‘I wanted sad bastard songs sitting alongside frivolous rock ‘n’ roll’

New York-based singer-songwriter Jake Winstrom’s second solo album, Circles, is one of our favourite records of the year. This time around, the former frontman of  Tennessee band Tenderhooks has cranked up the guitars and embraced his love of classic rock ‘n’ roll, power-pop and country rock. 

Speaking from his New York apartment, which he describes as “a shoebox”, he says: “I think my first solo record [Scared Away The Song] suffered a bit from the inclusion of maybe one too many “serious songwriter” type songs, without enough fun, uptempo, jangly rock ‘n’roll to serve as a counterbalance, so I wanted to make sure there was room for that on this record.”

He’s certainly achieved his goal – recent single, the brilliant What’s The Over/Under?, is an infectious power-pop song  – “I’ve never had too much of a handle on what I want until I fuck it up” – with jangly, 12-string Rickenbacker guitars and punchy, soulful horns, while on its predecessor, the chugging glam-rock-country-boogie of Come To Texas She Said, which was inspired by a long-distance infatuation that derailed before it could become something more, reedy-voiced Winstrom does his best Marc Bolan impression.

Circles is full of highly melodic, guitar-heavy tunes with a retro feel – Winstrom cites ’70s Neil Young and Crazy Horse as a major influence, which is obvious if you listen to the Zuma-style guitar solo on My Hiding Place, a song about addiction, and the brooding, epic album closer, Kilimanjaro.

Tom Petty and Bruce Springsteen are also artists that Winstrom admires – his song Washed My Face In A Truck Stop Mirror, a raucous blast of rock ‘n’ roll, has echoes of both of them – while Think Too Hard is reminiscent of The Beatles, circa Revolver, as well as Detroit power-pop songwriter – and Say It With Garage Flowers favourite – Nick Piunti.

Winstrom, who is 37, also looks to the ’90s and early Noughties for inspiration –  on the moving, cello-assisted ballad, I Walk In Circles, he channels Elliott Smith.

Two years in the making –  writing and recording –  Circles was produced by drummer Jeff Bills (The V-Roys and Steve Earle), who also worked on Winstrom’s debut album. The songs were committed to tape just before the coronavirus hit. 

‘The world needs another rock ‘n’ roll record like it needs a hole in its head right now, but I needed this one’

“We were lucky for sure – we were basically 99 percent done, so we were able to lean on some very talented friends with home studios to add the odd overdub here and there,” he says.  “And engineers John Harvey and Mary Podio were super-savvy to invent a new workflow that let us finish mixing remotely.”

He adds: “We were really fortunate. I mean, obviously, the world needs another rock ‘n’ roll record like it needs a hole in its head right now, but I needed this one.

“For my own sanity, I feel like I’ve been working up to this album my whole life. I’m 37 years old – it’s 37 minutes long. Coincidence? I think not. But I do feel like a good chunk of my lifetime is living in these songs. The highs, lows and in-betweens, to quote Townes Van Zandt. I hope folks dig it. I do.”

Q&A

How are you doing? Congratulations on Circles – it’s a great record.

Jake Winstrom: I’m good – just chugging along and trying to stay safe, like everybody. Thanks so much. I’m very happy to hear you dig the record.

You’ve said that your first solo album, Scared Away The Song, had too many “singer songwriter” type songs on it and not enough fun, uptempo, jangly rock and roll tunes. With Circles, that’s not something you can be accused of. How did you approach this album?

JW: I definitely wanted to broaden the musical spectrum on this album. The last one, maybe due to time and cost constraints, ended up veering a bit too much toward what folks call “Americana”, I guess – lots of acoustic guitar-based, rootsy-sounding songs and what have you.

I had several more rock songs written for that record, including What’s The Over/Under? but we ran out of time on the day we tracked with a full band. So with this one we moved full band, electric songs to the top of the pile. And I wanted more moments of fun and levity in the songwriting. I think I had Bruce Springsteen’s The River in mind. What’s the saying? Shoot for the stars but settle for the moon? Hah. I wanted sad bastard songs sitting alongside frivolous rock ‘n’ roll.

How were the recording sessions? You worked with drummer / producer Jeff Bills again on this album. What did he bring to the process? Why do you like collaborating with him?

JW: The recording sessions were so much fun. I love recording and Jeff is just fantastic. He brings so much to the process. He has a real ear for songwriting and arranging.

I’d send him my four-track demos as soon as they were done and then we’d start ping-ponging arrangement ideas. And his production process is all about the song. He’s not afraid to get into the weeds on minute lyric edits and things like that. He really hammered this record into existence. He also has a great talent and Zen-like patience for mixing. Which I do not. Hah! So it’s a good musical marriage.

You have a great band on the album. How did you choose the musicians that you wanted to work with?

JW: We did have a truly great band for these sessions. Putting it together was easy – I just rang up my friends and they very graciously all said yes. On the last record, Jeff and I had kind of a rotating cast of musicians from song to song, depending on the sound we were going for. On this one I wanted more cohesion, but we didn’t have time to rehearse.

I knew we’d need a versatile group that could hammer out arrangements on the fly. We ended up with a veritable wrecking crew: Jeff on drums, Peggy Hambright on keys, Dave Nichols on bass, Greg Horne and George Middlebrooks on guitar, and Jeff Caudil on backing vocals. That’s some serious muscle.

Some of the takes are live, aren’t they? Do you normally record that way? My Hiding Place was done in one take, wasn’t it? 

JW: Everything started with us playing a song three or four times to get a good live take. My Hiding Place was one where it all just kinda fell into place in the room – even the vocal. I think it must’ve been the mood lighting in Scott Minor’s studio. Hah.

‘The studio where we recorded half a dozen songs is sadly no longer with us, but it was a great room. It definitely had some spooky magic’

Where did you make the album?

JW: We did it in Knoxville [Tennessee], with the exception of some vocals recorded in Brooklyn. We started at Scott Minor’s Wild Chorus studio, early last year. We recorded half a dozen songs there. The studio is sadly no longer with us, but it was a great room. It definitely had some spooky magic. I wanted to record there because one of my favourite bands, Count This Penny, did their absolutely gorgeous album A Losing Match there.

It had a live room with no dividers between the guitar amps and drums, which made Jeff a little nervous, but I loved it. To quote the Rolling Stones – let it bleed! A little Telecaster in the cymbal track never hurt anyone. And that’s where My Hiding Place was recorded. It definitely has that room’s stamp on it.

We recorded the second batch of songs at Top Hat Recording [in Knoxville] last fall. The engineers are a super-sweet married couple – John Harvey and Mary Podio – who built a house with their dream studio inside. It’s a fabulous, comfy place to hunker down and make a racket. We mixed the entire thing there too. We still had six songs to mix when lockdown hit, but John and Mary were very savvy and invented a new workflow that allowed us to finish things up. They’re really smart, great people.

Luckily, you pretty much finished the album prior to the Covid-19 lockdown. How was isolation for you? Did you write any new songs during lockdown? Did it inspire you?

JW: It’s been fine for me. I’m thankful to still be gainfully employed. I guess I’ve mostly been entertaining myself by getting this record finished and out into the world. So after September 25 [album release date] it’s time to find a new hobby!

I’ve written a little bit. Unfortunately I can’t say I’ve found it to be a particularly inspiring time. I miss hearing snippets of subway conversations and weird one-sided cell phone arguments while walking down the sidewalk.

You’ve relocated from Knoxville, Tennessee to New York? How’s that? Do you like living in New York? How has it influenced your writing and music?

JW: I love New York! I’ve been here for eight years now, I think. I reckon once I hit the decade mark I’ll be ‘official’. Hah. I like to think about songs while I’m walking, so New York is perfect for that. You can get into kind of an unconscious rhythm zigzagging through neighbourhoods while turning things over in your mind. I remember coming up with What’s The Over/Under? and My Hiding Place while making my way through the East Village.

What’s The Over / Under? is one of my favourite songs on the record. What can you tell me about the track? It’s a great power-pop song, with a killer chorus, Rickenbackers and horns. 

JW: I think I was in a hardcore Buddy Holly phase when I wrote that. I wanted to write lots of strummy, propulsive, open chord songs without too many minor chords. It’s easy to disappear down the minor chord rabbit hole sometimes. I remember coming up with the chorus, then having to Google what “over/under” actually meant. I don’t do sports betting or anything. It’s funny the things that tumble out of your subconscious mind sometimes…

 

The first single, Come To Texas She Said, reminds me of T-Rex – it’s a glam-rock-country-boogie!

JW: Hah – that’s awesome! “Glam-rock-country-boogie” sounds like my ideal genre. I was ruminating on the title Come To Texas She Said for a while. And once I kinda broke the verse melody everything else fell into place. It’s a song that’s gotten a big reaction live since I started playing it a year or so ago.

Jeff and I had many conversations about the arrangement. He actually went rogue – as he is wont to do – and initially produced a whole different version from his home studio, overdubbed on top of my four-track demo. It was actually really cool. The track included a mini V-Roys reunion, with Paxton Sellers laying down a groovy walking bass part. It had horns too. But ultimately we felt it was too Americana-y. Too much like the last record. I wanted to let it rip.

