The gold dust is in the groove…’

Dr. Robert

Is there a doctor in the house? There is, actually – it’s Dr. Robert from pop-soulsters The Blow Monkeys, but, this time around, he’s here to tell us about his latest project, masterminding the loose, musical collective that’s Monks Road Social, who’ve made two of the most diverse and richly rewarding albums of 2019…

Down The Willows and Out Of Bounds, the two albums released this year by the Monks Road Social collective, headed up by Blow Monkeys frontman Dr. Robert, have been on the Say It With Garage Flowers office hi-fi a hell of a lot over the past few weeks.

Recorded over two 10-day sessions in the residential Monnow Valley Studio in Monmouth, Wales, the records are two of the most eclectic collections of songs we’ve ever heard – from jazzy comedown ballads to Balearic beats, to soul, psych-rock, folk, drum and bass, country, blues, indie-rock and funk, they’re a melting pot of musical ideas and feature a seriously impressive line-up of guests.

Over the two albums, Dr. Robert’s collaborators include – wait for it, take a deep breath… singer-songwriter Kathryn Williams; Matt Deighton, guitarist and frontman of ‘90s acid-jazz outfit Mother Earth, who’s played with Paul Weller and Oasis; keyboardist Mick Talbot of The Style Council; drummer Steve White (The Style Council and Paul Weller); UK blues singer Angelina; Dick Taylor of ‘60s rockers The Pretty Things; Northern Irish artist Pat Dam Smyth; Brand New Heavies vocalist Sulene Fleming; London-based singer Samantha Whates; Midlands mod-soul band Stone Foundation; Mancunian crooner Nev Cottee; orchestral arranger Ben Trigg (Richard Ashcroft and Dexys Midnight Runners) and percussionist and programmer Steve Sidelnyk – to name but a few…

Dr. Robert oversaw the production of the albums and was also responsible for writing – and co-writing – many of the tracks, some of which are new versions of songs that have appeared on his solo albums, while others were penned especially for the project, or brought to the table by those involved.

Say It With Garage Flowers got an appointment with Dr. Robert, who lives in Spain, and asked him to tell us the inside story of the Monks Road Social sessions…

Q&A

How did the Monks Road Social project come about? Was it your idea?

Dr. Robert: It’s the brainchild of Richard Clarke, the owner of Monks Road Records. I am but a humble midwife. He asked me if I thought it would work. I said ‘no’, but, then, as usual, I slept on it and changed my mind.

I wasn’t sure what ‘it’ was, but, as we began to assemble the players, something else kicked in and we were drawn together by intrigue and a mutual love of playing music for its own sake. That bit was important – there has to be joy and a spark – the gold dust is in the groove…

Both of the albums are very eclectic – there’s folk, soul, blues-rock, psych, Balearic beats, pop, drum and bass… Was the idea to put everything into a melting pot and see what came out, or did you have a definite plan?

DR: No plan. Just let the music lead you. You can’t go wrong, as long as the intention is right. Music for its own sake – then let the universe decide.

Crispin Taylor [assistant producer and drummer – Galliano] plays a vital role in all this, too. He lays down a phenomenal groove, which is a great place to start, but he’s also more than that. I’m always bouncing ideas to and fro with him – he has great instincts.

Monks Road Social (picture courtesy of Richard Clarke)

You’ve worked with a lot of musicians on the project. How did you choose who to collaborate with?

DR: I had a core of friends in mind that I knew would work – people I knew I could get first takes from and who were prepared to wade in a little deeper than was comfortable: Crispin,  Mick Talbot, Ernie McKone [bass player Galliano] and Jacko Peake [saxophonist].

Steve Sidelnyk used to play with The Blow Monkeys, before going on to bigger things, and then there was the masterful Steve White, who I’ve known and worked with many times over the years, and the fabulous Matt Deighton, who I barely knew, but became great friends with.

They are all friends and brilliant musicians. And then I got to meet and work with so much exciting new talent, which I love the most. It shouldn’t work, but it does, as long as everyone buys into the collective idea and lets the music lead them.

How were the recording sessions for both of the albums?

DR: We recorded both albums in separate 10-day sessions in Monnow Valley Studios, down in Monmouth. They were pretty intense sessions, but since my only vice these days is coffee, I was up for it!

Matt Deighton in the studio (picture courtesy of Richard Clarke)

There was lots of laughter. Matt Deighton, in particular, is a hoot, and Mick Talbot is a master of the understatement and a fount of knowledge. My main concern was to keep things flowing – there were so many songs and artists in such a short period.

I did quite a bit of preparation beforehand, because I knew it would be crazy, and, if I didn’t have a plan, it could have all gone a bit Pete Tong…

‘They were pretty intense sessions, but since my only vice these days is coffee, I was up for it!’

There’s a mixture of new versions of old songs, including some written by you, as well as brand new material. How did you choose which songs made the final cut?

DR: Well, if I’m honest, one of the things that initially attracted me was the idea of having different singers try my songs, as well as other people’s.

