‘We’re not trying to replicate a ’50s or ’60s sound – we haven’t got our rockabilly trousers on’

Guitarist James Walbourne is no stranger to Say It With Garage Flowers – we’ve interviewed him before about his folk-rock duo, The Rails, which he formed with his wife, Kami Thompson, but we’ve never chatted to him about his rock ‘n’ roll roots… until now.

Walbourne, who plays in The Pretenders – Chrissie Hynde calls him ‘the definitive guitar hero’ – has unleashed his new project, His Lordship, a kick ass, rock ‘n’ roll duo with drummer Kris Sonne. The pair of them share vocal duties and when they play live, they’re joined by bassist, Dave Page.

The band’s debut EP, His Lordship Play Rock ‘n’Roll Volume One, is a riot – six no-nonsense, down and dirty, blistering covers of some of their favourite rock ‘n’ roll songs.

It was recorded in Copenhagen – after a long day of recording a set of original material for an EP, His Lordship kept the tape rolling and, in one take, laid down some loose, high-octane versions of songs by the likes of Gene Vincent, Jack Scott, Link Wray and The Killer – Jerry Lee Lewis. 

‘His Lordship Play Rock ‘n’ Roll Volume One, is a riot – six no-nonsense, down and dirty, blistering covers of some of their favourite rock ‘n’ roll songs’

Available now digitally and on vinyl in the near future, it will be followed by an EP of self-penned songs, including the band’s latest single, All Cranked Up, a raw and ferocious rock ‘n’roll-meets-punk-anthem-in-waiting – ‘I’m all cranked up with nowhere to go’ – that clocks in at just over two and a half minutes, and sounds like it was written about the frustration of lockdown.

Next month, the band head out on a tour of the UK and Ireland – the dates were postponed earlier this year, but they’ve now been rescheduled. His Lordship literally were ‘all cranked up with nowhere to go…’

“We’re a live beat combo – that’s what we are and that’s what we do,” says Walbourne, in an exclusive interview with Say It With Garage Flowers.We’re dying to get out there…”

Q&A

How did His Lordship come about? Did it emerge from Mother’s Little Helper, your rock ‘n’ roll covers band, which played in North London, in venues like The Boogaloo, in Highgate?

James Walbourne: It came out of the ashes of Mother’s Little Helper – we wanted to do original songs. Mother’s Little Helper was just a thing we did for a bit of fun – we thought, ‘Oh, fuck it – let’s play some rock ‘n’ roll!’ It was playing things we love, with no pressure, and then it kind of morphed into His Lordship.

Mother’s Little Helper were a trio, but His Lordship are a duo. Aren’t you a three-piece when you play live?

JW: Yes – we have a bass player. He’s a guy called Dave Page and he’s fantastic. We’re a live trio, but, as a band, it’s me and Kris.

How did you meet Kris?

JW: We did a Chrissie Hynde solo tour of the States together – she’d made a record called Stockholm in 20014. We’ve been good friends ever since.

When Mother’s Little Helper wound up, Kris and me talked a lot about what we would do – the original [songs] aspect what always the way to go. If you play rock ‘n’ roll covers, you’re a rock ‘n’ roll covers band – there’s only so far you can go.

The aim was to have a bit of fun, but then we went, ‘Oh fuck – we’ve got this great song that we can play, let’s try it.’ Now we’re building up our original songs – we’re on track to release three EPs this year. Doing rock ‘n’ roll covers was a great way to start a band, but, for us, it wasn’t enough.

‘If you play rock ‘n’ roll covers, you’re a rock ‘n’ roll covers band – there’s only so far you can go. We’re building up our original songs – we’re on track to release three EPs this year’

Your debut EP, His Lordship Play Rock ‘n’Roll Volume One, is out now as a digital release, with a vinyl version to follow. It’s an EP of covers… Did that come about by accident?

JW: Yes – we were in Copenhagen and we did a bunch of original recordings for an EP, but, right at the end of the session, we thought ‘Fuck it – let’s just leave the tape running, film it and do some rock ‘n’ roll songs.’ It’s all live – there were no second takes.  They’re songs that we’ve been playing for a long time – they’re some of our favourite tunes. It’s as simple as that – we just love playing them. We have a new EP of original songs coming out in July.

Will your new single, All Cranked Up, be on the EP?

JW: Yes – that’s right.

‘We’re a live beat combo – that’s what we are and that’s what we do. We’re dying to get out there’

One of the lyrics in the song is: ‘I’m all cranked up with nowhere to go’, which sounds like it could be a comment on lockdown…

JW: It was written before lockdown – we’re like an oracle. We can see into the future.