We recorded what became the album version during the Top Hat sessions. Dave Nichols’s elastic bass line really makes it for me. And Peggy Hambright’s call-and-response electric piano is so great – it reminds me a little bit of Harry Nilsson’s records.

‘I always bring up Neil Young and Crazy Horse in the studio. I love the rawness of those mid-’70s albums, like On The Beach and Zuma’

There are several classic rock ‘n’ roll influences on the album. Think Too Hard reminds me of The Beatles, Revolver-era, Washed My Face In A Truck Stop Mirror has a Tom Petty / Springsteen feel, and My Hiding Place and Kilimanjaro have a Neil Young and Crazy Horse vibe. Are those artists all big influences on you? What were your musical reference points for this record? 

JW: Wow, thank you – that’s extremely high praise. Yes – I love everyone you just mentioned. I always bring up Neil Young and Crazy Horse in the studio. I love the rawness of those mid-‘70s albums, like On The Beach and Zuma. And I think Peggy channelled a little E Street magic with her organ part on Loose Change, so those were all reference points I had in mind.

It’s funny, though – Jeff absolutely hates it when I say something like “hey, why don’t we try playing this song like Tom Petty, or The Bangles, or Syd Straw?” He’ll really flip his shit! He thinks bringing up musical reference points cheapens the creative process or something. He’s a purist I guess – hah. So I have to go and whisper those ideas to the rest of the band when he’s not paying attention…

I Walk In Circles has an Elliott Smith feel, doesn’t it? Are you a big fan?

JW: It does. I was trying to emulate his kind of hushed, double-tracked vocals. His records are so beautifully crafted. I actually came to his music late. I saw one of my favourite artists, Marika Hackman, cover his song Between The Bars when her tour came through Brooklyn last year, and that kind of set me off on an Elliott Smith tangent.

Some of your songs have a country influence. Did you grow up with country music in Tennessee? What were your influences when you were younger?

JW: Going to college in Knoxville really opened my ears to country music. Before that I was pretty much solely focused on the British invasion and classic rock ‘n’ roll, with a smattering of post-punk bands, like R.E.M.

I think during my sophomore year I picked up Lucinda Williams’s Car Wheels On A Gravel Road at the Disc Exchange and fell in love with everything about it – the songs and the sound, which actually has some Beatles-y touches, thanks to the Twangtrust production. That led me to Lucinda co-conspirator and Knoxville poet laureate R.B. Morris, as well as The V-Roys.

Then it was down the yellow brick road to Gram Parsons, Emmylou Harris, Uncle Tupelo, Steve Earle, Waylon Jennings, Roger Miller, Dolly Parton, Kris Kristofferson, Hank Williams, Bill Monroe and on and on and on.

‘Going to college in Knoxville really opened my ears to country music. Before that I was pretty much solely focused on the British invasion and classic rock ‘n’ roll, with a smattering of post-punk bands, like R.E.M.’

What’s your songwriting process?

JW: Songwriting for me almost always begins with improvising – picking up a guitar and strumming/singing while I walk around the apartment. Maybe getting the gears moving by playing someone else’s songs and then seeing if I can hit on a melody or chord change that peaks my interest.

Those ideas will usually live in my iPhone audio notes for a while, waiting for words to flesh them out. That’s when I find it helps to walk around the block and get a change of scenery. Anything to trick myself into not thinking! Staring at a blank page isn’t the way to do it – at least not for me.

Are you hoping to play live when things get back to normal?

JW: I hope so. I’ve had offers to do outside things during the pandemic, but it’s just so dicey, safety-wise. Plus a lot of sweat and spit flies off me while I play, so I’m basically a public safety risk! We’ll definitely do something once life gets back to normal. It would be fun to play the record in sequence. Of course, by the time it’s safe to do that, I’m sure I’ll be on to the next album.

‘A lot of sweat and spit flies off me while I play live, so I’m basically a public safety risk!’

How hard has it been as a musician being unable to play gigs to promote your new record? Are you worried about the future of the live music scene?

JW: I’m lucky in that I have a day job. I’m gutted for my friends that make their living playing music. It’s a really brave, hard life. And then to have the rug yanked out from under you by this…

Yeah – I’m really worried for the small venues. The sweaty little clubs that are so important for artists honing their craft. I’m terrified that by 2022 all the ones here in New York are going to be replaced by Chase Banks and Chipotles. And watching concerts on Zoom and Instagram Live ain’t gonna cut it. The pandemic has proven that much.

What are your plans for the rest of the year? 

JW: Stay vertical! I hope to venture down to Tennessee to spend Christmas with my family. We’ll see what the state of the world is by then. Fingers crossed.

Can you recommend some music – new and old? What are you into at the moment?

JW: Ooooh – let’s see. X’s new album Alphabetland is frenetic and fabulous. Girl Friday, this L.A. band I saw last year and fell in love with, just put out their first LP, Androgynous Mary. It’s a total blast. Great harmony singing and fiery guitar playing with stellar songwriting and arrangements that twist and turn. I’ve also had the new Haim record on repeat since it came out this summer.

As far as oldies, Fire On The Bayou by The Meters has found its way back to my turntable many times this summer. I’ve also been digging into Linda Ronstadt’s Mad Love album, which includes several Elvis Costello covers.

Finally, have you heard Nick Piunti, who’s a power-pop singer-songwriter from Detroit? Your music often reminds me of his – I think you’d like him. I’m going to recommend that he checks you out. Have a listen to this:

JW: I haven’t. Thanks for the recommendation. I really dig this song! It reminds me a bit of Cheap Trick, in the best way. Total melodic confidence and barnstorming guitars.

Circles by Jake Winstrom is released on September 25 – it’s available on streaming and download services, as well as vinyl.

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

 

 

 

 

‘My first Dylan album was Blonde on Blonde. I’ve been under the sweet, sorrowful spell of Sad Eyed Lady of the Lowlands ever since’

Picture by Autumn Dozier

Emma Swift’s new album of Bob Dylan reinterpretations, the wonderfully titled Blonde On The Tracks, is one of the best covers records we’ve ever heard.

The Australian-born, Nashville-based country singer-songwriter has put her own [simple] twist on some of her favourite Dylan songs, but, unlike some artists who’ve covered his work, she’s remained reasonably faithful to the original versions, rather than radically overhaul them.

“Interpreting other people’s emotions is how I learned to sing and I’ve always enjoyed hearing Dylan’s songs from a female perspective,” she says. “You can learn a lot about melody and feeling by the way a singer chooses to interpret someone else’s song. You can learn a lot about words by singing someone else’s. I’m very influenced by singers like Sandy Denny, Joan Baez, Billie Holiday and Sinead O’Connor. There’s an art to interpretation.”

Produced by Patrick Sansone, multi-instrumentalist from Chicago alt-rockers Wilco, Blonde On The Tracks sounds intimate, warm and inviting – Swift’s voice is gorgeous and breathy. The eight-track album opens with Queen Jane Approximately – in a nice touch, Swift gives it a wonderful, Byrds-style makeover, with chiming 12-string guitar.

She slows down One of Must Know (Sooner or Later), turning it into a pleading, haunting, late-night country song, with pedal steel. Simple Twist of Fate gets a similar treatment, but with some understated, twangy guitar licks, as does the 12-minute epic Sad Eyed Lady of the Lowlands.

Swift even reinterprets one of the songs from Dylan’s latest record, Rough and Rowdy Ways, on hers – the reflective and stately ballad I Contain Multitudes. Her achingly beautiful voice is accompanied by acoustic guitar and minimal instrumentation.

“Like many of the great Bob Dylan songs, I Contain Multitudes is a magnet, a fly’s eye view of the cultural miasma in which we wander,” says Swift. “It’s magnificent and heartbreaking –  a love letter to words and art and music, to all that has been lost and all that might be redeemed. To me this song has become an obsession, a mantra, a prayer. I can’t hope to eclipse it, all I hope to do is allow more people to hear it, to feel comforted by it, and to love it the way I do.”

Blonde On The Tracks is a record that was born out of crisis, as Swift explains: “The idea for the album came about during a long depressive phase – the kind where it’s hard to get out of bed and get dressed and present [yourself] to the world as a high-functioning human. I was lost on all fronts no doubt, but especially creatively.”

She adds: “I’ve never been a prolific writer, but this period was especially wordless. Sad, listless and desperate, I began singing Bob Dylan songs as a way to have something to wake up for.”

Work on the album began at Magnetic Sound Studio, Nashville, in 2017, but it was the Covid-19 lockdown that brought the rest of the project to fruition. Swift worked with Sansone over email to polish up the six songs that had already been recorded, but her versions of I Contain Multitudes and Simple Twist of Fate were laid down in April and May this year, at home, and overdubbed via correspondence.

The album features guest appearances from Sansone, singer-songwriter – and Dylanologist – Robyn Hitchcock, who plays guitar, Thayer Serrano (pedal steel) and Steelism’s Jon Estes and Jon Radford on bass and drums, respectively.