I would talk through the selection with Richard and in the end it was about instinct. Matt brought some great material to the sessions and then people like Pat Dam Smyth and Angelina have their own distinctive writing styles.

Miles Copeland from [record label] Wonderfulsound got involved too, with his unique perspective and his trusty Omnichord.

Is it strange effectively masterminding new versions of your songs and having them reinvented and reinterpreted? Do you enjoy it?

DR: I love it. I always thought Stone Foundation would be perfect for The Coming Of Grace and it was a thrill to hear a song like This Is Nowhere come to life with the beautiful voice of Samantha Whates. It’s the same with Sycamore Tree – Angelina was born to sing that song!

As for OK! Have It Your Way, Sulene Fleming tore it up! Like some lost Northern Soul classic. She also did an amazing job on Bottomless Pit, which takes a certain sensitivity to sing. She has such a range.

Also, I’ve got to mention Kathryn Williams, who popped in for a couple of days. She’s such a genuine person and a great songwriter. It was lovely to sing with her on I Ain’t Running Anymore.

Mick Talbot in the studio (picture courtesy of Richard Clarke)

Do you have some favourite songs from the project?

DR: I was knocked out by the version of Lost In Rasa we did. Ben Trigg, who does the strings, is a genius and Matt’s lead guitar on that track is magical. Golden Day, too, with Angelina…what a voice.

From the new album [Out of Bounds], it’s If It Was All Down To Me from Hague & White – I love Joel’s voice. Also, Honey Rise by Romy Deighton – a neo-soul classic. Matt’s daughter is an amazing young talent. But, honestly, my favourite changes every day. The diversity on the albums is a strength, not a weakness.

Nev Cottee is someone I’ve written about a lot – he’s a great singer-songwriter and a brilliant vocalist. How was he to work with? Can you tell me more about the two songs he sings lead vocals on: Still Got A Lot To Learn and Nobody Knows Anything? They’re two of my favourites from the sessions…

DR: Nev is a bit of a mystery to me. He ghosted in one day to sing on Still Got A Lot To Learn and did an amazing job, so I wrote Nobody Knows Anything with his baritone voice in mind.

He sang it remotely from some distant island in the Indian Ocean, apparently… at least I like to think so… Again, he did a fantastic job. His voice is a wonder – people will make comparisons, but he’s unique and it’s from his heart.

Angelina is another great singer and songwriter…

DR: She was a real light around the place and she makes fantastic cakes, too! I just love her voice – it’s like an Appalachian blues-country singer, from China, via the Isle of Wight.

We bonded over a love of blues and we could sit and jam on two acoustic guitars all day. In fact, we plan to one day soon and record the results.

The Coming Of Grace is one of my favourite songs of yours? Can you tell me more about it? How was it to tackle it again, with Stone Foundation?

DR: I wrote it back in 1993, when Michele [my wife] and I and our two very young kids left London to live in a remote hamlet in Oxfordshire called Newbottle. It was an appropriate name, as I was drinking too much.

The song was originally called Dylan Thomas In Reverse, as I wanted to play with his ‘rage against the dying of the light’ line.

I was out of my depth, really, but somewhere in my subconscious I knew that the ego-driven destiny would lead me up the garden path. It’s a lesson I’m still trying to learn.

I love So Long Soho, from Down The Willows. It sounds like the best song Ray Davies never wrote…

DR: It was written by the wonderful and very talented Pat Dam Smyth and was a piano demo he had that we all added to.

Crispin did an amazing job playing drums over the original demo. Lyrically, it’s brilliant. You’re right about the Ray Davies influence, but it’s way beyond pastiche – it’s heartfelt and special.

Is there another Monks Road Social album in the offing? Volume Three?

DR: Yes – I’m just mixing it now and it’s a corker. It was recorded here in Spain at my friend Youth’s studio, at the height of the Andalusian summer. I can’t say too much yet, but there are some major surprises on it.

‘Brexit was an emotional response and I get it, although I disagree vehemently with it. The retreat to nationalism is depressing and we have to fight it’

As a producer, who else would you like to work with – and why? 

DR: Tom Waits. I’d just look and learn.

Dr. Robert (picture by Michele Siedner)

So what’s next for you? Have you got another solo record planned, or a new Blow Monkeys album?

DR: A Blow Monkeys album, I think. I’m in the mood and I still love playing live with the band – it’s the best thing about it all.

Earlier this year, you released the Cosmic Mayhem EP, which was made up of songs you’d written and played on a vintage Casiotone keyboard. Will you be firing up the instrument again anytime soon?

DR: I may sneak out a Casiotone part two EP, as I enjoyed it so much. I’m lucky – I can do whatever I like right now.

As someone who lives in Spain, and who’s written political songs, what’s your take on Brexit?

DR: Brexit was an emotional response and I get it, although I disagree vehemently with it. The real problem was years of neglect and austerity – not Europe or immigration. The retreat to nationalism is depressing and we have to fight it.

