Alter Echoes, the great new album from L.A-based trio Triptides (led by multi-instrumentalist Glenn Brigman, with drummer Brendan Peleo-Lazar and bassist/guitarist Stephen Burns) is a mix of sun-soaked, ’60s-sounding, psychedelic pop – think The Byrds and The Beatles – and far-out space rock.
It was recorded prior to the pandemic, in Hollywood’s Boulevard Recording studio, which was previously the legendary Producer’s Workshop, where Pink Floyd, Fleetwood Mac, Steely Dan and, er, Liberace made, or mixed, records.
“Liberace’s piano is unfortunately no longer there,” says Brigman, speaking to Say It With Garage Flowers from L.A. “But I think some of the energy from those groups still lingers. Whether it rubbed off on us… well, you be the judge!”
How is it in L.A?
Glenn Brigman: It’s a very unique place and we love it for a lot of reasons. But one of the coolest parts is the amount of incredible music that has been made here over the years. We dig the history.
How has lockdown affected you as a band?
GB: We’ve all been affected one way or another. At this point we are just trying to make the most of our time off the road – we’re writing, recording and learning more about our craft.
I’ve started learning the Sarod [Indian stringed instrument], Brendan has been working on learning more piano and Stephen has been writing a series of musical suites about his cat, Jeffrey. We had to cancel last year’s SXSW appearances and a European tour planned for last September. Hopefully we will be back in Europe before the end of 2021 to make up for it.
Are you worried about the future of live music, post-Covid? What are your hopes and fears for the rest of the year and beyond?
GB: I’m trying not to think about it too much… we’re just taking it one day at a time right now and hoping for the best. I hope that our ability to be flexible and adapt to new situations will help us pull through any difficulties that await us in the coming year.
‘I’ve started learning the Sarod, Brendan has been working on learning more piano and Stephen has been writing a series of musical suites about his cat, Jeffrey’
How have you been coping with lockdown?
GB: We’ve been coping by working on every aspect of the music, apart from the live show. Taking care of each other and staying connected to our friends and family as best as we can.
Let’s talk about your new album, Alter Echoes. When did you make it?
GB: We recorded it in the fall of 2019; long before the word Covid was part of our lexicon.
It was recorded and mixed at Clay Blair’s Boulevard Recording studio in Hollywood. How was that? What were the set-up and the vibes like? How were the sessions?
GB: Clay is a great guy. We had a blast working with him at such a legendary studio. The set-up was fantastic – a beautiful live room that looks like it’s straight out of the ‘70s. There’s a comfortable control room and a little lounge area. Everything one could need to rock.
The vibes were very good. Brendan has known Clay for years, but they sort of reconnected when Brendan moved out to L.A, so it was sort of like working with an old friend. Also, the fact that Clay is from North Carolina and Stephen and I are from Georgia made us feel even more at home. The sessions were great – we had rehearsed the material beforehand, but it still had a very spontaneous vibe to it.
‘The studio set-up was fantastic – a beautiful live room that looks like it’s straight out of the ‘70s. There’s a comfortable control room and a little lounge area. Everything one could need to rock’
The studio was formerly Producer’s Workshop, where Pink Floyd, Fleetwood Mac and Steely Dan made, or mixed, records. Did any of that history rub off on you? Liberace also recorded in the studio. Is his piano still there?
GB: Liberace’s piano is unfortunately no longer there! I think some of the energy from those groups still lingers. Whether it rubbed off on us… well, you be the judge!
The new record definitely has a sun-soaked, psychedelic sound. What influenced it musically, or otherwise?
GB: There’s such a wide range of influences it can be hard to pin them all down – from Coltrane to Hawkwind. So many different groups. But I think being in L.A, working together as a band, touring together – it all influenced how the record came together. We knew each other’s strengths and made sure that we played to them.
The single, It Won’t Hurt You, is one of my favourite songs of the year so far. What can you tell me about it? It’s very Byrdsy. Where did it come from?
GB: I wrote that one in the summer of 2018. It sat around as a drum machine apartment demo for a year or so. When I presented it to the group it worked perfectly with the three-piece arrangement and we decided to record it.
Hand of Time is another of my favourite songs on the record. I think it has a slight Stonesy feel – a swagger, like Street Fighting Man, but crossed with English ’60s psychedelia. Is that a fair description?
GB: I can see that. I think Brendan was thinking about the stripped-down drum patterns from McCartney II. I was probably drawing on Hawkwind or Can. It was just one of those songs that came out of a jam. We were doing a sort of stream of consciousness demo night where we were recording everything to the Tascam 488 tape machine. Suddenly we just started playing it. Listening back afterwards we thought, well that’s going to have to be a song, isn’t it?
Was the spacey track Shining influenced by Pink Floyd? There’s a definite Dark Side of the Moon feel to it. I’m thinking Breathe…
GB: Of course! Shining is a bit of our love letter to our favorite Floyd moments. The lyrics are supposed to be from a disoriented perspective – another realm where things aren’t what they seem. There’s a line where I say, “Relax, you weren’t meant to live,” which was sort of a reference to Nightmare of Percussion, the first track on the second Strawberry Alarm Clock album, where the narrator says: “Don’t worry about dying – you were meant not to live.” I always thought that was really weird and I wanted to include some of that weirdness in the song.
