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

‘I’m pleased with this album – it’s true to my ideal of what I think records should sound like’

PM Warson – picture by Chloe Ackers.

When lockdown first kicked in, PM Warson, had only just finished recording his debut album, True Story.

Faced with no gigs to promote it, once restrictions allowed, the UK soul-R’n’B-garage rock singer-songwriter went straight back into the studio – a small room in an industrial storage unit, in Stoke Newington, North East London – to work on a new record. The result is his second album, Dig Deep Repeat, a brilliant collection of raw and soulful songs, albeit with a harder edge to them than those on his debut. 

Warson, who is 32, is in thrall to the classic sounds of Ray Charles and Booker T. and the M.Gs, but this time around he’s also paid homage to his love of ’60s pop music, like Phil Spector, as well as vintage garage-rock and the surf instrumentals of Dick Dale, Link Wray and Duane Eddy.

First single, the high-octane Leaving Here is a reworking of an early Holland-Dozier-Holland Motown song that’s been known on the R ‘n’ B scene for years, and covered by The Who, among others, but Warson takes it back to its soul roots while still keeping its garage-rock credentials intact.

Game of Chance and Out of Mind are dramatic and haunting ’60s-pop-inspired songs, the ferocious surf-styled instrumental Dig Deep could grace the soundtrack of a Tarantino movie, and the stunning, organ-drenched soul ballad, Matter of Time, is so authentic that it sounds like a standard. You can’t believe it’s not an obscure track that vinyl-loving Warson hasn’t dug up while crate digging and taught his band to play.

His new album has been on the Say It With Garage Flowers turntable for the past couple of weeks and we’re loath to take it off. We just want to, er, dig deep and repeat…

“The title came from a remark that I made when it got to the point when I didn’t know what I was going to do next,” Warson tells us, in an exclusive interview.

“‘I guess I’ll have to dig deep and make another record – dig deep repeat.’ It was a working title, but when it came to it, I thought, ‘That’s the one – I’ll just go with it…”

Q&A

Your first album, True Story, came out in 2021 – you finished it just before lockdown, didn’t you?

PM Warson: Yeah – the last session for the first album was almost the day before lockdown. I was really lucky, but it left me in a bit of a jam because it was recorded pretty old school, which is how I do my stuff… But I found a way to make it work and I managed to get the album out, which felt like a bit of an achievement to be honest.

You’d put out a few, self-financed 7in vinyl singles before then, hadn’t you?

PMW: Exactly – I did a run of singles and then Légère Recordings in Hamburg offered me the chance to work a full-length album, which I did just in the nick of time. I guess this one just follows on from that.

Did lockdown accelerate the process of making a second album? I guess if you hadn’t been locked down, you’d have been touring the first record, rather than making the follow-up…

PMW: Exactly. I lost a couple of great gigs – they disappeared – but then I pushed the first album through and that gave me a little bit more coverage than I was expecting for an unknown artist. I didn’t have any digital platform at all, apart from basic social media – I wasn’t on Spotify. I had an international following, but it was just guys who were into 45s.

The first album got quite a decent listenership – particularly in Europe – but I wasn’t able to capitalise on that. Things kept on getting cancelled, moved or not booked at all.

‘I didn’t have any digital platform at all, apart from basic social media – I wasn’t on Spotify. I had an international following, but it was just guys who were into 45s’

During that second lockdown, in January, when I could still go into the studio to work on stuff, I started playing around in a little room in Stoke Newington, which is where I had finished the first record. Initially, I didn’t have much of an idea of what to do, but when it became clear that I wasn’t able to tour, I was like, ‘I’m just going to make another record.’

I’m really pleased with the record, given the circumstances – it’s true to my ideal of what I think records should sound like, despite the fact it wasn’t an ideal time to try and do that kind of thing.

Did you have the songs for the second album already written?

PMW: This process was quite different. Before I put my first singles out, I was doing house band sets at Blues Kitchen and Old Street Records, playing for a couple of hours, doing R ‘n’ B covers with my band, and then I started slipping some of own tunes in – the songs developed and then I cut the 45s. They were written, performed and recorded.