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

DR: Sons Of Kemet blow me away. I’m rather keen on Sarah Vaughan, too.

 

The Monks Road Social albums Down The Willows (Wonderfulsound) and Out Of Bounds (Monks Road Records) are out now.

For more information:

https://wonderfulsound.bandcamp.com/album/down-the-willows 

http://monksroadsocial.com/

 

 

 

‘I just wanted to make a Neil Young record, but it didn’t end up like that…’

Manchester singer-songwriter Nev Cottee’s new album, River’s Edge, is a beautiful, pastoral record that’s influenced by the countryside, ’70s Neil Young, Crosby, Stills & Nash and Tom Waits. 

He tells Say It With Garage Flowers why he’s had enough of the city and how he likes to write songs sat in his garden, strumming his acoustic guitar, listening to the birds…

When we last spoke to Nev Cottee, in 2017, the Mancunian singer-songwriter with a rich baritone voice that plumbs the same depths as Lee Hazlewood, had just made Broken Flowers – his darkest album to date.

Written in the aftermath of a failed relationship, it wasn’t an easy listen. Heavy at times, it was moody, melancholy and psychedelic, with lengthy songs swathed in dramatic orchestral arrangements and haunting vintage synth sounds.

This time around, for his fourth album, River’s Edge, he’s in a much better place emotionally, and the music reflects that. A pastoral record, it sees Nev getting back to nature and at peace with himself. It’s much lighter than its predecessor.

Produced by regular collaborator Mason Neely (Wilco, Edwyn Collins), it’s a beautiful album. Opener, the nocturnal, Tom Waitsian piano and brass lullaby Nightingale takes the listener down to the river’s edge and from there we’re on a journey into gorgeous, Nancy and Lee-style balladry with Roses, which is a duet with guest vocalist Veronica, who sounds like Nico; and then plunged into cinematic psych-rock, with the first single, Hello Stranger.

The sublime I’m Still Here is laced with late-night pedal steel by Chris Hillman (Billy Bragg, Ethan Johns), while The Hollywood Sign recalls vintage Neil Young, The country-folk of You Can Help Me, featuring James Walbourne (The Rails, The Pretenders) on guitar, also mines ’70s Laurel Canyon, with its Crosby, Stills & Nash three-part harmonies, and the chilled-out, optimistic  Morning Sun sees Nev leaving the darkness behind to embrace a brand new day… “Here I am, back in the game,” he sings, over a warm backing of simple acoustic guitar and tinkling piano.

In an exclusive interview, Say It With Garage Flowers quizzes him about the making of the new record…

Q & A

This album is a lot mellower and much lighter than its predecessor, Broken Flowers. You sound more contented on this record…

Nev Cottee: If you compare it with Broken Flowers, this album is easier on the ear – it’s less arranged and orchestral, and the songs are shorter. It’s more concise – the songs follow a traditional pattern. I wanted to get away from that Broken Flowers thing – I’d done that – and the songs just came that way. It was time to move on.

The four albums are a bit of journey – out of a relationship and reaching a promised land, a place of sanctuary. I had that idea in mind – the river’s edge is a place where everyone wants to be, whiling away the afternoon, as the water trickles by.

I’ve reached a plateau where I’m content, but that doesn’t necessarily create great art, does it? Let’s see… I can only do what I can do.

So how did you approach this record?

NC: In a way, I just wanted to make a Neil Young record. I was listening to Comes A Time, On The Beach, Zuma and After The Goldrush – that classic ‘70s Neil Young period.

Comes A Time is a really underrated album – it was a massive inspiration. Some of the songs aren’t finished on that record – on first listen, you think it’s a bit throwaway, but the songs are so good…

I wanted to do something that was acoustic-based and had a few piano songs – to take it into Neil Young territory, but, in the end, it didn’t end up like that, as other influences got in the way. Ultimately, what I found out is that only Neil Young can do Neil Young songs and I’ve got to do mine.

With Neil Young, it’s all about the voice. Obviously the tunes are great, but once you put his voice on them… It would be interesting to see what his songs would sound like with a normal range vocal on them. Would they be as good? Probably not – they wouldn’t be as unique, would they? Anyway, I digress…

Would you say River’s Edge is a concept album?

NC: It’s not a concept album – they always run away from you… There are those classic ones, where the mood is maintained and it’s a concise piece that all adds up, but, if you’re just writing songs, you have to restrict yourself if it’s going to be a concept album. In the end you just go off in several directions… It’s loosely based on a pastoral, bucolic idea behind the songs, but then you’ve got Hello Stranger, which is completely different to the title track… You’ve just got to follow each individual song to where it takes you.

Let’s talk about Hello Stranger. It’s the first single from the album. Ironically, it’s one of the moodier songs on the record. It sounds like it could’ve come from Broken Flowers, with its cinematic, psych-rock feel…

NC: Yeah – I had a few two or three tracks that were quite acoustic and piano-based, but I wanted a few songs that we could go for it on and get the electric guitars out! In the end, I lost a couple of them because they didn’t sit well on the album – they’re in the vaults, so I might drag them out.