Having A Laugh is one of the lighter songs on the album. It’s poppy and has a McCartney / Beatles feel. Would you agree?
GB: It is and it isn’t. I was trying to comment on how much terrible news people see and hear everyday (“If you really believed half the things they said/wouldn’t be any need to get out of bed”). And this was before the pandemic! At the same time, I was thinking how we need to start taking care of the earth, of each other before it’s too late.
‘We were going for a sort of A Hard Day’s Night meets João Gilberto thing. Something you could listen to on the beach while the sun is setting. The first evening wind after a warm, summer day’
Another lighter, poppier song is She Doesn’t Want To Know – it’s a kind of a bossa nova/ lounge/ Easy Listening tune. Laidback and quite ’60s…
GB: We were going for a sort of A Hard Day’s Night meets João Gilberto thing. Something you could listen to on the beach while the sun is setting. The first evening wind after a warm, summer day.
The last song, Now and Then, is very ’60s. It reminds me of The Zombies and also Cream’s I Feel Free. What can you tell me about it?
GB: For that tune we wanted to go all out ‘60s. We were already in the studio with Clay, who is a huge Beatles fan and an authority on their recording techniques [see video below].
Paired with Brendan, who is an authority on Ringo’s gear, in particular, we couldn’t help but do our own Help-inspired UK beat song. We actually meant to use a Hohner Pianet on the track, like The Night Before, but it was giving us issues that day, so we settled on the Wurlitzer 200 [electric piano].
What are your plans for the rest of the year?
GB: We have some tentative tour plans, but I don’t want to jinx anything. We’ve also got more music to release. Like I said, we’ve been recording quite a bit.
‘I still rock an iPod like it’s 2006’
What music – new and old – have you been enjoying recently? What’s been your lockdown soundtrack?
GB: We’ve all been listening to a ton of music over the lockdown – even more than usual perhaps. I’ve been digging a lot of UK folk recently: Fairport Convention, Michael Chapman, Bridget St John. And digging into some jazzier stuff: Horace Silver, Miles Davis and Gábor Szabó. I also went on a big Bee Gees kick after seeing that new documentary [The Bee Gees: How Can You Mend a Broken Heart].
Finally, what’s your preferred way of listening to music – and why?
GB: Records. But driving around and listening to music is a close second. I still rock an iPod like it’s 2006.
Triptides’ Alter Echoes will be released on limited vinyl, and digital / streaming platforms on March 19, via Alive Naturalsound Records.
Have you kept yourself busy during lockdown? Ryan Allen has. The Detroit power pop/punk rock singer-songwriter, who is also the frontman of band Ryan Allen and His Extra Arms, has written, recorded and released two solo albums.
The first, which came out last year, Song Snacks, Vol.1, was a collection of 20 two-minute and under songs, influenced by The Who, The Beatles, Guided By Voices and Olivia Tremor Control, while this month he puts out What A Rip – a record that’s a homage to ’60s pop, psych and garage rock.
Allen recorded the new album himself, in his home studio, and played all the core instruments, but there are a few special guests, including his dad, Brad Allen, who plays the very George Harrison-sounding lead guitar on Only Son. The whole thing was mastered by Justin Pizzoferrato, who has made records with Dinosaur Jr., the Pixies and Sonic Youth.
Talking about the record,Allen says: “What A Rip is my tribute to rock ‘n’ roll. The influences are probably pretty obvious: The Beatles, The Kinks, The Rolling Stones, The Beach Boys, The Monkees… All the foundational stuff that you hear as a kid that just kind of sticks to your brain like peanut butter does to the roof of your mouth. Hopefully these songs stick to yours in the same way.”
They certainly do – here at Say It With Garage Flowers we’ve been cranking them up for the past few days. In an exclusive interview, we ask Allen to tell us how he’s managed to be so prolific during the pandemic, get his thoughts on the current political situation in the US and find out how he writes and records his music.
“I didn’t plan on writing a million songs, recording them at home and releasing a bunch of stuff last year and now this year, but I’m just going with the flow and trying to make the best of a shitty situation,” he tells us. “This whole thing reminds you that life is short. Why wait? “Fuck it! Get the shit out there!”
How are things?
Ryan Allen: Things are…weird, ya know?
What kind of mood are you in?
RA: If you’d asked me this around the time of the election, it would be a bit different than it is now. I’m trying to be hopeful and positive as much as I can. Some days are harder than others, but when I get into a slump, I try and remind myself of all the good around me. I have an amazing son. I have a wonderful girlfriend. My parents have been vaccinated. I’m still working. I’m writing music. I have things to look forward to. I’m just counting my blessings I guess.
We’re treading completely new waters as a collective society, and for the majority of it there’s not really been anybody around to throw us a lifejacket. But with the incoming administration in the US, I am feeling hopeful that we will be out of the darkest parts of this soon. Personally, I feel very lucky, as, touch wood, the people I’m closest to are all healthy and doing alright. But I know that isn’t the case for a lot of people, and it’s heartbreaking to think about how much loss folks have experienced since the pandemic hit.
I mean, I definitely miss playing shows and having band practice, but I can live without it when you compare that to losing a loved one. So I kind of have to put everything in perspective – this whole thing sucks, but it could be worse as well. Like I said, I feel lucky right now, all things considered.