Say It With Garage Flowers spoke to Swift during lockdown in Nashville, to find out why Dylan’s music means so much to her, why Blonde On The Tracks, which can be purchased via Bandcamp and from record stores, won’t be available to stream on Spotify and other digital music sites, and her plans for her new independent label Tiny Ghost Records.

Q&A

How has lockdown in Nashville been for you? How have you coped – both personally and professionally?

Emma Swift: I have been in lockdown and haven’t left the house since the beginning of March, so although I am technically in Nashville, it feels, in a way, like I am on an island. I don’t see any of my friends or colleagues or even venture to the supermarket. All communication – for food, for friendship and for work – has been done online and it’s definitely weird.

The idea of “coping” is one I struggle with because, in many ways, we’re still deep in this Covid experience, so it’s hard for me to have perspective on it. Am I coping? I don’t know. Right now, the virus is worse than it’s ever been in Tennessee. Each day brings new challenges. On the one hand, I’m extremely fortunate to be able to work from home, on the other, my primary source of income is as a touring musician and all that work is not going to return for a long time, so that weighs heavy on my mind. I am constantly seeking distractions. I read a lot.

I have insane, one-way conversations with my cat [Ringo]. “Who’s a good boy? Yes, Ringo’s a good boy! Oh, Ringo you’re such a good boy. Ringo have I ever told you what a good boy you are? Look at your little face! You’re such a good boy.” There’s a lot of that.

How did you first get into Dylan’s music and what does it mean to you?

ES: I’m not from the generation that grew up when Dylan began making records, so for many years most of my discoveries were made well after that – through albums I bought at record fairs and charity stores and songs I heard on the radio. My first memory of hearing a Bob Dylan song is The Byrds version of Mr Tambourine Man, which got played a lot on the golden oldies station I listened to as a kid.

I can remember watching clips of the Traveling Wilburys on music TV – I adored Handle With Care, though Roy Orbison was the one I was drawn to at the time. My first Dylan album was Blonde on Blonde, which I must have acquired when I was 17 or 18. I’ve been under the sweet, sorrowful spell of Sad Eyed Lady of the Lowlands ever since. My love of the artists that came of age in the ‘60s and ‘70s isn’t exclusive to Bob Dylan though. I’m just as influenced by Dusty Springfield, Joni Mitchell, Sandy Denny, Gene Clark and Lou Reed to name a few. I’m a kid of the ‘80s and ‘90s, but I’m quite old-fashioned really.

You’ve recorded a version of I Contain Multitudes, from Dylan’s 2020 album, Rough and Rowdy Ways. Isn’t it brave to tackle a brand new Dylan song?

ES:It didn’t feel brave to me – it just felt like a song I was utterly magnetised by and compelled to do. For me, it’s a love song to all that is great about music and art and poetry. It’s a confession, a hymn, a celebration. Like many of the Dylan songs I am drawn to, it’s a little bit funny and a little bit sad. I laughed out loud the first time I heard him sing: “I paint landscapes/ And I paint nudes.”

As for my interpretation of it, it’s very lo-fi. It was recorded in the lounge room at my place on a Zoom recorder, with Robyn Hitchcock on guitar, and then sent to my producer, Patrick Sansone, for overdubs. Patrick’s a brilliant man who can do a lot with not very much. I’m lucky to know him.

Interestingly, on your versions of the songs, you haven’t changed any of Dylan’s lyrics to make them sound like they’re being sung from a woman’s point of view. What was your thinking behind that?

ES:They are being sung from a woman’s point of view – mine. I just haven’t changed any of the gender pronouns to make it sound like it’s coming from a heteronormative context. It’s not how I view the world.

Picture by Autumn Dozier

You’ve said that you can learn a lot about melody by singing someone’s else’s songs? Can you elaborate on that? What has making this album taught you?

ES: I’m pleased that the record is coming out because historically it hasn’t always been easy for me to put music out. I can be apprehensive. I can be scared. I can be very self-critical. People can be brutal. And you have to feel safe enough in yourself to be able to say, ‘I like it and no-one else’s opinion matters’, to be able to release music. It took me a while to get to that point.

As for learning about melody, every time I put a record on I become a student. My ears are primed. For that matter you can learn a lot about harmony too, if you let the recording take the lead and try to find a different part.

Which other singers / artists do you admire, other than Dylan? Who inspires you?

ES:Marianne Faithfull, Cat Power, Sandy Denny, Nick Cave, Billie Holiday, David Berman, Robyn Hitchcock, Lucinda Williams, Vic Chesnutt, Leonard Cohen, Guy Clark, Patti Smith, Johnny Marr. Even though it’s music, I guess what inspires me musically is artists who really love words. Artists who read books. Artists who care about the world.

Am I right in thinking Blonde On The Tracks won’t be available to stream on Spotify and other digital music sites? You have strong views on streaming and royalties / payments to artists, don’t you?

ES: Blonde On The Tracks is available as a digital download, vinyl, CD and cassette. I’m selling it through Bandcamp online and it has distribution, so folks will be able to go and pick it up from their favourite local record store as well. There’s never been a better time to support small business.

You are right, I’ve been quite outspoken online about wage exploitation from mainstream streaming services. I’m tired of corporate music companies spinning a line that these outlets are good for “exposure”, while some of the best musicians I know find themselves now out of a job due to Covid-19. You can’t eat exposure! You can’t pay your rent with exposure. It’s just another bullshit argument for trickle-down economics – an argument which fails to take into account that the music industry is bigger than its bigger name stars.

‘I’m tired of corporate music companies spinning a line that mainstream streaming services are good outlets are good for “exposure.” You can’t eat exposure!’

What’s the latest on your planned album of original songs, Slow Dancing With Ghosts? Have you been writing any new material? Is there another record in the offing?

ES:Slow Dancing With Ghosts is all set for release in January 2022. I have recorded eight songs so far, but they are not quite finished as all the overdub sessions were cancelled due to Covid-19. There are some really lovely people playing on this record. I’m pleased to say that once my depression lifted I was able to write new songs, and that will be what is on offer here.

What music – new and old – have you been enjoying recently and how do you listen to it?

ES: I listen to music through digital downloads, the Bandcamp streaming app, vinyl and CD. Though it’s been brutal on other fronts, 2020 has been a great year for new music and I’ve been enjoying the recent albums from Marchelle Bradanini, Luke Schneider and Becca Mancari.

I just bought the Prince Sign o’ The Times 7in singles collection that Third Man is releasing and I’m excited about that. And I’ve got the new Dylan album, plus quite a large vinyl collection that goes back decades. I come back to Joni Mitchell’s Hejira probably more than any other record.

What are your plans for the rest of the year when things get back to normal?

ES: I have big plans to play this album – and my own new songs – live. I’m just not sure when it will be safe for me to make that happen.

You’ve started your own label,Tiny Ghost Records. Any plans to sign any other artists to it and put out their records?

ES: One of the main reasons for starting Tiny Ghost was because I am a mouthy brat and I like my independence. I couldn’t find a record label in 2020 that was artist-friendly enough for me. Even the cool ones are still in bed with the streaming services, so that wasn’t really an option. The new Robyn Hitchcock album will come out on Tiny Ghost in 2021. I’d love to sign other artists eventually, I just have to get the business off the ground first. I’d also encourage any artists who are looking for a label to consider starting their own. If it works for Gillian Welch and Courtney Barnett, it can work for you too.

‘One of the main reasons for starting Tiny Ghost Records was because I am a mouthy brat and I like my independence’

What are some of your favourite cover versions of Dylan songs?

ES:Okay so what’s wild here is that I could list versions of just one song and it would go on for pages. I could talk about Joan Baez’s Daddy You’ve Been On My Mind for days. Betty Lavette’s Mama You’ve Been On My Mind, particularly when sung live, is glorious. Robyn Hitchcock doing Visions of Johanna is pure heartbreak. I have to say, with this project, I couldn’t really listen to other people’s Dylan songs for a while because I needed to just be with the source material. I’m also not too interested in a rigid list of favourites – the list is ever changing.

Finally, did you ever think about calling the new album Blood On The Blonde? Maybe that could be your next record reinterpretations of Dylan’s murder ballads?

ES: [laughs] No, I didn’t…

Blonde On The Tracks by Emma Swift is released on August 14 (Tiny Ghost Records).

https://emmaswift.bandcamp.com/

 

 

 

 

‘The worst thing about music these days is that it’s ego-based and no one is telling stories…’

RW Hedges : picture courtesy of @drunktankphoto https://www.instagram.com/drunktankphoto/

RW Hedges (Roy Hedges) makes beautiful music that harks back to a golden age of songwriting and belongs in a different time and place.

His latest 7in vinyl EP, The Girl In The Story, out now on Wonderfulsound – includes three tracks taken from last year’s album, The Hills Are Old Songs, which was inspired by the American Old West and was one of our favourite records of 2019.

The title track of the EP is a lovely, timeless, acoustic-led ballad with a bossa nova feel, a twangy electric guitar solo and early Beatles harmonies, while Prairie Moon sounds like it’s from a classic Broadway musical set in the Wild West, and Trail of the Setting Sun is an atmospheric and cinematic instrumental that doffs a cowboy hat to the Spaghetti Western soundtrack maestro Ennio Morricone, who died earlier this month.