Hello Stranger really worked – I love it. It’s one of my favourite songs on the album. I like the lyric – it explains the moving on from Broken Flowers – it’s all about the past fading away and all those memories becoming less intense…

I think the song has real power. We got the guitar nailed on that – we were taking inspiration from Neil Young and trying to channel him. The guitarist is Alex Foote, who played on the last album. He’s American and a friend of Mason Neely’s – he just gets my thing.

Nick McCabe from The Verve played on the album sessions. Is he on the record?

NC: He’s on the two tracks that I dropped – he did some amazing stuff, that was classic McCabe, but he’s not on the album. I’ve spoken to him about doing some gigs – he’s always up to something. Fingers crossed – that could be one for the future. Get him up on stage and see what happens. Watch this space.

‘The river’s edge is a place where everyone wants to be, whiling away the afternoon, as the water trickles by’

Earlier, you mentioned the pastoral and bucolic feel that some of the songs have. You live in a city – Manchester. Are you a country boy at heart? Was this album a deliberate reaction to your urban living?

NC: It definitely was. I’ve lived in Manchester for 20 years on and off. I’ve had enough of the city – I think it’s an age thing. The city is a young man’s game – I want to get out. I don’t really go out much – I do like the hustle and bustle of the daytime, but more often than not, when it’s a decent day, I get out of Manchester. It’s a very dark, foreboding and shadowy city – you’ve got to get on a bus or a train and get out of there. I’m a child of nature – I’ve got a garden and I love going walking in Derbyshire. It’s definitely more of an inspiration at the moment, but who knows?

You wrote some of Broken Flowers while you were in India. Where did you write this album?

NC: In Majorca and in my garden, which is out of town [Manchester] – there’s no river there, but that’s my equivalent place. I like playing the guitar outside – it’s different from strumming in a room and you get the birds singing. A lot of the songs were written out in the open, so maybe that was an unintentional influence.

‘Manchester is a very dark, foreboding and shadowy city  – I want to get out. I’m a child of nature’

Let’s talk about some of the songs on the album… Nightingale opens the record. It’s gorgeous and has a late night, Tom Waits feel. I love the brass and the piano…

NC: Yeah, Tom Waits, as well as Neil Young, is a massive influence. There’s a triple album he did called Orphans: Brawlers, Bawlers & Bastards. For me, it’s one of his best albums. The Bawlers part of the album is up there with anything else he’s ever done – there are some stunning tracks on there – loads of outtakes that he had never released. I always listen to it late at night. I kept listening to it and listening to it. He’s one of the great songwriters. I wanted the opening song to set the scene and take you down to the river’s edge, with the moon, the nighttime and birds singing.

River's B copy small

Roses is one of my favourite songs on the record. It’s a duet with a mysterious girl named Veronica and it reminds me of Lee Hazlewood and Nancy Sinatra. I also think the female vocal sounds like Nico…

NC: Roses is going to be the second single – a 7in on Wonderfulsound. I was going to get Tess Parks to sing on it. She did a vocal on an early incarnation of the song, but it didn’t have the right flavour. I befriended the mysterious Veronica, of whom we know very little, other than that she is a Nico-inspired chanteuse from Madrid. I got her to sing on it – it’s a really delicate, sweet vocal. I really like the juxtaposition. It’s the first time I’ve done a duet, but there maybe more to come from Veronica…

I’m Still Here is a country song and features Chris Hillman (Billy Bragg, Ethan Johns) on pedal steel…

NC: This was originally supposed to be a Dylanesque jazz boogie like Spirit On The Water [from Modern Times]. We had a nice version and then Chris Hillman got his hands on it and ruined it! Hah! No – he slowed it all down and did an amazing version that was even better. It’s lovely and it’s a great performance – the best one on the album.

The song The Hollywood Sign mentions ‘prairie wind’ in the lyric. Is that a nod to the Neil Young album and song of the same name?

NC: It’s my homage to Neil Young – it also has a Crosby, Stills & Nash Helplessly Hoping vibe, with the guitar picking. It’s a nod to the great man, Neil Young – everyone goes on about Dylan, but if you look at Neil Young’s back catalogue, he’s definitely the greatest rock ‘n’roll singer-songwriter there is. No one else has written a song like Old Man and a song like Like A Hurricane – a well-crafted country tune and a rock ‘n’ roll song with amazing wig-out guitar.

‘I befriended the mysterious Veronica, of whom we know little about, other than that she is a Nico-inspired chanteuse from Madrid’

You Can Help Me has a Neil Young and Crosby, Stills & Nash feel, too, and James Walbourne (The Rails and The Pretenders) plays guitar on it…

NC: I wanted to get that Crosby, Stills & Nash three-part harmony. James was playing in Manchester and he managed to whack an overdub down. I’d love to do something live with him, but he’s the busiest man in showbiz – he’s in about 40 bands! Let’s see, eh? One day…

You’ve been working with some great musicians recently….