This time, it was almost the other way round – the songs were developed in the studio. It was a completely different approach. There’s a lot of live recording on this album – guitar, bass and drums – but it built from there, rather than with more going on on the live track.

‘The first record had more of a late ‘50s approach, with more of the band in the room, but this one is more mid-‘60s, where you get the basic track down and add to it’

What’s your recording process like?

PMW: There are people who’ve made great records by layering things up, but that’s just not my thing… I’m a great believer in live tracking. I have a great rhythm section who’ve been with me since the beginning: Billy Stookes [drums] and Pete Thomas [bass]. Just the three of us recorded the basic tracks.

The first record had more of a late ‘50s approach, with more of the band in the room, but this one is more mid-‘60s, where you get the basic track down and add to it.

I think the new record sounds harder and edgier than the first one.Was that a conscious decision?

PMW: It kind of turned out like that, partly because of the situation – inevitably there was a bit of frustration. The other thing is that just the three of us were developing songs, so, just by the nature of it, is was a bit rockier. We were all in that small room in Stoke Newington, recording on an Atari 8-track, so it was a bit more guitar-driven.

Some of the songs, like the first single, Leaving Here, have a garage-rock feel whereas the first album is more soul, although, of course, this record is soulful too…

PMW: Yeah – the first record is more soul and swing, I guess. It’s a crossover between jazz and R ‘n’B. On this one, the jazz is still there, but it’s been slightly pushed out in favour of a more ‘60s rock kind of thing. That suited the material and we were jamming ideas – there’s a hint of jam band about it, but we’re not going in a My Morning Jacket direction. There are a few long outros, which is where we’re digging in on an idea.

What’s your fascination with ‘old school’ recording and using vintage gear?

PMW: I have that stuff, but I don’t know how to use it to its maximum potential. The main thing to take away from analogue equipment is that it gives you a certain sound, which some people argue could be emulated with software – maybe it can, maybe it can’t – but, the thing is, it just makes you play kind of differently. The directness of live tracking all together with no editing makes everyone a little bit more engaged. You’ve got to get it right and you don’t get precious – you’re serving the song and you’re not indulging. When you’re doing overdubs, you either play it and it’s right and you keep it, or you do it again.

Did you record the brass, backing vocals and keys in Stoke Newington, too?

PMW: Yes – it was all done in that room, apart from some of the Hammond organ, the Rhodes and the Wurlitzer, which were played by Stephen ‘Lord’ Large, who has an amazing collection of vintage gear, and a young American guy, called Jack McGaughey, who I picked up along the way. Once the tracks were down, and lockdown was lifted, everyone came in.

Let’s talk about some of the songs on the record. The opening track, Insider, starts off having a slightly sinister, menacing feel to it, with guitar and piano, but when the soulful girl group backing vocals come in, they lighten the mood…

PMW: Yeah – I think that was the first idea that we worked on in the room and I think I played a six-string Fender bass on it, working that riff with the drummer. It’s a play on the standard blues form – it has quite a dark atmosphere, but it opens up when we go to the major chord in the chorus.

Leaving Here, the first single, is a cover of an early Motown song written by Holland-Dozier-Holland song. I don’t know the original… 

PMW: Eddie Holland had a singing career before he started writing. The original song was a Motown release, but they hadn’t dialed in the Motown sound at that point – it’s quite a ropey recording. It’s got the vibe of a demo that’s been recorded for another artist to sing. The version that’s more well known is by The Who – that’s how I know it. The Birds – that Ronnie Wood was in –  also did it. It’s been in rock circles, but I wanted to take it back… I started playing the riff in the studio and embellished it in my own way.  

Game of Chance (By Another Name) and Out of Mind both have a dramatic ’60s pop feel…

PMW: Alongside the Ray Charles R ‘n’ B, which is the first world that I’m from, I also like ’60s pop records – there’s a bit of Phil Spector in there, but it’s still guitar-oriented because of the arrangements we were doing.