Like cowboy campfire stories, The Hills Are Old Songs features a whole host of characters – alluring women, strangers with no names, outlaws and river boatmen of old Missouri.

A record that’s been lovingly crafted by Roy and his co-writer, producer, musical partner and label mate, Luca Neiri, it’s the follow-up to the 2018 album, The Hunters In The Snow, which was a more melancholy and personal collection of songs, autumnal and perfectly suited to late-night listening.

In an exclusive interview, Say It With Garage Flowers spoke to Roy and Luca to find out about their relationship, the art of songwriting and their influences and inspirations.

Luca Neiri and RW Hedges

 

Q&A

How did you two first meet?

Luca Neiri: We went to the same school – we did art and drama together when we were teenagers.

Roy Hedges: We were 13. Someone said to me, ‘there’s this new guy who is quite funny, he’s like you – I think you’d like him.’ I said, ‘what? I’m not happy about that.’ I met him and I thought he was fantastic! I can remember that day quite clearly.

LN: We ended up being in bands together – we had a band called Starky when we were 15. I moved away to Brighton to study fine art.

RH: Starky were the most famous band who were never famous – we were so famous that no one knew who we were. Sam Williams, who worked on  I Should Coco for Supergrass, produced some of our stuff. People could see we were good…

After you went your separate ways, you both decided to work together again after a few years apart, didn’t you? How did you hook up?

LN: I was working with Colorama [Carwyn Ellis] – in the studio, doing production, and also doing The Monks Kitchen [London-based band]. Roy and I met up again in Hyde Park – I hadn’t seen him for about five years and I told him that I wanted to work with him again, to help him develop his songs. That was the beginning of The Hunters In The Snow.

RH: I was a bit shocked.

 

 

[To Roy]: Prior to working with Luca on your last two albums, you’d put out your debut record, Almanac, in 2008, and an EP called A Heart Broken, which was released in 2014…

RH: At the time of the first album I was listening to a lot of jangly, layered guitar music, like Buffalo Springfield and The Kinks. It’s somewhere between Scott Walker and The Beatles, but it’s also a bit of a bedroom record, with some Beck and Evan Dando influences. It’s a bit obvious, with riffs, but it’s done quite well, although some of it is too fast. Our production is a lot more gentle and considerate.

LN: At that time, you were still learning how to make records.

You record your music in your shed studio, which is in the back of beyond, in the Buckinghamshire countryside. What’s it like and how does it influence you?

RH: It’s on the site of a mini Victorian gardenette and it really helps us and the music that we record – it’s very beautiful.

LN: It’s like Watership Down.

RH: We’ve written an album of animal songs that we hope to put out in the future. Being in a place where you’re surrounded by animals, it can’t help but feed into the music.

LN: It’s inspiring.

RH: I can’t live in a place like London – I had to get away from society. If you want to make music in London, it’s all about how much money and prestige you have. The only way I want to get prestige is in the music that Luca helps me to make. I don’t want to be regarded as someone who is up his own arse. Even though I’m outspoken, I have a tender centre and I need to be outside of that realm.

Do you write together or separately?

LN: A bit of both.

RH: We do work together… On The Hunters In The Snow, I wrote most of the lyrics.

LN: It was what he wanted to say, but what I wanted to play and produce. On the last record [The Hills Are Old Songs] we both wrote the lyrics. Roy would have an outline of an idea and then we’d have a conversation and try and get into the character and what he’s trying to say. He would be pacing up and down…

RH: He’s Richard Rodgers and I’m Larry Hart. One of our things is that ‘song is king’ – it’s a bit cheesy, but it makes sense for us. Those old songwriters bound their songs to their themes and characters. When Luca is producing, he answers to the song and so do I, when I’m writing a melody or a part that I think it needs. You have to constantly challenge yourself or each other, but in a gentle way.

LN: The first album we made together was more about Roy and his feelings…

RH: It was about my sadness.

LN: The Hills Are Old Songs was written from other people’s points of view – we took Roy’s character out of it.

‘I can’t live in a place like London – I had to get away from society. If you want to make music in London, it’s all about how much money and prestige you have’

How do you write songs? Do you sit down with an acoustic guitar?

RH: Nowadays I write in the shower, or when I’m on a bike or a bus.

Let’s talk about The Hills Are Old Songs. It was inspired by the Old West and cowboy ballads, but you’re also influenced by the Great American Songbook and old Broadway musicals, aren’t you? How did the concept for the album come about?

LN: It was happenstance, but I’d read books like Bury My Heart At Wounded Knee. We’d also studied the music of Broadway and we’d watched Oklahoma! I had an idea about the Old West.

RH: In August 2018 I bought a book, in Devon – The Westerners, by Dee Brown, and I already had a book on Sergio Leone’s Spaghetti Westerns, as well as Badmen of the West and The Oxford History of the American West. I suddenly realised I had all these books and it came together.

I like western noir and I also had an epiphany watching South Pacific. We watched old ‘70s documentaries about the Old West – they had cheesy production values and lovely music that made you feel like you were riding in a wagon, but they also showed the darker side of the West, like brutal hangings. We tried to put some of that into The Hills Are Old Songs – in the second song [Deep In The Valley] the protagonist is an outlaw who is killed by his father.

LN: On this album, we knew what were doing and where we were heading. We tried to make it like a soundtrack, as it had a theme – it has a soundscape element.

We were listening to a lot of Marty Robbins and people like that. There’s beautiful acoustic guitar and quiet drums in the background – neat and simple. We took that on board. For me, as a player and a producer, I was thinking: ‘what are the pieces in the puzzle?’ There’s a framework that’s already there – country music – but we’re reupholstering it.

RH: Haven’t Seen Her In A While was recorded first – that gave us the vision – and My Dearest kept us going until the end.

We’ve made a playlist of songs that inspired the sound of The Hills Are Old Songs: Sam Cooke’s I Dream of Jeanie with the Light Brown Hair, I’ll Be Your Mirror by The Velvet Underground, Bob Dylan’s John Wesley Harding

‘We watched old ‘70s documentaries about the Old West – they had cheesy production values and lovely music that made you feel like you were riding in a wagon, but they also showed the darker side, like brutal hangings’

What is it about the Great American Songbook that inspires you?

RH: Yip Harburg was the guy who wrote the lyric for Somewhere Over The Rainbow and Brother, Can You Spare A Dime? He knew the difference between sentiment and sentimentality – we like to think that we do too. It’s a fine balance between being sentimental and being cheesy and overly saccharine, or coming across as creepy or disingenuous. In that respect, our song Old Missouri was the hardest song to do, as I’m not a river boatman…

The worst thing about music these days is that it’s ego-based and no one is telling stories. In the modern world, everything is so complicated and everyone’s in such a rush. One of the most important things in songwriting is coherency – especially in lyrics. Nobody writes coherent lyrics [nowadays].

The Great American Songbook writers used to marry the lyrics together and the subject matter was things that human beings find eternally fascinating – like a city or a blue moon. Nowadays it’s ‘I have a feeling,’ and ‘I do this…’ I don’t care how they feel or give a fuck about what they had for breakfast! The problem is that nowadays we live in a time of individualism, whereas in those days [of the Great American Songbook], it was a time of collectivism – we need to return to a time of collectivism in order to progress.

Luca Neiri and RW Hedges

[To Roy]: You also like doo-wop and old rhythm and blues music, don’t you?

RH: If Luca wasn’t producing some of my stuff, it would sound more like the Traveling Wilburys, but, thankfully, it sounds a little bit more like The Fleetwoods.

What other projects are you working on? What would you like to do in the future?

RH: We’ve been writing two other albums – one is an album of animal songs and the other is a love album. Hopefully Luca and I will write some songs that someone else will sing, rather than me – to send a nice song out there [to someone else] is such a nice goal. I want to be a songwriter more than I want to be anything else – I don’t see myself as a singer per se, I see myself as a songwriter.

I want to get my songs out there, but I want them to be understood in the right way. We can’t wait for the world to catch up – it has to catch up with us.  We are a bit scruffy and rough around the edges, and we’re getting on a bit, but we really love doing music.

The limited edition 7in vinyl EP, The Girl In The Story, and the album  The Hills Are Old Songs by RW Hedges are both out now on Wonderfulsound. Luca Neiri’s latest album, Always You, is available on the same label.

 

‘I’m actually enjoying being indoors – I haven’t cracked up yet!’

Photo by Laura Proctor: @lpphotographs

 

When the coronavirus pandemic forced him to cancel his European and UK spring tour, Canadian singer-songwriter Jerry Leger turned a negative situation into a positive one by hastily putting together a brand new, digital-only album called Songs From The Apartment.

Available to buy from Bandcamp, it’s made up of ‘lost’ songs from 2013- 2018 that he’d demoed and quickly forgotten about.

It’s a brilliant collection of intimate Americana and Dylanesque folk-blues tracks.

The loose, raw and lo-fi recordings really hang together well as an album, and, if anything, it demonstrates that Jerry’s discarded songs are better than many artists’ officially released ones.