NC: You’ve got to search out the great players – Hillman, McCabe and Walbourne… That’s not a bad line-up, is it? We need to get a supergroup off the ground and call it Hillman, McCabe and Walbourne – keep it old school.

You recorded the album in Manchester in two weeks. How were the sessions?

NC: I had the demos for quite a while. I’m quite meticulous, in that I’ll demo, then I’ll do another demo and fine tune it… I keep going, crafting it… I sent the songs to Mason and he said we had two weeks to do it – 9 to 5, clocking in. We worked throughout the day, drinking loads of tea  – we worked really hard, we kept it real and we got a lot of stuff done. We did it at Vibe Studios in Manchester, which is owned by Martin Coogan [The Mock Turtles], who’s a mate of mine. It’s New Order’s old rehearsal room and Doves used to rehearse there, as well. It was great – Mason is a grafter and I trust him implicitly in that he will know where to take a song. That’s the job of a great producer – to make suggestions, throw you ideas and see if you can do them. The man came up with the goods. 

What are your plans for the rest of the year? Any gigs?

NC: Yes – there will be gigs. I’m hoping to play Glasgow, Liverpool, Manchester and London. There’s a gig in Madrid lined up and I think I’m going to go to Paris.

You contributed to the recent Monks Road Social album, Down The Willows, – singing a Dr Robert [The Blow Monkeys] song called Still Got A Lot To Learn. Any more collaborations in the offing? How was the Monks Road Social project? The album has a lot of great musicians on it, including Matt Deighton (Mother Earth), Dr Robert, Steve White and Mick Talbot (The Style Council)…

NC: They’re a good crowd – all really nice people. We recorded it in Wales, in Monnow Valley Studio and I’ve also done another song with Dr Robert – he sent it over and I added the vocal. I don’t know what the plan is with that yet. I think there’s going to be another Monks Road Social album and there’s talk of doing a gig with guest singers. Robert’s great –  it’s kind of weird, having grown up in the ’80s and seen him on Top Of The Pops. He’s a genuinely talented, warm and nice geezer.

What music are you listening to at the moment, old and new?

NC: Good question. I was listening to Aldous Harding the other day and getting into that. I’ve been listening to a lot of Gruff Rhys – he never gets the credit he deserves, does he? His last album [Babelsberg] was brilliant. I’ve also got into Kurt Vile’s last album [Bottle It In] and Kevin Morby, and I got into a bit of Joni Mitchell recently. Also, check out Matthew Halsall – a jazz guy from Manchester. He’s good.

Finally, you’re stood at the river’s edge – do you jump in?

NC: Never jump in – you don’t know what’s in there. It could be dangerous. For me, it’s safety first, fun later. I’m a side of the river guy – I’m sat there watching and listening. I’m not one of those wild swimmers. You won’t catch me naked in a river. 

River’s Edge by Nev Cottee is released on June 7 on Wonderfulsound

cover

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.

John_Murry_1400_X1400

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.

PP

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

 

 

 

‘It’s a great relief to finally get this album out’

huw costin - new

This Short Sweet Life, the debut album by Nottingham’s Torn Sail, is one of my favourite releases of 2017, but it’s been a long time coming – it took eight years to make!

Written and produced by singer-songwriter Huw Costin, it’s a haunting and gorgeous record –  melancholy, but also uplifting and spiritual – an intimate, late-night soundtrack for the lost and the lonely.

It’s an album that can you lose yourself in – a collection of six songs that form a cohesive piece of work. You need to listen to this album from start to finish in one sitting and immerse yourself in its other-worldly beauty.

On Leave This World Behind, Treasure and Gains on gains, Huw Costin conjures up the ghost of Jeff Buckley, while opener Birds is a stunning, stripped-down, folk-country song which builds into a soulful, pedal steel-driven epic – complete with Hammond organ and gospel-tinged vocals.

Torn Sail features members of Spiritualized, The Selecter, Bent, and Soulsavers, and the album includes contributions from Mark Lanegan and BJ Smith (Smith & Mudd).

Lanegan described This Short Sweet Life as ‘a masterpiece’ – and you can’t argue with him. He lends his backing vocals to Ricochets – a moody, organ-soaked song in the vein of Tindersticks, Nick Cave or, indeed, his own dark, bluesy barroom ballads.

I spoke to Huw Costin to find out why one of the best albums of 2017 was eight years in the making…

Q & A

It’s coming to the end of 2017. How’s the year been for you? 

Huw Costin: Complicated, hard work at times and rewarding. It’s a great relief to finally get this first album out.

This Short Sweet Life is one of my albums of the year. How do you feel about that?

HC: Good. I get so close to my work that I can easily lose a broader perspective, so it’s a nice feeling when someone else is receptive. It can be a lonely game.