You’re a professional musician – how did you cope during lockdown?

JW: Initially, I was fine, because me and Chrissie did a Bob Dylan album [Standing In The Doorway: Chrissie Hynde Sings Bob Dylan], which was good, and we wrote another Pretenders record. I did a lot of writing for His Lordship too. It was fine up until Christmas time, which was when I wanted to kill myself.

‘Lockdown was fine, up until Christmas, which was when I wanted to kill myself’

Do you write all the songs for His Lordship?

JW: We write together – it’s very much a collaboration. I couldn’t do it without Kris. This is the first time I’ve been in a band where the drummer’s been so important! [laughs]. He brings something different to the table that I would never think of.  It’s just great. I’ve never had as much fun – me and Kris just laugh all the time. And cry… We laugh and cry, Sean [laughs].

I think me and Kris doing this was a reaction to everything around us – the number one thing is to have a really good time doing it.

Now you’re back playing live, how have the His Lordship shows been going?

JW: Brilliant: we’re a live beat combo – that’s what we are and that’s what we do. We’re dying to get out there.

Where did the band’s name come from?

JW: We got the name from… [laughs]. I don’t even know how to explain it. We were playing a gig at Goodwood House – where the cars are…

The Festival of Speed?

JW:Yes – the Festival of Speed. The backstage area was in the house. It started as a joke – I started calling Kris ‘his lordship’ and it stuck. It was a nickname, but then we thought, ‘actually – it’s good. Fuck it – let’s use that!’ And there you go…

Is there an album planned?

JW: Initially it will be a series of EPs. You make a record and it takes a year to come out… We haven’t got that sort of time. We just want to get out on the road as soon as possible. We’re going to build it up and keep playing – we’re old school, really. The live shows are the thing – that’s where we thrive – and we make the EPs off the back of those.

‘It’s a misconception that rock ‘n’ roll is easy to play or record – especially old school rock ‘n’ roll. It’s an art’

Every time I’ve interviewed you in the past, it’s always been about your folk-rock duo, The Rails, but this time we’re chatting about rock ‘n’ roll, which is your first love. How did you get into it? Were you a rock ‘n’ roll fan as a kid?

JW: Yeah – my took dad me to see everyone. When I was really young – six or seven – I went to see Chuck Berry, Fats Domino and Jerry Lee Lewis. They were my favourites – rock ‘n’ roll is still sort of my favourite music. It’s taken me until now to figure out a way of doing it – Kris has made it possible. I’m in cahoots with somebody else who has the same outlook – we both like that rock ‘n’ roll weirdness. All the great rock ‘n’ roll tracks have something strange about them – we’ve tried to get that. It’s a misconception that rock ‘n’ roll is easy to play or record – especially old school rock ‘n’ roll. It’s an art.

You played guitar on a Jerry Lee Lewis album, didn’t you? What was it like meeting him?

JW: Indescribable. I’ve never got over it! [laughs]. I can’t top it!

How do His Lordship capture that authentic ’50s or ’60s sound when you’re recording?

JW: We’re not into that at all –  we’re not trying to replicate it. It’s not like a Civil War re-enactment! We want to make it modern. Without sounding like a cliché, we want to take it somewhere different. We like what The Black Keys and The White Stripes have done  – we’re haven’t got our rockabilly trousers on! It’s our attitude, more than anything – our spirit.

Let’s talk about some of your other projects. My favourite album of last year was Imposter by Soulsavers, which you played on. You recorded it in Rick Rubin’s studio, Shangri-La, in Malibu. How was that?

JW: We did it before lockdown – it was a brilliant experience and I met some brilliant people and made some great friends for life. Everyone on that session was great – it was a great musical experience.

Did you enjoy playing the songs in concert, too? I saw one of the London Soulsavers shows and it looked like you were having a great time…

JW: After not doing anything for so long, it was really cathartic. But then I got Covid… but that’s another story.

‘His Lordship has taken over from everything – it’s basically what I want to do. It’s such great fun’

So, what’s next? Will The Rails be doing anything new?

JW: Not really – we’ve got a live record that I’m putting together. We’re not as busy as we were, but when it’s right, we’ll do something else. His Lordship has taken over from everything – it’s basically what I want to do. It’s such great fun. Me and Kris are so into it.

Do you take turns at who is his lordship?

JW: No – we’re both lords all the time. And other people can be lords… You could be a lord, Sean, but it depends on what you’re wearing.