In an exclusive interview from his apartment in Toronto, Jerry tells Say It With Garage Flowers how he pulled the album together so quickly, reveals details of a series of forthcoming online gigs streamed live on Facebook and suggests a suitable soundtrack for these days of isolation…

Q&A

How’s it going? Are you safe? What’s the situation like in Toronto?

Jerry Leger: I’m well and doing what I can to stay safe and keep my distance during the handful of times I’ve had to leave my apartment. A state of emergency was announced in Toronto and everything is changing by the day – stores and other places are closing and there are more guidelines for what we need to do to protect ourselves and others. It’s a good thing to help us get through this as soon as possible.

Sadly the coronavirus has meant you’ve had to postpone your UK and European tour. How do you feel about that? What impact has it had on you financially?

JL: Well, it was a major blow, very disappointing and, as you can imagine, financially devastating. It’s being rescheduled for next spring – I’m hoping that things will have settled down by then. Of course, our health is the number one priority for all of us, but it is very stressful. You’re dealing with how the present has been affected and worrying about how the future looks.

After a few days I was able to calm my mind down a bit and not worry about things too far into the future. All it does is create more anxiety and I have enough of that already. The virus has put a lot of things into perspective for me. My girlfriend Laura has helped a lot and I’ve also been coping by staying busy and by thinking of creative things I can do from home.

I started the year off by catching up on a lot of reading and also writing more, so I’m gonna do more of that and get back to sketching, which I find stress relieving.

How are you coping with being indoors all the time?

JL: I’ve actually been enjoying it to some degree. I haven’t cracked up yet! After my big European and UK tour was postponed and Canadian dates were cancelled, the first few days of recommended isolation were spent dealing with that and what to do next.

I had started the year off writing a bunch of songs, but, of course, the pandemic put my creativity on hold. I’m easing back into the mindset for when the mood and inspiration strikes.

Can you recommend any songs for the period of isolation? What’s your soundtrack?

JL: I’ve had Gordon Lightfoot on – it’s comforting for me. It’s hard to say though, ‘cos I’m always listening to records if I’m home and now I’m home a lot, so a lot of records have been played.

I had Ray Charles, Irma Thomas and Kris Kristofferson on last night. For the first few days, I had a lot of Beatles and solo Beatles on, ‘cos I also find that comforting in moments of deep worry.

The first song I was ever obsessed with was In My Life, around the age of four. As I’m writing this, I have King Of America by Elvis Costello on.

Great choice! One of the positive things that’s emerged from the crisis is that you’ve released a new digital-only album, Songs From The Apartment, via Bandcamp. How did you manage to turn the project around so quickly?

JL: I thought it would be cool to release a surprise album and I had folders and folders of demos for songs that had never seen the light of day.

I think I needed a distraction last week after dealing with so much. I started listening to some of the tracks and heard a lot of merit in them. I also loved how relaxed, intimate and raw they were. I thought it was good timing, with a lot of us having to be indoors. We’re all in it together.

A fan sent me a message saying that he loved the sound of it – he said it sounded like I was right there in the room with him.

I put it together last Thursday [March 19] and chose 10 songs that I thought really worked. My buddy Aaron Comeau helped with EQing and doing the levels on them. The photo for the cover – by LPPhotographs – was one that I always loved. I always saw it as a cover and it worked perfectly ‘cos I’m sitting in my apartment with my acoustic guitar.The album is made up of unreleased songs you had lying around. Are there a lot of songs in your vaults? Was it easy to choose which songs to include? 

JL: Yeah – there are a lot of songs that I have recorded in demo form and also some studio outtakes for that matter. I just write all of the time – I don’t hunker down and write the next album in a cabin somewhere.

A bunch of the tunes I don’t even remember writing, which made it fun to listen to and put together. It also made it easier to choose certain ones ‘cos I’d have a less bias opinion coming back to them if they were good or not.

‘I write all of the time – I don’t hunker down and write the next album in a cabin somewhere’

I think they’re all from the period of 2015-2018, except Leaving Now, which is from 2013. There are some that stayed in the back of mind as being good, but I doubted I’d return to them for a future album ‘cos time changes that for me.

I’m more focused and excited about what I’m writing in the moment. This worked perfectly putting the collection together.

Your ‘lost’ songs are better than a lot of artists’ officially released songs, aren’t they?

JL: Well that’s a matter of opinion!

Songs From The Apartment is a lo-fi, stripped down album. How and where were the songs recorded?

JL: They were recorded in my apartment on just a little recorder with an internal microphone. Very rough. They were all songs that were demoed and either not chosen to go into the studio with, or tried in the studio but left off the albums.

Basically before making an album I probably would have 30 or so songs and we’d pick 15-18 to go into the studio with and then 10 or 12 would make the cut.

Some really great ones are never returned to after the initial demo and that’s because they may not fit the feel I’m going for at the time, or it’s a similar idea or sound to a different song that I prefer. For example we recorded Tomorrow In My Mind and Ticket Bought for Time Out For Tomorrow [2019 album] and I felt they both had a similar feel, so I decided on the former.

You’re doing some online gigs on Facebook in the next few days, streamed live from your apartment?What can we expect from the performances? 

JL: It’s gonna be interesting, I’ve never live streamed before and never had any interest in doing it.

I had thought about live streaming a show before ‘cos I found myself watching a couple of Lucinda Williams shows on her Facebook page and I loved them. It made me think ‘OK, maybe this wouldn’t be so bad’, but I never got around to doing it.

I think in these strange days we’re all trying to figure out what we can do in the meantime and also try and keep afloat in an industry that has already been suffering for years. I’m doing these online shows for the folks that can’t come and see me and they’re cool with the virtual version for now.

Anyone can watch and I hope they do, but each show will also have a special hello to a country that we no longer will be visiting this spring. I completely understand if it’s not up some people’s alley and they’d rather not tune in. For me, I’m gonna do what I usually do when I’m around the house – play some music. I’ll play some new and old songs, plus some covers if it strikes me.

Let’s talk about some of the songs on the new album. Traveler’s Prayer is one of my favourites. What can you tell me about it? I like the line – ‘trees blow in the Halloween air.’ It’s a very wintry song…

JL: That’s really interesting, as I got a couple of emails from fans in different countries that also love that song. I wrote the words first and set it to music, recorded the demo immediately afterwards and then completely forgot about. That recording is the only time I’ve ever played it. It’s so relaxed and unaffected.

That’s what I love about Songs From The Apartment. Nothing on it was intended to be heard by anyone other than myself or Mike Timmins, who produced the last few albums. It’s also why the guitar is out of tune – ha! I don’t remember the inspiration for that song, but I think the time period of Halloween recurs in my songs because I love that time of year.

‘In these strange days we’re all trying to figure out what we can do to try and keep afloat in an industry that has been suffering for years’

Hoodoo Brown has a Dylan feel. What was the inspiration behind it? It sounds like an outlaw blues song… 

JL: Yeah – it’s an outlaw song. I read about Hoodoo Brown who was the leader of a gang in the late 1800s. I just dug the name and made up the rest.

I remember working on that song longer than some of the others and I felt it never got off the ground with the band. I couldn’t get the sound I wanted. This solo version has much more of the energy and urgency that it needed. Actually, that’s probably the Dylan connection – that and the fact there’s a lot of words crammed into some of the lines. I dig a lot of the words and ideas in it.

It was written specifically for the Nonsense side of my album Nonsense and Heartache, so that’s why it has that bluesy, rock ‘n’ roll feel to it.

Photo by Laura Proctor: @lpphotographs

Poor Man’s Farewell is a beautiful and poignant folky song. Where did that come from?

JL: I don’t really remember, but I think it was on my mind how a lot of us look down on the poor or the homeless and never think about their story. Everyone has a story.

I actually had an idea that it would be a secret song at the end of Nonsense and Heartache. Kind of like Train In Vain from The Clash’s London Calling, which is not listed on the sleeve.

Leaving Now is a sad song that’s about the end of relationship. Can you shed any light on it? I think has an early Dylan feel. It’s folky – almost ragtime… 

JL: We tried that one for the Early Riser album, but I don’t think Mike Timmins felt it fitted, or was good enough. I always thought it was catchy, though – you could hear someone covering it. Yeah, you’re probably right. Dylan is such a big influence on me, that there are elements that have and always will continue to show up.

There are quite a few sad songs on the album. Is that a coincidence?

JL: The sad ones are always the best! It definitely wasn’t the concept, but I think I gravitate towards sad songs. So many Everly Brothers songs that I love are really just a drag, aren’t they?

What are you most looking forward to doing when things return to normal?

JL: Seeing my friends, family and the band and playing on stage again in front of people. It’ll be nice to have the UK and European tour and other shows rescheduled to make up for lost time.

The title of your last album, Time Out For Tomorrow, seems eerily prescient in the light of the current situation, doesn’t it?

JL: I know! I couldn’t help but instantly think of that. The album title now has a whole new meaning.

To buy or stream Jerry Leger’s latest album, the digital-only Songs From The Apartment, go to his Bandcamp page here.

For more information on how to watch his streamed live gigs on Facebook – from March 26-April 1, go to https://www.facebook.com/jerrylegermusic

To make a donation, use paypal.me/jerrylegermusic .

www.jerryleger.com

 

‘I’ve been having these really vivid dreams about a post-apocalyptic town…’

Three years ago, West Country singer-songwriter Alex Lipinski released his second album, Alex.