How has Covid affected your plans?
RA: I didn’t plan on not being able to play shows to promote the last Extra Arms album, nor did I plan on writing a million songs, recording them at home and releasing a bunch of stuff last year and now this year, but I’m just going with the flow and trying to make the best of a shitty situation.
‘I didn’t plan on writing a bunch of songs, but they just kept showing up to the party, so I kept letting them in the door. Needless to say, the house was getting pretty full!’
You’ve been busy during lockdown – you’ve recorded and released two new solo albums: Song Snacks, Vol.1 and What A Rip. Did you really write all of the songs during the past year?
RA: Yeah – every song on both solo albums was written in 2020, after the pandemic hit. Like I said, I didn’t plan on writing a bunch of songs, but they just kept showing up to the party, so I kept letting them in the door. Needless to say, the house was getting pretty full! But it’s been a lot of fun, playing around with different styles, teaching myself how to make better home recordings, and just keeping my songwriting muscle exercised.
Why do you think lockdown has made you so prolific? What’s beeninfluencing and inspiring you? How have you managed to write and record so many songs?
RA: Well, I’m always working on music. Before the pandemic hit, I probably had another 20 or so songs I was working on for whatever Extra Arms was going to do next.
That’s on top of the two solo albums I’ve done and a few other projects I cranked out – a shoegaze EP with some friends, called Soft Wires, and a pandemic-inspired hardcore album called Quaranteen Idles.
I think the difference is that instead of waiting to get into a studio, I decided to use the tunes I was writing, independent of what I knew was already set aside for Extra Arms, to really try and improve my home recording prowess. I downloaded Logic and bought a few mics. I tried to home in on good guitar tones. I wanted to play drums again. I love playing bass and it gave me an excuse to do that. And, to be honest, all my demos were always rushed.
I wanted to learn more about processing and adding things like compression and other effects to improve the quality of what I could do at home. I was pleasantly surprised that I could make things sound pretty decent, so hence all of the music that may have been kept under wraps and waiting in the wings for a real studio deal has instead been tossed out into the world. Also, I should say, this whole thing reminds you that life is short. Why wait? “Fuck it. Get the shit out there,” was my thought.
‘I’m an amateur, but my crude home studio set-up is similar to what Guided By Voices were working with. They just had a four-track, a couple of SM-57s mics, a Memory Man delay pedal and a fuckton of great songs!’
What’s your writing and recording process? Do you have a tried and tested method of penning songs? What’s your set-up like at home for playing and recording?
RA:I think I just sort of go into a trance, if I’m being honest. I lose track of everything around me, and the ideas just flow.
Sometimes I feel like the songs choose me, instead of me trying to find them. They just show up. I try not to labour over things too much, and I like to start and finish an idea in one sitting if I can. The songs for Song Snacks were very much written and recorded in the same moment – some three or four at a time.
I’m lucky that I have a space in the house to make some noise. In my previous homes I had that, but not like I do now. I have a ton of space and all my gear set-up – all I really need to do is flip a few switches and I’m ready to roll. I would never be able to record anybody else here, ‘cos I don’t have any nice outboard gear or anything like that, but for what I’m trying to do it works. It still doesn’t compare to a real studio, or somebody who has amassed a bunch of great gear and knows their way around Pro Tools.
I’m very much an amateur, but I think my sort of crude set-up is similar to what a band like Guided By Voices was working with. They just had a four-track, a couple of SM-57 mics, a Memory Man delay pedal, and a fuckton of great songs! It didn’t need to sound perfect, cos the songs were so good. So that’s what I’m aiming for, I guess.
Let’s talk about some of your new songs – from both of your recent albums. I’ll pick a few of my favourites and you can tell me a bit about them…
Here Comes The Rain: This is a cool, stripped-down, Beatlesy psych-ballad. It sounds like it has a Mellotron on it…
RA: Yep – it’s very Beatles, right down to the name – instead of Here Comes the Sun… It’s in an alternate tuning, which I stole off Swervedriver’s website. When I played chord structures in the tuning it felt very drony, similar to Love You To, so I tried to channel some of that George Harrison mysticism.
‘Getting your legs tattooed and growing your hair long is something not a lot of 40-plus year-old-guys are probably doing, but as Bon Jovi sang, “It’s my life” ‘
I’m A Wizard Now: Another song that sounds like The Beatles – particularly Across The Universe. Are you actually a wizard now? Please explain yourself.
RA: Yeah – more Beatles and it’s clearly very indebted to Across The Universe, which is one of my favourite songs ever. If I was a wizard, I guess the spell I would cast on myself is to keep writing more tunes.
Leg Tattoo:You have a leg tattoo, don’t you? What inspired this song? I think it sounds like a more fuzzed-up Fountains of Wayne…
RA: I have two leg tattoos, actually. It’s a pretty dumb song, but sometimes I’ll just sing stupid stuff around the house while I’m doing things. This is kind of one of those, but I ended up turning it into a real song. I guess it’s mostly about doing whatever makes you happy, no matter what people think you should be doing.
Getting your legs tattooed and growing your hair long is something not a lot of 40-plus year-old-guys are probably doing, but as Bon Jovi sang, “It’s my life.”
Got any tattoos you regret?
RA: I’m good with all of my tattoos.