I won’t wear my rockabilly trousers…

JW: [laughs].

Finally, Chrissie Hynde calls you a ‘guitar hero.’ Who are your guitar heroes?

JW: When people ask me that, I never know what to bloody say. I’m very wary of being boring in interviews, but, this will surprise you… Probably, my guitar hero, who made me want to play, is Stevie Ray Vaughan. He’s the guy who really spoke to me in my formative years. There hasn’t been another one like him.

Could he have been a lord?

JW: He’s the king.

 

His Lordship’s debut EP, His Lordship Play Rock ‘n’Roll Volume One, is out now as a digital release. There will be a vinyl version out soon on Psychonaut Sounds.

His Lordship are touring the UK and Ireland in July – for tickets and more information, click here.

https://hislordship1.bandcamp.com/album/his-lordship-play-rocknroll-volume-one-2

Doctor in the house

DrR_press_2 credit Michele Siedner.jpg
[Photo by Michele Siedner]

 

Out There, the new solo album by Dr Robert, frontman of pop-soulsters The Blow Monkeys, is a stripped-down, acoustic affair that was recorded on an old eight-track Tascam tape machine at his home in deepest Andalusia, Spain. I had an appointment with the Dr to find out how this raw and rootsy record came about…

With the new album, you’ve said it’s all about the groove of the songs – there are no middle eights, key changes or bridges. Why did you take that approach to this record?

Dr Robert: It was because I used a lot of open tunings on the guitar, which deliberately restricted my options. I wanted to avoid my usual progressions. I might try an album of just middle eights next…

It’s a very rootsy and primal record in places. Tracks like All The Way Back Home and Rack and Ruin are down and dirty, bluesy grooves, and there are some jazzy vibes on the album, too. (Lost in Rasa). Were you influenced by artists like Tim Hardin and Fred Neil, whose work you’ve covered in the past?  

DR: Well, people like Hardin and Neil are part of my DNA now, so I tried not to edit myself. I just let it flow, like I was jamming in my kitchen.

 

One of my favourite tracks on the album is A Bottomless Pit. I think it sounds like Jacques Brel doing Johnny Cash. Can you tell me more about this song? Where did it come from?

DR: I don’t know where songs come from. That was an effortless one. Sometimes they come along fully formed. I was lucky.

For this record, you worked with drummer Richard “Snakehips” Dudanski, piano and accordion player Jos Hawken and saxophonist, Joe Degado. How did you hook up with those guys?

DR: They are friends. Richard goes way back. He’s a proper gent and an inspiration and he’s been in bands with both Strummer and Lydon, which is good enough for me! Jos is young and blessed with an innate calm and special talent. They both live nearby, so I always had them in mind.

What was the atmosphere like when you made this album? Was it loose and laid-back? From listening to the record, it certainly sounds like it…

DR: I tended to record the ‘takes’ in the morning. My voice works better then – especially on the low notes. I was alone most of the time. I was doing a take, then running to the tape machine to stop the tape unwinding!

How did writing and recording the album at home in Spain affect the sound of the record?

DR:I live in the mountains, south of Granada. Landscape and environment have always been a major inspiration. And smells. From the sugar beet on the Fens, to the orange blossom of the Lecrin Valley.

DrR_press_4_2703 credit Michele Siedner.jpg
[Photo by Michele Siedner]

Throughout your career, you’ve worked with acts including Paul Weller, Curtis Mayfield, PP Arnold, Beth Orton and Kym Mazelle.  Do you have any great memories from any of those collaborations? Is there anyone that you’d like to work with?

DR: They have all taught me something. Curtis was a humble soul. The best always are. I’d like to work with Tom Waits.

Out There is your tenth solo album. After more than 30 years in the business, do you feel like a prolific solo artist, or will you forever be a Blow Monkey? How does it feel now, looking back on your days as a ’80s pop star?

DR: I’m a prolific Blow Monkey. The ‘80s were the last great ‘pop’ decade. Things have changed. Mostly for the better.

How did it feel when you reformed The Blow Monkeys in 2007? Why did you decide to come back? Was it a case of unfinished business and how was it when you got back together to play and make new records? 

DR: I missed being in a band, but I wanted to make new band music. We are a strange mix. We all love different music, but we never argue. We’re a slightly dysfunctional family – like all the best bands.

blow monkeys.jpg

Any news on The Blow Monkeys? Do you have more new material or gigs planned?

DR: There are lots of gigs up on our website  and a new album proposed for spring 2017. I’m writing some punky soul anthems right now.

