I suppose that this should feature in the 'Skeletons' section as it shows how unsavy MM have been when it comes to courting the press.
As you can see we didn't read 'Biog' rules number one and two:
1. Sure, pat yourself on the back but keep it snappy.
2. No bullshit; on no account should you talk about 'your feelings'.
It does give shape to MM's story and there is much kindness here in the reviews; I particularly like Johnny Black's lovely liner notes for Coffee and Stars towards the end (see you in half an hour) but boy, should someone have thrown a blanket over my cage ("the profundity of the mundane" for christ's sake.)
TJ: “Steve and I parted company mid-stream. Not the usual "musical differences", just an honest admission from Steve that, with family and a day job to attend to, he simply didn't have the time. I was blessed with Marcus. Having already struck up a friendship we decided to complete the album together as co-producers and musical partners.”
For this album, the duo continued with their ambient use of pedal steel, profiling the differing styles of BJ Cole and Melvin Duffy, but they also coloured the sound with woodwind, brass and other instruments not usually associated with their style of music. Lyrically the album attempted to highlight what Jones called “...the profundity of the mundane. It’s interesting how common our ‘unique’ experiences are. However we choose to present ourselves to the world, we’re all made of the same stuff. I’m intrigued by how distance converts experience into memory, and ultimately, into the stories we tell.”
Again, a Miracle Mile release that inspired the critics and a small but dedicated following, but met with commercial indifference. Was this due to a stubborn indifference to what makes music ‘commercial’, or a difficulty to place them in the market?
Trevor Jones has since gone on to produce two critically acclaimed solo albums ‘Hopeland’ and ‘Keepers’.
Praise for ‘Hopeland’:
‘Trevor Jones has produced a gorgeous pop album that few will hear — unless there’s justice in the world.’ The Wall Street Journal