‘I was trying to channel some sweaty, coked-out Lennon session vibes à la How Do You Sleep? I think I pulled it off’
You’ve Been Electrocuted: This one rocks! Any thoughts on it? It’s a heavy stomp, with loud, crunching guitars…
RA: Thank you, man. I was trying to channel some sweaty, coked-out Lennon session vibes à la How Do You Sleep? I think I pulled it off.
Already Gone:a great nugget of noisy ’60s garage rock, but with a nice, unexpected Beatlesy mid-section…
RA: This is one of the first ones I came up with for the record. I wanted to do something with a seventh chord carrying the tune along, similar to Taxman, or something like that. But after playing the riff for a while I felt like it really needed to go in another direction entirely – it was almost like a different song was spliced-in from a different session. I like the juxtaposition and I feel like it kind of catches you off guard. I’m just trying to keep the people on their toes.
Feeling You Feeling Me: This is your new single and, once again, it’s very Beatlesy and psychedelic…
RA: This was the first song I wrote for the record, without actually intending to make another album. A friend let me borrow a Mellotron guitar pedal, and since there are no shows happening, I thought it would be fun to write something and use it on the recording.
This was a rare song that I kind of had to fight with to bring into existence, since I felt like it had to have a certain vibe for the Mellotron pedal to sound good.
I kept messing with things and then getting frustrated and stopping. I probably did that for a few hours. Then I sat down at the drums and started to play the beat that you hear on the song, and I liked the kind of wistful sway that it had going on. So I grabbed my guitar and tried to write something with that beat in mind, and then it all just came together immediately. I’m really proud of this one, for sure.
‘What A Rip is my tribute to rock ‘n’ roll. The influences are pretty obvious: The Beatles, The Kinks, The Rolling Stones, The Beach Boys, The Monkees… All the foundational stuff that you hear as a kid that just kind of sticks to your brain like peanut butter does to the roof of your mouth’
On My Mind: This reminds me of The Monkees. It’s a cool pop song and it has a Last Train To Clarksville feel, doesn’t it?
RA: Yep – you nailed it. It’s The Monkees meets Tom Petty. I just love riffs like this. There’s something about hearing that Last Train To Clarksville riff or Paperback Writer… It sounds so heavy, but it’s not necessarily intended to be. It just hits a sweet spot.
Shannon Cake: This has some nice harmonies and it’s very like The Beach Boys and The Zombies. Who is Shannon Cake?
RA: Yes – it’s very Beach Boys and Zombies. I’m probably going to go to jail for these songs, aren’t I? Shannon Cake is a real person. She’s a reporter who was interviewed in a documentary I watched about Jeffrey Epstein. I just loved the name and knew I needed to use it in a song. It was actually written in more of a Guided By Voices indie-rock style, but I re-interpreted it and gave it the Brian Wilson treatment. I also used a basketball for percussion.
‘I felt compelled to document this wild time, and do so through the eyes of my nine-year-old son, who has basically had everything taken away from him this year’
Only Son: That Beatles / Mellotron sound is back again… This song sounds like it’s a comment on the past year – the Trump situation and Covid. Is that the case? I love the feel of this track. There’s a definite Lennon thing going on – and some lovely George Harrisonesque guitar on it.
RA: Man, you’ve really got me figured out. Yes to all of that. I just felt compelled to document this wild time, and do so through the eyes of my nine-year-old son, who has basically had everything taken away from him this year. It’s kind of a sad song, but the chorus is meant to be encouraging, saying, like, “Hey, shit sucks right now, but it’s going to be okay because we have each other.”
It seems like you’ve been on a bit of a ’60s psych trip recently – as we’ve discussed, there are some very Beatlesy songs on both of your new albums….
RA: I’m just a fan of music, you know? I think I’ll always do the aggressive power pop thing for sure, but I just wanted to indulge a different side of my songwriting. Also, it’s really fun to go down the rabbit hole and discover bands that are completely new to you, even if they’re old. So if you like The Beatles, The Who, The Kinks and The Stones, you’re bound to also love The Nazz, The Creation, Fire, Les Fleur De Lys, and The Pretty Things…you just have to search a little harder to find them. I guess the plus side to Spotify is that you can pretty much listen to anything ever and discover something daily. So I kind of started doing that and, you know, being a songwriter, inspiration was bound to hit me.
What are your plans for the rest of 2021? Is there another album in the pipeline?
RA: The rest of 2021 will be pretty active. I have an EP that I recorded quickly over the course of a weekend that I’m kind of holding on to right now. It’s a totally different vibe than the last thing – kind of heavier and inspired by the songs I was writing when I was 14 and recording on a four-track.
I also have a project I’ve been working on with my friend Kathleen Bracken, where I wrote the songs but she’s coming up with vocals, lyrics and melodies. So we’re kinda chipping away at that. And Extra Arms is hitting the studio – safely – very soon to work on the follow up to Up From Here. We’re kind of piecing it together remotely and will be in the studio one or two at a time to record it. We’ve never done it this way – we’re usually in the room together, bashing it out, even if we’re working from one of my demos, so it’ll be interesting to see how it turns out.
‘It’s sad that Trump and his administration did nothing to help anybody and were happy to just let people and businesses die. It’s sick. He deserves to be thrown in jail for the rest of his pathetic life, and I hope he rots there’
What are your hopes and fears for 2021? Are you worried about the future of live music?
