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