One of our favourite records of 2017, it was a collection of stripped-down, raw and bluesy, autobiographical songs, recorded in Berlin with Anton Newcombe from The Brian Jonestown Massacre, and it reminded us of Bob Dylan singing The La’s.

Now he’s back with not one, but three new singles! Jigsaw is a haunting ballad – imagine Chris Isaak’s Wicked Game crossed with classic ’70s Neil Young; Everyday is a cover version of a Buddy Holly song – Alex has slowed it down and added some gorgeous, Richard Hawley-style, twangy guitar – and Hurricane is a re-recorded, full-band version of one of the standout tracks from his last album, with a jangly 12-string sound, organ and a wailing, Springsteen-esque sax solo.

In an exclusive interview, we sat down with Alex for a chat to get the lowdown on his new songs, and find out how his next album, which is being recorded this year, is shaping up. He also found time to tell us about his crazy dreams and a scary mushroom trip he once had…

Q&A

Hi Alex. How are you doing? The last time we spoke was in 2017, after the release of your last album, Alex. What have you been up to since then?

Alex Lipinski: I’m good, thanks. I’ve pretty much been playing all over the UK and writing songs since we last spoke. I’ve played a bunch of festivals, which were great. More recently, I’ve been playing some shows with Matt Owens (Noah and the Whale), which have been fun.

Late last year, you released a new single – Jigsaw. It reminds us of Chris Isaak and vintage Neil Young…

AL:I wrote most of Jigsaw one morning at my friend’s house, in Washington D.C, where she was living at the time. I picked up a guitar that was lying around and the chords and melody instantly came out – it’s always nice when it happens that way. I actually heard Neil Young’s Harvest-era drums in my head when I was picturing how I wanted it to sound.

The song is accompanied by a mysterious video, in which you walk around a deserted coastal town, bury a briefcase on the beach, get picked up in a car and bump into a strange masked character. What does it all mean and where did you film it?

AL: The idea for the video stemmed from a mushroom trip I had at some point over the past couple of years – Hawaiian cubensis mushrooms, to be precise. I was in the middle of the trip and going through a bit of an ordeal. I can laugh now, but it wasn’t so funny at the time.

The scenario I was in kept repeating itself – I was stuck inside this loop and couldn’t work out how to break out of it. With the video, I wanted to make something weird.

Around the same time I had the idea for the story, I had watched The Wickerman, so that may have had some influence. The video was filmed around Sand Bay Beach in Weston-super-Mare. We had quite a few confused and concerned stares from dog walkers and nosy neighbours when myself and my nephew, who was wearing a rubber rabbit mask, were digging and burying a suitcase! I don’t think anyone called the police. The large white building is a psychiatric hospital. The video was shot completely on an iPhone 11 Pro.

Your new single is a cover of Buddy Holly’s Everyday – you’ve slowed it down and the guitars have a Richard Hawley feel…

AL: Everyday came about from a jam at a soundcheck. I had been playing around with the song previously, slowing it right down – almost crooner-style.

Graham Nicholls, the lead guitarist, was setting up and he had this Richard Hawley- style tremolo sound he was trying out, so I started singing and playing the song and he joined in. Adam, my brother, sings the other main vocal on the recording, so it gives it that Everly Brothers feel. It was the anniversary of Buddy Holly’s death on February 3, so we thought it would be a fitting tribute to release the song as close as we could to that date, to mark the occasion.

There’s another new single on the way soon – a re-recorded, full-band version of Hurricane, from your last album. It has a much bigger sound than the original, with jangly guitar, Springsteen-like sax and some organ….

AL: The new version of Hurricane is how I actually heard the song when I first wrote it. I had this upbeat, 12-string Byrds/Big Star sound in my head. It wasn’t until I slowed it down and lowered the key at a gig, almost by accident, that I decided to record that version on my last album. I wanted this big Clarence Clemons/Bobby Keys-style tenor sax solo during the instrumental.

‘The new version of Hurricane is how I heard the song when I first wrote it. I had this upbeat, 12-string Byrds/Big Star sound in my head’

We recorded the new songs at Canyon Sound Studios, in Bristol. Nic Dover, who runs the studio and engineered the sessions, is also a great sax player, so he stepped up and nailed it in two takes. The latest recordings act as a kind of bridge between the last album, which is completely stripped-down, and the next album, which will be recorded with the full band.

Let’s talk about your next album. Is it written? If so, when do you plan to record it and release it?

AL: The next album is written, but there’s always new songs that are being added to it, so it’s a case of working out which direction I want to take it. I’ll be recording it this year and, hopefully, it will be out by the end of 2020, however it may be an early 2021 release. Making a body of work to be proud of is more important to me than trying to rush it out.

You made the last album with Anton Newcombe of The Brian Jonestown Massacre, at his studio in Berlin. Any ideas about how you’re going to record the new one? Who are you going to work with?

AL: Working with Anton in Berlin was a great experience. He’s a ridiculously talented guy and also a great person. The album was completely stripped-down – the songs were presented in their raw, skeletal form and recorded live.

Myself and Adam [on guitar] were set-up facing each other, almost in a circle, with a bunch of mics around us and a giant RCA ribbon mic in the middle –  the same microphone they used to use on the old Frank Sinatra recordings.

‘The next album will be heading in a different direction. There are elements of blues, soul, Americana, power-pop, ’60s psych and country’ 

Adam was kind of learning the songs as we went along – I’m left-handed and he’s right-handed, so it was easy for him to see which chords I was playing. In eight hours we had the main nucleus of the record done.

The next album will be heading in a different direction, as I’ll be recording it with my band. The singles that are coming out were recorded at Canyon Sound in Bristol, with Nic Dover, and he’s also great and easy to work with. He has a great ear and the studio has great gear. So we’ll see what’s possible and figure it out.

What’s going to influence the sound of the new album?  

AI: Recording with the full band immediately gives the music a new direction and approach. There are elements of blues, soul, Americana, power-pop, ’60s psych and  country –  all these small glimpses of influences that seep out and merge together. That’s down to each individual player who brings something to the band.

Jon Whitfield (drummer) is a top jazz player, so he has his style, which allows us to take a song dynamically wherever we want it to go. Paul Quinn (keys/organ) and Graham Nicholls (lead guitar/lap steel) are both great players that sprinkle their magic dust, giving each song what it needs and, more importantly, knowing when to allow the song space where it needs it. And myself and Adam have been singing and playing together since we were teenagers, so we have this weird brotherly connection and understanding. So everything gels nicely.

Lyrically, the next record is going to be slightly less autobiographical than that last album, which was quite a personal record. I’ve tried to make things slightly more ambiguous, leaving it up to the listener to think for themselves, and not spelling it out.

Some of the songs could mean various things for different people and I guess that’s the beauty of creating something.

Unless you’ve been living under a rock for the past couple of years, it’s highly unlikely to not have been affected by what’s been going on politically in the UK, and if what’s been going on doesn’t make you angry, then you haven’t been paying attention. So I guess parts of that anger and frustration have slipped into some of the lyrical content.

Some of the themes also stem from dreams I’ve had over the past couple of years. I’ve been having these really vivid dreams, which are centred around a kind of post-apocalyptic town that feels both alien and familiar at the same time. A kind of blend of the future and nostalgia, and the line between reality and fantasy. I have absolutely no idea why I’ve been having these dreams, but I’m keeping a note of them.

‘The next record is going to be slightly less autobiographical than the last album, which was quite personal. I’ve tried to make things slightly more ambiguous’

What music are you listening to at the moment – new and old? Did you have a favourite album of last year?

AL: I’ve been listening to Townes Van Zandt quite a lot recently, especially the Live at the Old Quarter album. It’s a great live recording from 1973. The audience is crammed into this tiny venue. You can hear the cash till and the beer glasses – you can almost smell the sweat and cigarette smoke coming off the record.  It reminds me of the 12 Bar Club, on Denmark Street in London, where I used to play a lot. Full of character and characters, and a great jukebox. Sadly developers moved in and the venue is no more, but it used to be a magical place.

I’ve also been listening to Gene Clark’s No Other album, which was re-released at the end of last year, and Andy Shauf’s latest record [Neon Skyline], which I’m enjoying.

There were some great albums that came out last year. I thought Michael Kiwanuka’s record [Kiwanuka] was a masterpiece. Bruce Springsteen’s Western Stars was great – Moonlight Motel  is one of the best songs he’s written over the past few years. I loved Wilco’s Ode To Joy. The Purple Mountains album [Purple Mountains] was amazing and also tragic, due to the circumstances. I loved Devendra Banhart’s Ma and I thought  Bill Callahan’s Shepherd In A Sheepskin Vest was beautiful.

I played Son Volt’s Union a lot. I also really enjoyed Sharon Van Etten’s last album, Remind Me Tomorrow. I saw her live at the Green Man Festival last August and she blew me away. Her song Seventeen, from the latest album, is a killer.

What are your plans for the year ahead? 