RA: I just hope people get vaccinated and can get the help they need – financially, mental health wise, etc. This whole thing will have such long-lasting effects – some of which we won’t even see until years and years later. It’s sad, to say the least, that Trump and his administration basically did nothing to help anybody and were happy to just let people and businesses die. It’s sick, honestly. He deserves to be thrown in jail for the rest of his pathetic life, and I hope he rots there.
In terms of live music – it’ll come back. It might not be the same, but people persevere, you know? We adapt. We figure shit out. There are a lot of idiots out there, but there are also lots of brilliant people. It will be back. And I hope people don’t take it for granted like they did before the pandemic. Hopefully people will go out and support the arts with fervour, and the musicians who do it as a full-time thing can reap the rewards of that.
Are you more hopeful now that Trump isn’t in power? How does that make you feel? Fittingly, there’s a song on your new album called Election Night, which can’t be a coincidence, and Only Son has some social commentary in the lyrics…
RA: Hell, yeah. He was this close to becoming a full-on dictator. How fucked up is that? And people wanted it! Insanity. I am just glad we are back to a place where we can trust the administration – more or less – know they are operating on facts and science, and try to get us the fuck out of this mess.
Do you have any music recommendations – new and old? What have you been listening to during lockdown?
RA: Oh man. I could go on forever. Lately I have been listening to a lot of funk – Funkadelic, Betty Davis – some Lenny Kravitz, D’Angelo, and the Little Shop of Horrors soundtrack. So not my usual Bob Mould, Bob Pollard, power-pop, Superchunk rock-type stuff. But I’m always spinning Sloan and stuff like that too.
Finally, what were your favourite records of last year?
RA: Here’s my list:
Lees of Memory – Moon Shot
The Lemon Twigs – Songs for the General Public
Coriky – S/T
Guided By Voices – Surrender Your Poppy Field / Mirrored Aztec / Styles We Paid For
The Beths – Jump Rope Gazers
Peel Dream Magazine – Agitprop Alterna
Hum – Inlet
Hayley Williams – Petals for Armor
Supercrush – SODO Pop
Fleet Foxes – Shore
What A Rip by Ryan Allen is officially released on February 5: you can stream, download or purchase it here.
Here at Say It With Garage Flowers, one of the recent albums that has helped us to stay positive during these tough times – and has been a shining light in the darkness – is the aptly-entitled Set Your Sights Towards The Sun, the debut record by UK duo The Lost Doves, who are North West-based singer-songwriters Ian Bailey and Charlotte Newman.
It’s a superb collection of songs that’s in thrall to classic ’60s jangly and harmonic guitar pop, like The Byrds and The Beatles, as well as vintage psychedelic sounds. On the optimistic and anthemic title track, Bailey’s 12-string Rickenbacker rings out like bells (of Rhymney), and it also adds a gorgeous shimmer to the melancholy She’s Waking Up To Close Her Eyes.
There’s a country tinge to the beautiful, acoustic ballad You Stop Me From Falling, a Lennon feel to the haunting Sally Weather, a hint of Eastern mysticism on More Than I and some seriously heavy psych on the dark, trippy instrumental, The Clowns Are Coming To Town.
“I wanted the album to feel like a record you’ve had in your collection for years – warm, inviting and in the vein of the classic West Coast sound of the ‘60s,” Bailey tells us, in an exclusive interview. He’s certainly achieved his goal…
Hi Ian. How’s it going?
Ian Bailey: Well, things could be better gig-wise, as you can imagine, but being able to work and record from home has been a lifeline for me.
I’m based in Leyland, near Preston. Pre-Covid, Preston’s music scene was bustling and bright. The city played host to several fantastic local acts and artists – many of whom I’ve been lifelong friends with – as well as touring bands. All play and perform regularly at great venues, like The Ferret and The Continental.
Have you heard of Preston-based Americana band West on Colfax, who released a great debut album, Barfly Flew By, earlier this year?
IB: Scott [Carey – bass] from West on Colfax was in touch recently, after seeing one of my videos on the Americana UK website. He has invited me to play at their Americana night at The Continental, so I’m looking forward to that once venues can open again.
How has the Covid-19 crisis affected you, and what are your hopes and fears for the future of live music?
IB: I’ve been a self-employed musician for many years. At the onset of the first lockdown, back in March, I was really worried for the careers of fellow musicians, venues and everyone else working within the arts sector – the sound engineers, stage crew, lighting techs, the list goes on… Sadly, it appears to be an industry that was first to shut and looking like the last to open. Encouraging audiences to be confident to attend gigs again is another story…
‘Nobody should be excluded or made to retrain – that’s just the highest insult you can give any creative person. It’s a tough time, but I believe music, arts and culture builds bridges and has the power to heal’
It’s also concerning to see so many people in the arts slipping through the net and not being eligible for financial support, like the Self-Employment Income Support Scheme (SEISS). I know the Musicians’ Union and other organisations are lobbying for it and I really hope something can be done for everyone in the arts world. Nobody should be excluded or made to retrain – that’s just the highest insult you can give any creative person. It’s a tough time, but I believe music, arts and culture builds bridges and has the power to heal. I truly hope the live scene will return bigger than ever.