You didn’t use strings on the songs…

PMW: Exactly. What I like about this album is that there’s something authentic about only using what’s available to you – it encapsulates a certain era. It’s a nice ethos. Maybe I could’ve waited to do the record at a bigger studio, but I sometimes think pressing ahead is the way forward.

Never In Doubt has a late-night, bluesy feel…

PMW: That one’s been following me around for a while – it’s a variation on a classic blues thing and you can hear a bit of Green Onions or Johnny ‘Guitar’ Watson in it, but we slowed it down and made it a little bit more brooding.

I love the instrumental, Dig Deep, as I’m a massive fan of twangy guitar and surf sounds, like Link Wray, Dick Dale and Duane Eddy. That track breaks up the record halfway through….

PMW: I wrote that tune when I was a teenager – I’ve had it for a long time. On the first record there’s a song called You’ve Got To Tell Me – that and the title track, True Story, were written when I was at secondary school – I played in a garage-rock-indie band – and a few of the songs were around then, but I never really found a home for them. Dig Deep was a late insert – we needed a lift on the record and I remembered that I had a surf instrumental. I rejigged it – our drummer, Billy, is so good that we did the full Wipe Out on it.

One of my favourite songs on the album is Matter of Time – it’s a big soul ballad, with some great organ and piano…

PMW: Exactly  – it’s a real change of pace for me. I’m pleased with that one. I got really into a vocal group called The Sapphires. They had one song called Gotta Have Your Love that’s well known in Northern Soul circles, but they did some great, dreamy dark pop as well – a bit like The Shangri-Las but not as obvious. They influenced the chorus of Matter of Time.

I think Matter of Time sounds like a standard – a classic soul song that’s been around for years…

PMW: Oh, great – that’s very flattering. That’s the world I really love and the fact that I’ve managed to capture a little bit of that is what I’m aiming to do.

So, with two albums out since 2021, you don’t feel any pressure to do a third record yet, then…

PMW: I’m not sure – I’ve got a session coming up, so I’m already looking. I don’t know what’s coming up, but I love producing records like this – I’ll always be inclined to come up with something. Maybe I’ll do some 45s, or another LP. We’ll see.

How did you first get into ’50s and ’60s music?

PMW: Through my folks. They’re not quite of that age – they didn’t grow up with The Beatles and The Kinks and all that stuff, but I got fed that. I can remember us having a Sounds of the Sixties compilation – it had some real naff stuff on it, but it also had Working in the Coal Mine, Barefootin’ and You Really Got Me on it. They’re great tracks and they really stuck in my mind. I’m not a big Beatles worshipper these days – I went through a phase when I was at school – but, when I was a kid, we had all their films recorded off the telly.

‘I love linking records together, and seeing who produced what. I’ve always done that’

When I was older, I had a friend called Andy whose mum was really into ’60s soul – when she heard I was into it, she’d say, ‘Try this’. It was the CD era – things like The Best of Ray Charles, B.B. King, Muddy Waters or the Spencer Davis Group, so I got into that, and my dad was into New Wave, so I got into Elvis Costello and all that stuff.

My mind has always made connections between those records – I love linking records together, and seeing who produced what. I’ve always done that. If, when I was 16, someone said, ‘We’re really influenced by The Byrds,’ I would buy The Best of The Byrds.

Who are your musical heroes?

PMW: Ray Charles is a big one and Steve Cropper has always been up there for me.  I also love being absolutely floored by a track I’ve never heard before. You get that when you dig around – whether it’s records or just going by recommendations. I’ve found a tune by Jimmy “Preacher” Ellis called Since I Fell For You – it’s amazing.

Dig Deep Repeat is out now on Légère Recordings.

PM Warson is playing at The Night Owl, Finsbury Park, London on June 1 and The Red Rooster Festival, Thetford, on June 4.

https://pmwarson.bandcamp.com/album/dig-deep-repeat