AL: The plan for this year is to record the new album. I also want to play live as much as possible. Since the last album was released, I’ve been playing all over the UK and in Europe, and, even now, people are still discovering the record, which is great. So I’ll be playing shows, both solo and with the band.

Last year I helped my sister arrange and put on a series of gigs to raise money for the Save The Children Yemen Crisis Appeal. The first set of gigs were ‘Songs of Dylan’ – we invited a bunch of local, and not so local, artists to perform a couple of Dylan songs each. The first gig was in Hebden Bridge, and we also arranged concerts in Bath and Bristol. We’ve had some great musicians come and play at those shows and the response has been amazing – we’ve managed to raise over £2,000 so far. We’ve also hosted  ‘Songs of Simon & Garfunkel’ and ‘Songs of Joni Mitchell’ concerts in Hebden Bridge, too. The situation in Yemen is horrific and we’ll be arranging more Songs For Yemen gigs this year, with a big one in London being planned in the coming months.

‘If you’re in Bristol, you should make a visit to Friendly Records – it’s a great independent record shop and it’s got its own bar. What more do you want?’

I’ve also started a night in Bristol with my friend James Maclucas. It’s called Wolfmoon. It’s an evening doused in the spirit of the New York coffee houses of the 1960s, set in the intimate setting of Friendly Records Bar, on North Street. Three artists play a 30-minute set, completely unplugged. There are guest DJs and plenty of ale on tap. The next one is on Thursday February 27.

If you’re in Bristol, you should make a visit to Friendly Records – it’s a great independent record shop and it’s got its own bar. What more do you want? I haven’t been paid to say that by the way…

Jigsaw and Everyday by Alex Lipinksi are out now on A Recordings. Hurricane will be released on March 20.

Alex plays The Water Rats, London, on February 12, with Matt Owens (Noah and the Whale) and Sadie Jemmett. Tickets are available here. 

http://alexlipinski.co.uk/

Twitter: @alexlipinski1

Instagram: @alexlipinskli1

‘I’m really excited about the new album – I think it’s the best record I’ve made so far…’

Photo by Laura Proctor: @lpphotographs  https://www.lpphotographs.ca/Info

With its Dylanesque country-rock, rootsy blues, folk and haunting mountain balladry, Jerry Leger’s new album, Time Out For Tomorrow, will feature highly in our ‘Best of 2019’ list.

We spoke to the Toronto-based singer-songwriter, who will be playing shows in Europe and the UK in spring next year, about the ‘short and sweet, lean and mean’ sound he wanted to achieve on the record and how he was inspired by listening to Lou Reed and Nick Lowe…

Here at Say It With Garage Flowers, we’ve 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 – as we said at the time, ‘essentially it’s two distinct collections of songs.  The first half  – Nonsense – is a raw, primal, bluesy, electric rock ‘n’ roll record, while the second instalment – Heartache – is a stripped-down, alt-country affair, with intimate ballads, lap steel, piano and fiddle. Put them together and you have an album that reminds us of those classic early Ryan Adams long-players Heartbreaker and Gold – yep, it’s that good…’

In April this year, Toronto-based Jerry and his band, The Situation, toured the UK and Europe to support the release of the limited edition, retrospective compilation, Too Broke To Die, which was put together especially for the European market and was available to buy from his merch stall on tour.

In an exclusive interview ahead of his East London headline show at What’s Cookin’, in Leytonstone, Jerry gave us a scoop – he spilled the beans about his latest studio album, Time Out For Tomorrow, which was due to be released in the winter of 2019.

He told us: “I’m really excited about the new record – I’m very proud of it. I really think it’s the best record I’ve made so far. It’s a cross between Early Riser [his seventh studio album from 2014] and Nonsense and Heartache sound-wise and it’s very concise songwriting-wise, performance-wise, arrangement-wise and sequence-wise.”

Jerry Leger talks to Sean Hannam – picture by Laura Proctor: @lpphotographs https://www.lpphotographs.ca/Info

Talking about the recording sessions, which were overseen by producer Michael Timmins (Cowboy Junkies), who worked on Jerry’s two previous albums, he said: “What was different this time around was that we rehearsed a lot before going into the studio, trying out different arrangements, but there’s still spontaneity on this record… A lot of it was played live in the studio, but I had more of a clear idea about how it was going to be executed. I already had in my mind what the arrangements were going to be. It took about a week to make.”

He added: “We went in with 18 songs, focused on about 15, then cut it down to 12 and 10 made it. Some of the songs that didn’t make it are some of the best, but they didn’t fit. It was like putting together a puzzle. I like records that are rough around the edges, but with this one I took a little more care putting those puzzle pieces together.”

‘It’s a nice, short and sweet, lean and mean record. I wanted to capture the sound of Nick Lowe’s The Impossible Bird and Lou Reed’s Coney Island Baby’

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 Island 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.”

It’s now more than six months since we spoke to Jerry – Time Out For Tomorrow was released in early November and it’s easily one of our favourite albums of 2019. 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 are raw, powerful and emotional songs that deserve to be heard by a much wider audience.

It seems that the word is getting around –  the recent European edition of Rolling Stone awarded Time Out For Tomorrow four and a half out of five stars and called it “his masterpiece”, monthly music magazine Uncut gave the album a positive review in its latest issue and well-respected specialist website Americana UK also had good things to say about it.

We caught up with Jerry recently and asked him if he thinks Time Out For Tomorrow could be the album that takes him to the next level?

I hope it does – just to make it easier to keep travelling and making albums. I certainly think that there are enough people that would dig it to make that happen, but it’s hard these days,” he says. “Once upon a time the music would come to them, now they gotta dig for it, unless there’s a lot of money behind it, pushing it. We’ll be back in the UK and Europe in the spring [2020] – I’m really looking forward to it.”

Time Out For Tomorrow feels less bluesy than its predecessor – it’s more of an Americana record…  “Yeah – that’s a fair comment,” says Jerry. “I think the Nonsense portion of Nonsense and Heartache was basically a blues record. It’s just where I was at for those sessions. They’re all kind of blues records, but this one swings more.”

The basic band set-up for Time Out For Tomorrow – guitars/ vocals, piano, bass, drums and organ – is very mid-‘60s Bob Dylan…

He’s influenced everything and everyone, whether they like it or not,” says Jerry. “As Warren Zevon once said, ‘He invented my job.’ Having said that, it wasn’t anything intentional. We just have a good buddy, Alan Zemaitis, who plays the organ like you’ve never heard. He recently played with Buddy Guy in Chicago, and Buddy gave him the nod and thumbs up. I really wanted him as part of the family on this record.”

 

The first single, Canvas of Gold, which was only written a few days before the recording sessions for the new album, includes the lines: “Everything was almost decided when we were young. You stay poor like your family before and I’ll keep hustling…”

Is the song autobiographical? “Well, my dad had a rough upbringing – not a lot of money in a very full house in St. John’s, Newfoundland,” says Jerry.  “He always worked very hard – he did a few jobs to make sure that we didn’t grow up the same way. His work ethic is still inspiring to me. He always had pride in what he was doing. My dad was no sell-out.”

‘Life is a hustle for people that don’t rely on luck, or rely on someone to create the illusion for them’

So, as a full-time musician trying to earn a living, does he feel like a hustler? “Yeah. Life is a hustle for people that don’t rely on luck, or rely on someone to create the illusion for them.”

One of our favourite songs on the record is the moving ballad, That Ain’t Here, which seems to be about escaping from fake people and from the harsh realities of life by being with a loved one. There’s a great line in it: “We sang our favourite song that everyone gave up on…” What’s Jerry’s favourite song on the album?

“I guess I like that one and Corner Light, and I love I Would – I just think it does what it needs to and doesn’t overstay its welcome, ” he says.

The title, Time Out For Tomorrow, was taken from the name of an early ’60s dime store collection of science fiction short stories given to Jerry by a friend. “I just couldn’t get the title out of my head. Everything around me seems like science fiction these days and the phrase ‘Time Out For Tomorrow’ fits these songs and my mood in one way or another.

“It seemed to make sense to me for this record,” he says. “Sometimes I know exactly what it means and sometimes I think it could be something else. I dig that.”

So do we. Time Out For Tomorrow is here and now – you need to take time out to listen to it today…

Time Out For Tomorrow by Jerry Leger is out now on Latent Recordings.  Jerry Leger and The Situation will be touring Europe and the UK in spring 2020. These are the confirmed dates so far – more will be announced:

09/04: Hengelo, NL – Metropool º
10/04: Arnhem, NL – Luxor Live º
22/04: London, UK – Green Note
23/04: Glasgow, UK – Broadcast
24/04: Hull, UK – O’Rileys
25/04: Stockport, UK – Roma Lakes
26/04: Winchester, UK – The Railway Inn
29/04: Örebro, SWE – STÅ – Pintxos & Vänner
30/04: Stockholm, SWE – Snotty Seaside
01/05: Ringebu, NO – Arnemoen Gard
02/05: Trondheim, NO – Moskus
03/05: Oslo, NO – Krøsset
05/05: Recklinghausen, DE – Creative Outlaws
06/05: Eindhoven, NL – De Rozenknop Eindhoven
07/05: Groningen, NL – Der Aa-Theater
09/05: Houffalize, BE – La Truite d’Argent – Hotel & Cabanes
10/05: Utrecht, NL – Café de Stad

º w/ Ben Miller Band

‘These are torrid times – this album is a reaction to that’

Vinny Peculiar is doing it while he still can… The West Midlands-based singer-songwriter’s new album – While You Still Can – is a socio-political record that takes a wry look at the current state of the UK, but also throws in some references to ’70s pop culture along the way.