Let’s talk about your latest project – The Lost Doves. How did you end up working with Charlotte Newman? You both complement each other well – your voices sound great together…
IB: Thank you. I really enjoy working with Charlotte – she’s a real natural talent. We met at a gig on the back of a lorry (laughs) a few years ago, and, a couple of years later, we decided to do something together. We started rehearsing various songs – covers and originals – and subsequently called the rehearsals ‘The Green Tea Sessions’, due to the copious amount we consumed. From thereon, we started recording a few tracks and that’s what spurred us on to create the album together.
You recorded it at your home studio, between late 2019 and pre-lockdown this year. How were the sessions and what’s your set-up like at home?
IB: They were all great sessions – quick and productive. Most of what you hear on the album were first takes. My studio, Small Space Studios, is in fact my daughter Sacha’s old box bedroom – it’s very small. I inherited the valuable space when she moved to Liverpool to start university.
A couple of years ago, I bought a 360 12-string Mapleglo Rickenbacker, which is the guitar you hear on the album. I use a jangle box with the Ricky, which is basically a compression pedal. It gives the guitar sustain and ‘that’ sound, and I just go straight into the desk with it. I bought some half decent mics, an £80 keyboard, an old Boss BR900CD [portable multi-track recorder] complete with flash cards, a drum machine, an old amp and monitors. That’s it really.
You co-produced the record with Charlotte and you both played all the instruments, apart from the drums, which were by ‘local legend’ Little Bobby Rockin’ Box. Tell us about Bobby…
IB:Well, Bobby is the pseudonym for my wonderful old Alesis drum machine that I bid for and won on eBay. We used Bobby’s talents throughout the album, before adding tambourine and shakers to complement his impeccable timing. We thought that by giving him credit and accolade as a local legend he’d be up for doing another album!
‘I wanted the album to feel like a record you’ve had in your collection for years – warm, inviting and in the vein of the classic West Coast sound of the ‘60s’
How did you approach the album? What kind of sound and feel were you going for?
IB: That’s a really good question. When we embarked on the project, I was going to keep everything stripped-back and understated, but it soon became apparent that it would be a big mistake to leave out things like Charlotte’s wonderful lead guitar playing, our built-up harmonies and the way we blended the instruments, so I started to look at the majority of the album being full ‘band’ tracks, but with the occasional stripped-back song in there to give some balance.
With regards to the sound, I wanted the album to feel like an album you’ve had in your collection for years – warm and inviting. I guess I was always trying to create an album that was in the vein of the classic West Coast sound of the ‘60s.
Were all the songs written especially for The Lost Doves project, or did you already have some of them?
IB: Not all the songs were written specifically for the album. You Stop Me From Falling is one I wrote several years ago, but after performing the song in rehearsal acoustically with Charlotte, it felt natural to include it on the album.
See Saw and She’s Waking Up To Close Her Eyes were originally written for my stripped-back, acoustic album Empty Fields, but I really wanted to give them a bigger sound and production, so it felt right to include them on the album too.
Where did the name The Lost Doves come from?
IB: I was originally working on a psychedelic ‘60s-style name, you know like Jack & Jill’s Incredible Grooving Satanic Barber Shop Bungee Jumping Santa Machine, but I was having no such luck coming up with something that had any relevance.
So I basically went back to the drawing board and hit upon the idea of two white doves escaping from a magician’s cage and flying for days, possibly weeks, over the sand and sea, to find a new home in the sun, away from the conjuror’s clutches, but, unfortunately, getting lost and losing their bearings somewhere along the way. I liked the way it also worked with The Byrds theme.
On that note, the jangly title track, which is one of my favourite songs on the album, has a definite Byrds feel, with 12-string Rickenbacker, harmonies and a great poppy melody…
IB: It feels very relevant for the hard times we’re living in. It’s a hopeful song about bringing some light into the darkness. It’s one of our favourites too.
What inspired it? Was it written in response to the Covid crisis?
IB: It was written pre-Covid and lockdown – in fact it was the first track we finished for the album. I wanted to write a song that delivered a positive message on life. It’s about helping each other, not looking back, and finding that even the smallest chink of light in the darkest room can bring hope – the bad days will pass. Its sentiment means more now than ever. I like the way the album hangs off the back of it too.
Several of the songs deal with hope and looking towards a better, brighter time. Was that intentional? They feel like they have a common theme…
IB: I guess it wasn’t intentional, but it seemed to flow that way. I’ve found that listening to certain music, using certain instruments and working with certain musicians brings out different sides to my songwriting and it’s confirmed to me that it’s good to be around positive folk.
‘I wanted the guitars to sound like Crosby and McGuinn in the left and right speakers, and the harmonies to sound like Crosby, Stills & Nash’
She’s Waking Up To Close Her Eyes is also very Byrds-like…
IB: Yes indeed, I wanted it to sound like The Byrds had just got back together. Musically I think it has a Chimes of Freedom feel. I like the words – they’re pretty melancholy really. It’s about a couple going their separate ways, but he wants her to stay and pleads with her, but how can he possibly change her mind? Will she believe him that it will all be different, when all she’s felt is loneliness and neglect day-after-day? I wanted the guitars to sound like Crosby and McGuinn in the left and right speakers, and the harmonies to sound like Crosby, Stills & Nash.