The Blow Monkeys were known for their left-wing political views. Does it seem strange to you that nowadays more mainstream artists don’t use their music to convey political views, or protest against wrongdoing or unjustness? 

DR: Some still do. PJ Harvey’s Let England Shake was a masterpiece in my opinion and Beyoncé did a fine thing at the Super Bowl.

There’s a track on your new album called I Ain’t Running Anymore, yet, after more than 30 years in the business, you seem to be busier than ever. What’s your secret?  You had a health scare a while back and you quit drinking. What effect has that had on you? Are you in a good place?

DR: I don’t have a secret. Just keep your eyes open and your lips pursed. I try to remember how it felt to hear Ride a White Swan for the first time. My whole world opened up.

What music – new and old – are you currently listening to and enjoying?

DR: Old – Bukka White. New – Kendrick Lamarr.

Finally, how ‘out there’ are you?

DR: Not enough, yet. I’m working on it.

 

Out There by Dr Robert is released on May 2 (Fencat Records).

For more information, go to http://www.theblowmonkeys.com/

out there small

 

 

‘Think Johnny Marr channelling Simon & Garfunkel’

ian webber 2

LA-based, Brit singer-songwriter Ian Webber, former frontman with The Tender Idols and The Idyllists, has just released one of Say It With Garage Flowers’ favourite albums of 2015.

Year of the Horse is a nostalgic, reflective, melancholy record that’s influenced by The Smiths, Chet Baker, Crosby, Stills & Nash and Nick Drake, with stripped-back, gorgeous arrangements, strings, tinges of jazz and pretty, spiralling melodies.

I tracked Ian down to a snow-covered village in remote Idaho and asked him to tell me how his new record came about…

Hi Ian. How the hell are you?

Ian Webber: Hello – from a sub-zero ski village somewhere in deepest Idaho, quite possibly right out of a ‘60s Bond movie, where the villains are plotting their world domination.

The snow has settled, and I’m as far away from the no-season surroundings of Los Angeles as can be, but in a rather good way.

Your new album – Year of the Horse – is now out there in the world. How does that feel?

IW: Yes, my new record Year of the Horse is finally here – in the year of the goat! I think I’m allowed to call it horse, since it was technically written during the year of the horse [2014]. Either way, I think the horses and goats would approve. I’m very happy to have further evidence of my existence shoved out into the world.

It’s a very melancholy, nostalgic and wistful album in places. How did you approach this record? Did you have a definite idea of what you wanted it to sound like?

IW: Melancholy and nostalgic would certainly be a good way to describe the overall theme of the record. I’d been living in Laurel Canyon [in LA] for six years before the inevitable, but welcome, influence of ‘60s Canyon music started to surround me. Not that I really wanted to – or aspired to – follow in those footsteps, but the songs all came out of me, like an exorcism one summer, during that sun-drenched year of the horse.

The opening track, An Unfinished Symphony, is one of my favourite songs on the record. It has a gorgeous, spiralling melody. Can you tell me more about it?

IW: An Unfinished Symphony was always going to be the pop song on the record.

I was used to writing band songs, with strumming chords, and I pictured this song in my head having a larger arrangement than just solo acoustic. That may have influenced the title, I suspect, with my grand dreams of an orchestra as willing participants.

The magic for me came when it was actually almost completely finished – when Danny Howes, who was playing electric guitar, came up with the entire melody line on the last day of tracking. The idea was to think Johnny Marr channelling Simon & Garfunkel, in some strange way.

I always love a song with no guitar solo – Girl Afraid by The Smiths is a prime example – and that’s the direction we headed in.

As for the words, I was living in a Chopin world that day, and images of libraries, grand pianos, large wooden desks and handwritten notes drifted through my head.

Ian webber

I think the song House On The Hill could be about your life in your home in Laurel Canyon. Is that right?

IW: House On The Hill was inspired in part by the Crosby, Stills & Nash song Our House and is also about the house where I live in Laurel Canyon. It’s where all of the record was written.

I’m lucky to live so close to Hollywood Boulevard – the grit and the grime and the Hollywood glamour is just a short stroll away, although nobody walks in LA…

In Laurel Canyon, I’m surrounded by nature, overgrown trees and trails and, at night-time, the sound of coyotes. Not having someone live underneath, beside, or on top of me, lent itself to the privacy of writing.

I’d say I had the majority of the songs written in bundles – two or three per day – not every day, but fairly quickly, over a period of a month and a half.

It’s odd, really, but it’s one of those things that stops you doing anything else in your regular life. When you’re on a mission, tunnel vision kind of takes over and suddenly you stop cleaning, you forget to go out for fresh air, you look up and morning has become night.