The album came out in December, but you released the opening track, Birds, in 2011! No one can accuse you of rushing your debut album can they?

HC: Um, no.

Why did it take so long to get the record out?

HC: Well, I released another album in 2013 – Something/Nothing – under my own name, which took a bit of time. And I like to try things out – different overdubs, instrumentation and harmonies… A lot of stuff gets recorded, and then changed, then deleted again – it all takes time. A lot of the time there are more questions than answers – a lot of blind alleys.

I also spent a year or so approaching labels and chasing answers. In the end I did it myself. It took a lot of research, and a lot of time. I have a family, have to pay the bills, get the car fixed, so you know, I have to be patient.

I was introduced to Torn Sail by our mutual friend – Matt Hill [singer-songwriter Quiet Loner]. You both come from Nottinghamshire, don’t you? How did you get to know Matt?

HC: I think it was through my friend Emma, who puts on music nights in Retford. Perhaps we played the same night? Eventually he came and played a night I set up in Nottingham. He was brilliant on so many levels. It was one of the best nights I’ve put on, thanks to Matt.

I‘m a huge fan of Mark Lanegan – he features on the track Ricochets, along with E.R. Thorpe, on additional vocals. How did you come to work with Mark? Are you a fan? 

HC: Yes, but really only after I got to know him a little bit. The initial incarnation of Torn Sail was a band called The Cold Light Of Day, which Richard Warren set up to be the Soulsavers, featuring Mark Lanegan. The idea was that we’d support with our own material, and then play the Soulsavers stuff with Mark and a few other musicians. That never happened, but we did spend a week rehearsing with Mark for the All Tomorrow’s Parties bash at Butlins in Minehead.

TornSail1111_2683
Torn Sail

Can you explain the background to Torn Sail? How did it come about?

HC: As The Cold Light Of Day we recorded several tracks and played a bunch of gigs. It was a great band – we recorded some of my songs and some of Richard’s. We got a deal with TV Records, but Richard quit the band and did the record solo instead – and then went off on tour with Soulsavers. I was stunned at the time really, as we’d worked really hard, and Richard is really good at selling a dream…but you know, I get it now. He had to follow his mojo, and all the clues are in the lyrics he and I were singing at that time.

Anyway, the band and I decided to carry on, spent a few weekends laying down some recordings and, eight years later, here we are…

I can trace the roots of this album back to sitting on the stairs, strumming an E minor chord, when I was about 14, and a light melancholy that’s been with me on and off since then’

The album is a beautiful and haunting record. What was the starting point for it? Despite being made over a number of years, it feels like a cohesive record – a mood piece. What were you setting out to achieve with the album? Did you have a definite idea of what you wanted it to sound like? How did it all come together?

HC: Thank you. I can trace the roots back to sitting on the stairs, strumming an E minor chord, when I was about 14, and a light melancholy that’s been with me on and off since then.

There were six or seven tracks that didn’t make the record – faster, busier tracks. They jolted a little in the mix and it was important to me that this record could be sunk into – that there was a grace to the movement and that the album could be enjoyed as simply as a good song – no matter how dark the colours, or sad the melody.

Something/Nothing was, in a way, a series of tangents, so, in part, This Short Sweet Life is a coming back together – the same musicians are playing all the songs and are at the core of the record, so even if their parts might be mixed really quietly on a track, or even removed, their essence is there, or the space left instead of their parts is significant in itself.

‘I spent some formative years living in villages out in Rutland, just me and my guitar and a breathtakingly beautiful landscape, but it was cold and, ultimately, lonely’

Nature is a recurring lyrical theme on the album. Are you an outdoors type?

HC: When I have time, yes – it’s the antithesis of my studio recording process really – locked in a little room in an old terrace on an industrial estate in the city. I spent some formative years living in villages out in Rutland, just me and my guitar and a breathtakingly beautiful landscape, but it was cold and, ultimately, lonely.

Musically and vocally, the album reminds me of Jeff Buckley at times. How do you feel about the comparison?

HC: I’ll take it as a great compliment, but, to be honest, I haven’t listened to Jeff for a long time. There was a time when he, and Nick Drake, were the only people I listened to. Their music takes me back to a place I’m not ready to revisit yet, but I’m sure you can hear their influence.

TORN SAIL – THIS SHORT SWEET LIFE 3000X3000px 3000dpi RGB copy

What have been your favourite records of 2017? What music – new and old – are you currently enjoying?

HC: Three of my favourite records this year are The Cut by Tenebrous Liar – all their albums are stunning, but I think this is their best –  Broken Flowers by Nev Cottee is gorgeous, and E.R. Thorpe’s Lion EP is spellbinding.

Otherwise, this year I’ve been rediscovering Jefferson Airplane, have really got into John Martyn – too late – and Thomas Dolby, especially The Flat Earth.

Also Hats by The Blue Nile. Simon Fisher Turner’s soundtrack for the film The Epic of Everest has been a calming soundtrack while I’m trying to get the kids out to school, and Dethroned by Jesu – late at night.