Why do you like the Rickenbacker sound so much? Are you a Byrds and Beatles fanatic? Who are your main influences?
IB: I’ve loved The Beatles and The Byrds since I was at school. I got my first Rickenbacker 12-string when I was 18, from Hobbs Music in Lancaster, after falling in love with the look and that unmistakable jangly sound. My dad was kind enough to sign the never-never form and I paid him back £10 a week. I still have the guitar to this day. I have a few different guitars, but the Rickenbacker always comes out of the case first.
My friends and I formed our first band together while we were at school and eventually turned ourselves into a great mod band, playing the scooter rallies in and around Lancashire. Bands like The Jam, The Who, The Small Faces and The Kinks all featured heavily in those days.
As the years went by, I was listening to artists like The Moody Blues, Simon & Garfunkel – in fact most of the stuff from my dad’s record collection. Little Richard, John Denver, Cat Stevens, Don McLean, Bread, Procol Harum, Traffic – those kind of artists. Later I was introduced to the such greats as Townes Van Zandt, Mickey Newbury, David Olney, Emmylou Harris….the list goes on.
Your song Sally Weather has a Lennon/ Beatles feel…
IB: It was based on a riff and an idea I’d had for around 20 years. The lyrics are based on a person I knew who had fallen into an abusive relationship. I’m glad to say she is now happy and loving her life again.
I always think it sounds like a cross between Girl and something else I can never quite put my finger on, but I guess something from the Revolver-era. The keyboard solo was inspired by House Of The Rising Sun by The Animals. I like the lines “insanity’s a point of view, so close your eyes you’ll miss the truth.”
You Stop Me From Falling is more stripped-down. It’s a gorgeous acoustic ballad. Where did that song come from?
IB: It was written and dedicated to a dear friend who helped me through some rough times. It was my way of giving them something back.
It’s been through a few different guises, but, primarily, when I was writing it, I had in my head the scene from The Shining, where all the ‘ghosts’ are in the big concert room in their 1920s regalia and the band are playing. It’s slightly odd I know, but you can never tell what will inspire a song sometimes.
The Clowns Are Coming To Town is a heavy, psychedelic instrumental. I really like it, but it feels a bit out of place on the album. Is it your Revolution 9 moment?
IB: I wanted a track that would crash down and create some waves. I love the whole psychedelia scene from the late ‘60s onwards – it had a big effect on me. I remember hearing White Rabbit [by Jefferson Airplane] for the first time and immediately heading into town, straight to Action Records [in Preston] and buying it.
‘I wanted a track that would crash down and create some waves. I love the whole psychedelia scene from the late ‘60s onwards – it had a big effect on me’
Watching the Monterey Pop Festival and seeing Hendrix setting his guitar on fire, and hearing Tomorrow Never Knows, Eight Miles High, Soft Machine, Piper at The Gates of Dawn and Alan’s Psychedelic Breakfast all had a big influence on me.
We had a lot of fun recording The Clowns Are Coming To Town – we were bouncing guitars along tables, pinging rulers, reversing organs, radios and guitars, backwards pianos, distorted bass, sending political leaders’ speeches backwards… that sort of thing. It started its days by being loosely based around The Byrds’ Stranger In A Strange Land, but it quickly turned into Revolution 9 part two.
More Than I also has a Beatles feel, as well as some slight Eastern vibes, as does the final track, which is a short, backwards, psychedelic instrumental, entitled Isolation. Is that you embracing your inner George Harrison?
IB:More Than I was written for my daughter while we were on holiday in Cornwall. We had gone down to the beach – the weather was beautiful, the sun was high, the sky was blue and I just had the line “Like a child on the sand who doesn’t feel the land as its fear” running through my head. I love Charlotte’s harmonies on that song.
Musically it’s inspired by Harry Nilsson’s Everybody’s Talkin’, The Beatles’ Across The Universe and George Harrison’s Here Comes The Moon. I use an electric sitar on it, just tickling through in the mix. I’m greatly inspired and influenced by George Harrison’s music and his spiritual values. He was a great man.
There are two cover versions on the album – and they’re both songs I love, the standard, Autumn Leaves, and Scott Walker’s Duchess. Why did you choose them?
IB: When Charlotte and I started rehearsing, we had one of those ‘OK, what songs have you got?’ moments. She played me Autumn Leaves and I was astounded. It was beautiful. I knew then it just had to go on any future album we made. I like to call it the ‘candlelit room with a glass of wine, next to a crackling California fire and looking out onto the setting sun’ moment on the album.
Scott Walker’s Duchess was played to me around 20 years ago after a long studio session. I’d never heard anything quite so enchanting, beautiful and dark. I would play it on repeat for months after and still do. It felt like the perfect choice to honour and celebrate this wonderful song and the great Scott Walker.
Waves, which is the only song written by Charlotte on the album, has the sound of the sea from Barbados on it. Were you tempted to put any sound effects from Lancashire on the album? What would you have chosen?
IB: Charlotte loves travelling and she has a real sense of wanderlust. While she was away playing the cruise ships around the Caribbean, we stayed in touch and one cold, frosty morning she sent me a video recording of the Barbados sea lapping against the sun-drenched sandy shore. When she returned, we recorded Waves and I secretly added the waves to the final mix. She was delighted. Charlotte plays the beautiful lead guitar throughout that song – it reminds me of Lindsey Buckingham’s playing. What North Western sound effect would I have chosen? Probably the wind and the rain.