We spoke to him about Brexit, the good and bad sides of social networking, heavy rock and channelling Gang of Four, Wishbone Ash and Pink Floyd…

Diane Abbott taking a selfie, broadcaster Richard Stilgoe, ’70s rock, class A drugs as a form of social control, Donny and Marie Osmond and a chain mail bikini… welcome to the weird world of Vinny Peculiar.

All of these subjects are mentioned on While You Still Can, the new album by the cult singer-songwriter, which is his thirteenth in a 20-year career.

The last time we spoke to Vinny, he’d just recorded Return of the Native, his brilliant 2018 album about moving from Manchester and returning to Worcestershire, where he grew up. This time around, he’s made a harder, darker and rockier record with a political edge and plenty of social commentary, but he hasn’t dispatched with the vintage pop culture references that we know – and love – him for.

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

With atmospheric, ghostly piano and minimalist, spidery guitar, the opening song, Vote For Me, is a mysterious and sinister plea, and Question Time – our favourite track – is 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.

With that in mind, we subjected Vinny to an interrogation to find out more about his new album and get his views on the state of the nation.

“I’m not used to making political-type proclamations – I just want to sell records!” he tells us. “How flippant am I?”

Q & A

I like the title of the new album. Where did it come from?

Vinny Peculiar: It came from something my dad often said to me: ‘Do something useful while you still can…’

That was the original title, but I shortened it to While You Still Can, after a conversation with Paul Cliff, who designed the sleeve of the record. It seemed appropriate, given the volatile times we live in, politics fragmenting, constitutions crumbling, the climate changing, and the need to act while we still can…

On that note, the album is quite political at times – there are several social commentary songs on there: Vote For Me, Pop Music For Ugly People, Culture Vulture, Let Them Take Drugs, Ministry of Fate, Diane Abbott Takes A Selfie, Question Time, Art and Poverty…  Did you set out to make a political album, or did it happen by accident? 

VP: 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.

The Tories have so much to answer for and, with the Brexit divide, everything is so aggressively polarised all the time, hence the socio-political side to this record. That said I don’t have all the answers, but listening a bit harder and shouting a little less would be a start. We need to be nicer to each other, and we need to get rid of the Tories, obviously…

Staying with politics, Question Time – my favourite song on the album – is classic Vinny Peculiar jangle-pop. The guitars are very Johnny Marr-esque, but, beneath the pop tune, there’s something more sinister going on…. a female MP is missing and her suspected abductor is being interrogated. We hear the song from his point of view…

VP: There’s an ambiguity in the song – it’s not clear exactly what’s happened to her. Perhaps she’s has been trolled and has gone underground, or perhaps something more sinister is going on… So many of my songs have a linear story, with a beginning, middle and an end, but Question Time asks more questions than it answers – a bit like the TV show…

‘I’d support bringing politics back to a more local, accessible, decision-making level, with less screaming, confrontational opinions on Twitter and more jovial meetings in the community centre’

With the current state of the UK, it must be a great time to be an observational singer-songwriter. Where do you start? Is it overwhelming?

VP: The songwriter’s radar does seem to be a little more vivid just now – yes. The sense of uncertainty, Trump – I mean, where do you start? We are living in a great big unknown and it feels like we’re being stitched up. It’s crazy, isn’t it? The Brexit thing, all the pseudo-nationalism, immigration scaremongering, families at war – these are divisive times.

We need a more empathic way of listening to each other. I’d support bringing politics back to a more local, accessible, decision-making level, with less screaming, confrontational opinions on Twitter and more jovial meetings in the community centre.

There’s a song on the new album called Diane Abbott Takes A Selfie. Are you a fan of social media? Is it a necessary evil?

VP: Like most musicians, I use social media to communicate new releases, point people in my direction, share interests and such – it can be a useful tool. On the other hand, it can be incredibly damaging, dangerous and destructive.

The hate speak, the trolls – just block ‘em – the rise in teenage suicides that’s being driven by cyber bullies and the dubious data targeting to fix elections… It’s addictive by design and I’m as guilty as the next person of spending way too long scrolling through my feed… There are digital-free communities emerging in Northern California, which is, er, interesting…

‘We need to be nicer to each other, and we need to get rid of the Tories, obviously…’

Your last record, Return of the Native, was a concept album about returning to live in Worcestershire, where you grew up. The new album has some Black Country rock on it – the West Midlands influence is still creeping through. Culture Vulture has a Led Zeppelin feel. Have you been getting in touch with your ’70s rock roots?

VP: I wanted this new record to be louder and prouder, with more of a band feel. The songs felt like band songs, even during the writing stage, and there are hardly any acoustic guitars on the record. It’s all rather riff-centric, with a few old school guitar solos – the kind of which I would have enjoyed as a teenager. They’re a bit flash – hah! One of the producers, Dave Draper, knows all about rock and the Midlands’ heavy metal legacy – his input was crucial in shaping the direction of the songs, as we turned up to 11.

Speaking of iconic Midlanders, I can recommend the Black Sabbath exhibition in Birmingham – it’s a beautifully put together show.

How were the recording sessions for the album? You worked with your ex-Parlour Flames rhythm section Che Beresford (drums) and Ollie Collins (bass) and two producers, Dave Draper and David Marsden, both whom you’ve worked with before. Was it an easy album to make?

VP: The Parlour Flames rhythm section reunion was fun. We rehearsed the songs as a three-piece band a couple of times and recorded bass and drums in Manchester – the rest of the album was recorded in my home studio. It was a relatively easy album to make, but they are never that easy – there is always something that doesn’t quite go to plan.

I’d hoped to have a more inclusive band involvement in the mixing/production, but it proved impossible with distance, time and work constraints. So, the bulk of the album was produced here in the Midlands by Dave Draper, who did Return of the Native, but three tracks were produced in Southport by David Marsden, who worked on my album Silver Meadows.

‘I wanted this new record to be louder and prouder – it’s all rather riff-centric, with a few old school guitar solos’

I should also add that the artwork for the album is by long-term Vinny Peculiar collaborator Paul Cliff. The images he used are pinhole photographs highlighting the former homes of World War 1 soldiers from Bury, Lancashire.

What were some of your other musical influences and starting points for the new record? As well as ‘70s rock, there’s synth pop (Ministry of Fate) and Bowie-esque funk / plastic soul (Scarecrows) in the mix, too. It’s an eclectic album…

VP: Gang of Four – I’m channelling my inner Andy Gill on a couple of the tracks – white noise and scratches – and my inner Andy Powell, from my teenage favourites Wishbone Ash – hard rock riffs and feedback. Oh and my inner Dave Gilmour on Let Them Take Drugs – he is such a feel-good player…

Man Out Of Time is a country-rock-blues song that is littered with ’70s references: Elvis, The Spiders From Mars, Queen, The Osmonds, Noggin The Nog, Richard Stilgoe… Do you feel like a man out of time?

VP: Hah! Yes – kind of. I think we all have our chosen musical era in pop music that’s defined by age. It was the excitement of the new music of my youth – glam rock, heartbreak, pop and TV culture – these are the inspirational forces at play here. The song is set in 1972 and is slightly at odds with the rest of the album. It ends in 1976, with the dawn of punk rock…

You’re very prolific. What are your plans for the rest of 2019 and 2020? Any new projects and albums in the pipeline?

VP: I’m hoping we can do a string of band gigs in March 2020, as well as continuing with the solo shows, and we have a band album launch gig at The Castle, in Manchester, on November 28.

I’m currently remixing some older tracks for a rarities album that I’ll put out some time next year, hopefully. I have an acoustic project I hope to finish, but, in truth, it’s only three songs in, so I have a way to go on that one. I’m especially looking forward to playing with the band again…

‘I’m channelling my inner Andy Gill from Gang of Four on a couple of the tracks – white noise and scratches’

The new record is coming out on vinyl. Is this your first vinyl release?

VP: Yes – this is the first Vinny Peculiar vinyl release. The label Cherry Red put out the Parlour Flames record on vinyl, but this is a first for my tiny little label and me. I’m hoping against hope I can shift a few of them – well, a lot of them actually, but we’ll have to see…

What was the last record that you bought?

VP: It was Kate Tempest – The Book of Traps and Lessons, and, before that, Be Bop Deluxe: The Very Best of The Rest of… both on vinyl.

Finally, what do you most enjoy doing while you still can?

VP: Playing football with my grandson, but, alas, my knees are giving way.

While You Still Can by Vinny Peculiar is released on October 28 (Shadrack & Duxbury Records). It’s available on CD digi pack and vinyl, or as a download.

More information at:

https://vinnypeculiar.com

https://vinnypeculiar.bandcamp.com/