Mark Lanegan played a stunning set in Oxford recently, David Thomas Broughton was really clever, funny and moving at the Maze in Nottingham, and Sleaford Mods were invincible at Rock City.

‘There was a time when Jeff Buckley and Nick Drake, were the only people I listened to. Their music takes me back to a place I’m not ready to revisit yet’

Finally, what are your plans for 2018 and when can we expect another Torn Sail record?

HC: I’ve a few gigs coming up and I’m always on the lookout for more. I’m not sure yet if I’ll be doing them solo or with the band. All being well, Nu Northern Soul will be releasing a 7in of Disconnected from the Huw Costin/Torn Sail 2 EP released earlier this year.

I’ve collaborated on a track called Love Not Sex, which will be out on a 10in, on Paper Recordings, I think. There are a few mixes of Treasure from the Torn Sail album coming out on Tummy Touch and Best Works,

I’ll keep working on the two Torn Sail albums that have been on the go for the last two or three years…

This Short Sweet Life by Torn Sail is out now on Cwm Saerbren Records.

Available at www.tornsail.com

https://www.indiegogo.com/projects/torn-sail-this-short-sweet-life-music-rock

Best Albums of 2015

 

minesweeping

As we approach the end of the year and overindulge in festive celebrations, hangovers are a daily occurrence.

They also played a major part in the making of Say It With Garage Flowers’ favourite album of 2015 – Minesweeping by O’Connell & Love.

One of the most eclectic and richly rewarding albums of recent times, it’s a collaboration between Larry Love, the lead singer of South London country-blues-gospel-electronica outlaws Alabama 3 and songwriting partner Brendan O’Connell.

As Larry told me when I interviewed him about the making of the record: “What was interesting with Minesweeping was the use of hangovers in the recording process. Brendan was financing the project and, basically, at the end of the night, we’d chuck some drunken ideas down, but the most important stuff was done in the morning after. I knew that unless I did some songs in the morning, Brendan wouldn’t buy me a pint in the afternoon.”

Reviewing it earlier this year, I described it as, ‘a hung-over road trip through the badlands, stopping to pick up some hitchhikers on the way – namely guest vocalists Rumer, Buffy Sainte-Marie, June Miles-Kingston, Tenor Fly and Pete Doherty.’

The record opens with the moody, Cash-like, acoustic death row ballad, Like A Wave Breaks On A Rock, visits Nancy Sinatra and Lee Hazlewood territory for the drunken, playful duet Hangover Me (feat. Rumer), travels across Europe for the sublime, blissed-out, Stonesy country-soul of  It Was The Sweetest Thing,hangs out by the riverside for the gorgeous pastoral folk of Shake Off Your Shoes (feat.Rumer) and heads out to the ocean for the Celtic sea shanty-inspired Where Silence Meets The Sea.

Larry Love and Brendan O’Connell

It’s an album that wears its influences on the sleeve of its beer-stained shirt – it’s like rifling through a record collection of classic rock and roll, folk, blues, country and soul.

There are nods to late ‘70s Dylan (The Man Inside The Mask), Motown (Love Is Like A Rolling Stone – feat.Tenor Fly ), Leonard Cohen (Come On, Boy – feat. Junes Miles-Kingston) and The Band (If It’s Not Broken).

I’m really looking forward to seeing O’Connell & Love play this record live in 2016 – according to Larry, there are plans for a UK tour.

In the meantime, I’m going to pour myself a large glass of something dark and strong and lose myself in Minesweeping.

One for the road, anyone?

As albums of the year go, singer-songwriters, alt.country, power-pop and Americana dominate my list.

Richard Hawley turned in a classic with Hollow Meadows, which was less psychedelic than its predecessor, Standing At The Sky’s Edge, and largely rooted in country, folk and the lush, late-night, ‘50s-tinged melancholy ballads that dominated his earlier albums. Although there was still room for some bluesy-garage rock (Which Way) and anthemic, widescreen guitar pop (Heart of Oak).

I was lucky enough to meet Richard after one of his gigs this year and when I told him that I preferred his new album to the one before, he simply said, ‘Well – you can’t please everyone, Sean…’

Other singer-songwriters who released great albums this year included Manchester’s Nev Cottee – Strange News From The Sun sounded like Lee Hazlewood on a spacewalk – and Vinny Peculiar, whose Down The Bright Stream was a witty, funny and moving collection of brilliantly observed pop songs, steeped in childhood nostalgia, teenage memories and wry social commentary.

Nev Cottee
Nev Cottee

John Howard’s new project – John Howard & The Night Mail – was a wonderful record, full of quirky, witty, intelligent, theatrical and nostalgic songs, from Zombies-like psych-pop to slinky retro mod-soul, glam-rock and observational Ray Davies-style tales of people’s everyday lives.