I had an idea that I wanted this album to be an acoustic record, and after a few songs were born, I typed them out – my way of making a composition final – and then transferred them to voice memos, so the melody ideas were intact.

The album has an almost jazzy, stripped-down feel at times. Is that your love of Chet Baker rearing its head?

IW: Ah, Chet Baker – my one true weakness. Yes, for sure he was on my turntable more often than not. I do have a love for a good, moody jazz-type song, and I would also include Robert Wyatt, early Everything But The Girl (Eden), Prefab Sprout (Swoon) Francoise Hardy and Sean Lennon’s first couple of records – jazz-infused loveliness.


How did you record this album? Where was it made and which musicians did you use? 

IW: The record was demoed on voice memos – just voice and acoustic guitar at home in Laurel Canyon – and shared via dropbox to my former band The Tender Idols, who live in Atlanta, Georgia.

Danny Howes [guitarist] and myself worked out the rough arrangements, and shared track and ideas via Pro Tools/Logic software, leading up to a week of tracking at The Quarry, a fantastic large and airy studio, owned by Georgia band Third Day. TJ Elias, who was resplendent in his black cowboy boots and with a southern accent, recorded it…

The band that played on the record was Danny Howes, Guy Strauss on drums and percussion and anything else that would shake or rattle, Michael Lamond on upright bass, and Matthew Barge – from my LA band The Idyllists – on piano and organ.

I returned to the scene of the crime to mix in the same studio in Atlanta, and mastered it in Los Angeles, with my good friend Mark Chalecki.

Highwire Dancer is another of my favourite songs on the record – it’s beautiful. Can you tell me about that track?

IW: That’s a pretty personal song – a sort of autobiography of a singer, or in the case of the song, a dancer, who starts out living life to the full, only to have things stripped away, by no real fault of his own.

I would definitely say I had Idol, a song by Elton John about a ‘50s star in mind, and also I had just watched Wings of Desire by Wim Wenders, so that was the high wire connection. Together, I thought it made for an interesting narrative.

The song Years is also very personal – and nostalgic. It looks back at your childhood and reflects on your life and it has a lovely string arrangement. It reminds me of Nick Drake…

IW: Years is a life story – I always felt the need to write something like it, but I never did because I was too shy… At some point you have to say, well here’s what I did in this world, how it came to be, how I turned out and how I experience life.

I’m lucky to have the support of my family – I was always a traveller, a loner and a dreamer. If you have a creative side, which I feel most people do, you have to just throw it out there, and let it out. I applaud anyone who can make something of their life – in book form, lyrics, words, or art, painting and fashion. It’s an expression of oneself.

You mentioned Nick Drake, and he is up there with the greatest – so sad, yet personal and soul-baring. One day someone will unearth an old Super 8 film of him playing live. Please let it be so!

You’ve played with bands including The Idyllists and rockabilly outfit The Hopelessly Devoted. Are they on hiatus?

IW: So here I sit, a songwriter alone. Sometimes I miss the gang-like mentality of The Idyllists and my ‘50s rockabilly guys in The Hopelessly Devoted. I never like breakups. We all still get along like twin sisters, so I’d like to say that we are together apart, until the next time…

year of the horse new

What are you plans for 2016? Can you play some gigs in the UK, please?

IW: Well, you know, come February, it’s the year of the monkey! To celebrate, in a mischievous way I’m getting ready to move once again.

I’m moving to Nashville – in February – in the heart of the winter. I’m going back to my southern American roots. I am from Devon in England, so that’s the south, right?

So, yes, I’m travelling again – trading Laurel Canyon for the land of Johnny Cash. I certainly would love to do a show in the UK – green card in hand, if you’ll let me back…

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

IW: I do have a few golden nuggets that I’m currently listening to. This goes out to Oscar Wilde who said: “Music makes one feel so romantic – at least it always gets on one’s nerves, which is the same thing nowadays.”

New:

Nils Frahm: re

Richard Hawley : Nothing Like A Friend

Ben Watt: Matthew Arnold’s Field

Old:

Sondre Lerche: Dead End Mystery

Kings of Convenience: Know How

Sean Lennon: On Again Off Again

Lovely

Robert Wyatt: Shipbuilding

Lou Reed: Berlin

Howling Wolf: My Troubles And Me

Billie Holiday : Willow Weep For Me

Year of the Horse – the second solo album by Ian Webber is out now.

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

http://www.ianwebbermusic.com/