Can you tell us about your musical background? You’ve had four solo albums out since the ’90s…
IB: I was born in Blackpool in 1969 and spent my formative years living in various parts of The Fylde before moving to Preston in 1980. I started playing in bands when I was at secondary school, although I had a Bontempi guitar as a five-year-old and dug Blockbuster by The Sweet. When I left school, I got my first job as an apprentice at Fylde Guitars in Kirkham. During that time, I formed a mod band called Class A. It was taken from a Marlboro packet I seem to remember.
We went through various guises, but as the mod flame dimmed to a flicker, we attempted to resurrect ourselves. Sometimes we were psychedelic and sometimes gothic, but never with direction. We stuck together right through the early ‘90s until around ‘96/’97.
During that time, I met and married my soulmate Rachel and we had two wonderful daughters, Jose and Sacha. Rachel and the girls keep me on track through thick and thin. In 1998, I met Gary Hall through a mutual friend, Lee, who I was playing with in our band MellowDrive. We recorded our debut album and everything else after with Gary, in ’98, and he soon became a friend, producer and mentor.
He introduced me to great music I’d never heard before and songwriters whose lyrics cut deep. I recorded four solo albums with Gary and we both produced other artists over a 11-year or so period at his Voodoo Rooms Studio. That was a valuable experience for me and gave me the knowledge and tools to pave the way for me to start recording and producing from my own homegrown studio.
As well as Charlotte, you’re also working with singer-songwriter, Daniel Wylie, the former frontman of Cosmic Rough Riders. You’re releasing an EP of co-written songs, aren’t you? I’ve had a sneak preview of two tracks, Take It Or Leave It, which has a ’60s, jangly pop feel, with keys and brass, and Slow Down River – another summery, Byrdsy song about the sun. What’s the plan for the EP?
IB: I’m loving working with Daniel. We’ve been Facebook friends for several years. His songs, music and stories, and his ability to pull brilliant melodies out of the air are inspiring.
During lockdown, I began recording some new solo songs – Dangerous Clowns and TV Land. My daughter, Sacha, acted as video producer for my lockdown sessions. I sent Daniel the videos and he loved them. We got chatting about music we both enjoyed and I suggested we should do a co-write at some point. He was really into the idea and he sent over four song ideas.
The first track we finished was What’s Happening Now?, followed by Take It Or Leave It, and then Slow Down River. We are both really pleased with how they are all sounding. We plan to do more co-writes after this EP.
I’m producing and performing the songs in my home studio and I’m finding it to be such a great way to work. Daniel and I really are both enjoying the whole process. It’s also bringing out a different side to me as a songwriter and producer, which I’m loving. Daniel has been playing a couple of the tracks to a few record company friends and getting some great feedback. Nothing is finalised yet regarding the release, but we’re excited about it.
As you mentioned, you’ve been putting out some solo songs on YouTube. Any plans for another solo album? If so, when will it come out and what can we expect?
IB: Yes – so far I’ve recorded two tracks which will be on my new solo album. I have a bunch of songs ready to go and record. You can expect more jangle from the Rickenbacker, and a possible duet or two. There’s no release date as yet, but hopefully it will be towards next summer.
What music – new and old – have you been enjoying recently? What have been your favourite albums of 2020?
IB: That’s a great question. Well, recently I’ve been tuning in to a great American radio station called Radio Free Phoenix, which plays some fantastic music.
On my recent playlists there’s been The Byrds, Crosby Stills & Nash, The Doors, Townes Van Zandt, The Cure, Ravi Shankar, Buddy Holly, Dylan, Lennon, R.E.M, The Beatles, Led Zeppelin, Daniel Wylie, Roger McGuinn, Gene Clark, Syd Barrett, Black Sabbath, Soundgarden, Janis Joplin, The Mamas and the Papas, Creedence, George Harrison, Steve Hillage, Bob Marley, Little Richard, Mickey Newbury, The Who, Van Morrison, Richard Thompson, Bert Jansch, Elvis Costello, Joni Mitchell, The Moody Blues, Vaughan Williams, Tom Baxter, Jefferson Airplane, Jethro Tull, Crowded House, Miles Davis, Vivaldi, Steve Marriott, Martin Simpson, and, worth mentioning again, The Byrds!
I enjoyed the coverage on the radio for John Lennon’s 80th birthday too and I’ve had Ray LaMontagne’s Monovision on repeat. There’s some real gems on that album. My daughter Sacha introduced me to a band called Flyte – I love the harmonies and they are great musicians. I’ve been enjoying Homegrown by Neil Young. I also listened to the new Paul Weller album [On Sunset] the other evening. I really like the album before it, True Meanings, too.
Finally, what are your plans for Christmas? Will your 12-string Rickenbacker be ringing out?
IB: Well, I would usually be busy gigging in December, but I think this year it will be nights by the fire, finishing songs, spending time with my family and recording the new album. I’m sure the Ricky will be making an appearance. I might even record a jangly Christmas carol for you.
Set Your Sights Towards The Sun by The Lost Doves is out now on Green Tea Productions.