Detroit’s Nick Piunti – a Say It With Garage Flowers favourite – returned in a blaze of glory with Beyond The Static, which was the follow-up to his critically acclaimed power-pop record 13 In My Head, while Dublin-born singer-songwriter Marc Carroll’s latest album, Love Is All or Love Is Not At All, was his most political record yet.

Dead Flowers – who topped Say It With Garage Flowers’ album of the year list back in 2013 with their debut, Midnight At The Wheel Club, didn’t disappoint with their new record – Minor & Grand, which was often louder and much more electrified than their first album.

Manchester band Last Harbour made Caul – a brooding, cinematic masterpiece that recalled Bowie’s Berlin period, the industrial, electronic atmosphere of Joy Division and the gothic splendour of Scott Walker and Nick Cave.

Steelism

Instrumental duo Steelism, with their spy film guitar licks and surf-rock riffs, came up with a record (615 To FAME) that harked back to the glory days of ’60s instrumental rock & roll, but also threw in country, soul and blues – and even a touch of krautrock – to create their own dramatic soundtracks.

UK Americana label Clubhouse Records had a great year in 2015, releasing superb albums by alt.country band Case Hardin (Colours Simple), whose singer-songwriter Pete Gow played a solo show that I promoted back in October, and The Dreaming Spires (Searching For The Supertruth)– Oxford’s prime exponents of ‘60s-style jangle-pop.

I must declare a vested interest in one of my favourite records of 2015 – The Other Half, a collaboration between top UK crime writer Mark Billingham and country duo My Darling Clementine.

Mark discovered My Darling Clementine by first reading about them on my blog, so, I’d like to think that I set the wheels in motion that led them to record their story of love, loss and murder that’s told in words and music and set in a rundown Memphis bar.

Sadly, not everyone who released superb albums in 2015 lived to tell the tale. Gifted, but troubled, singer-songwriter Gavin Clark (Sunhouse, Clayhill) died in February, but he left behind Evangelist – a project that was completed by James Griffith and Pablo Clements, members of UNKLE/Toydrum and the owners of the Toy Room Studios in Brighton.

Loosely based on Gavin’s life, it was a dark, edgy, atmospheric and psychedelic-tinged trip that made for uneasy – yet essential – listening.

And finally, here are some nods to acts who didn’t release studio albums this year, but put out some records that I loved.

I’m not normally a huge fan of live albums, but Johnny Marr’s Adrenalin Baby was brilliant and really captured the feel and atmosphere of his gigs – it’s worth it just to hear his outstanding, europhic version of Electronic’s Getting Away With It.

And talking of live shows, UK folk duo The Rails gave away a seven-track acoustic EP called Australia at their gigs this year.

It served as a good stopgap until their next album and featured a killer, stripped-down cover of Edwyn Collins’ Low Expectations.

Liverpudlian singer-songwriter Steve Roberts followed up his 2013 concept record Cold Wars Part 1 EP with the five-track sequel – What Would You Die For? [Cold Wars Part Two].

The standout track This Is A Cold War was a stately, Beatlesesque piano-led ballad. Lennon and McCarthy?

And while we’re on the subject of spies, being a huge James Bond fan, I really enjoyed A Girl And A Guna 34-track tribute album of 007 songs and soundtracks by artists including Darren Hayman, Robert Rotifer, Ralegh Long and Papernut Cambridge.

Say It With Garage Flowers will return in 2016…

Here’s a list of my favourite albums of 2015 and a Spotify playlist to accompany it:

  1. O’Connell & Love – Minesweeping
  2. Richard Hawley – Hollow Meadows
  3. Vinny Peculiar – Down The Bright Stream
  4. John Howard & The Night Mail – John Howard & The Night Mail
  5. Nev Cottee – Strange News From The Sun
  6. The Dreaming Spires – Searching For The Supertruth
  7. Dead Flowers – Minor & Grand
  8. Evangelist [Gavin Clark & Toydrum] – Evangelist
  9. Duke Garwood – Heavy Love
  10. Mark Billingham & My Darling Clementine – The Other Half
  11. Nick Piunti – Beyond The Static
  12. Case Hardin – Colours Simple
  13. Last Harbour – Caul
  14. Steelism – 615 To FAME
  15. Bob Dylan – Shadows In The Night
  16. Jason Isbell – Something More Than Free
  17. Marc Carroll – Love Is All or Not At All
  18. Father John Misty – I Love You, Honeybear
  19. Gaz Coombes – Matador
  20. Wilco – Star Wars
  21. The Sopranistas – Cutting Down The Bird Hotel
  22. Dave Gahan & Soulsavers – Angels & Ghosts
  23. New Order – Music Complete
  24. GospelBeacH – Pacific Surf Line
  25. Sarah Cracknell – Red Kite
  26. Kontiki Suite – The Greatest Show On Earth
  27. Ryley Walker – Primrose Green
  28. Hurricane #1 – Find What You Love And Let It Kill You
  29. Jacob Golden – The Invisible Record
  30. Ian Webber – Year of the Horse
  31. Bill Fay – Who Is The Sender?