Friday, 26 April 2019

Carver's Law: 3: Every Dream a Shadow

Here is another short film from my collaboration with Slovenian film maker Matej Kolmanko.
Marcus Cliffe provided the lush musical backdrop to this offering: 'Every Dream a Shadow': a spoken piece taken from my new album 'Carver's Law'.

Every Dream a Shadow

First thought is the best, got to get things done
You only have to say it, that’s how the tale is spun
But there are seven rivers and there are seven seas
And there are seven choices, what to be, oh what to be?

Contentment, inertia, cold coffee in my dish
Forgotten voices whisper, what is it that you wish?
A fishing rod with glories, a red kite with a tale
A long scar with a story, a better way with a nail?

Once the rain had left us, every shadow held a dream
Every dream a shadow, said and seen, said and seen
Someday when cheeks are sunken and teeth taste old and rotten
I hope I will remember that all is not forgotten

Treasure House is where we live
Where what you get is what you give
When all our rivers flow to one
Said and done, said and done

Come and see the shapes above you
Come and have your heart uplifted
See the faces that have loved you
Look away, the shapes have shifted

Sunday, 21 April 2019

Carver's Law: 2: Woebegone

I'm excited to say that I've been collaborating with Slovenian film maker Matej Kolmanko who has provided some amazing visuals for my new album 'Carver's Law'. I was connected with Matej by Australian songwriter David Bridie. Matej provided some films for David's wonderful latest album, 'The Wisdom Line'. I've been a long time admirer of David's music and I'm happy to report that he and I co-wrote this song, 'Woebegone'. It's one of four such collaborations on the album.
Matej's work is edgy, challenging and, as you can see, quite stunning. This is a new media for me: I'm hoping that it will add new elements to my music and perhaps bring new friends to the table. What's interesting for me is how visuals add something intangible to the music. It's hard for me to articulate how unsettling that was initially. I'm a bit of a control freak when it comes to my music, so to see someone else's take was quite a thing. On second view there came a liberation that I loved: I found that I could watch objectively and not try and make my observations too literal. Artistic license is everything here and, with this collaboration, Matej had free rein to do what he felt right: his interpretation is primary: mine very definitely secondary.
Thanks to Matej and David.
It's interesting how we've been drawn together. 
If I had to describe Matej's work I would say 'bleakly bold and beautiful'.
I'd extend that to David's work too.
I hope that doesn't offend them. 
It's very much a compliment.
It's how I'd love my work to be described. 
We seem perfectly matched...
I hope that you enjoy what we've done.
As with any 'art-form' it's ultimately up to you: make of this what you will.

Sunday, 7 April 2019


Well, I reckon that most folk would point to their parents. Yup, they f*ck you up as prescribed and described by Larkin, but their touch is indelible.
Betty's just been and gone back up north. I reckon that I get the hair and the stare from her. But it was my Dad who informed and initiated a lot of my musical habits. He loved a melancholic lift did Terry. He reckoned that Hoagy Carmichael's 'Stardust' was the most perfect melody in modern popular music, was strangely stirred to tears by the trombone solo in Frank's 'I've Got you under My Skin', got me swooning to the sweet lyricism of 'Moon River' and 'Danny Boy'. He sat me in front of the big speakers and explained the importance of 'The Protest Song', always starting and ending with Paul Robeson's 'Old Man River'. He made me fall in love with Bobbie Gentry and Dusty Springfield, insisted that Nat King Cole's was the most gorgeous of voices whilst recognising that Sinatra was the greatest all rounder, only just pipping his Dad Joshua's favourite: Tony Bennett. He rated 'Wichita Lineman' as a stone cold classic. He introduced me to the trad jazz of Jelly Roll Morton and Louis Armstrong and knew every lyric to every Beatles and Simon and Garfunkel hit. He nearly (but not
quite) hit all of the high notes when he sang along. That was the downside. Dad's tenor was almost as strangulated as Harry Secombe's: another hero.
He didn't much like the music that I listened to: I tried to impress him: likely too hard. He knew what he liked did Terry: let's call him a pedantic romantic. He wasn't that impressed by the music I wrote either: a compliment was as rare as hug, but it didn't stop me from trying. That was an affirmation that I only got on the rugby pitch.
This morning I'm playing the playlist that I made for his wake and... it's ringing all of the bells.
Have a listen if you like:…/1127459430/playlist/1StLZZ8Yipvs…
But... the one that rang the biggest bell this morning was this. Likely because it's the only one that El Tel couldn't sing along to but, lordy, what a beltingly emotive tune.
Thanks Pater: see you later.

Saturday, 6 April 2019

Carver's Law: 1

My new album Carver's Law will be released on July 12th.
It's a way away I know but there is work to be done in preparation. Once the actual albums are back from the production plant the release is 3 months away. This is because we have to supply promo's to press for review and the monthlies require a 3 month 'heads up'. A little frustrating as I'm always keen to get a new collection of songs heard whilst the songs still resonate.
With that in mind (don't tell my distributor) I'll be making the album available from my Bandcamp site as soon as I have copies to sell. CD only this time.
The benefit of this to me is that I get 100% of the purchase fee. I also get to find out now what you think of Carver's Law. You'd perhaps be surprised to know how important that is to me. I'm hoping for a little word of mouth to get the dominos a tumbling.

Marcus Cliffe, as ever, co-produced, engineered and oversaw.
Besides from Marcus's massive musical input, the album's main musical color comes from Pedal Steel legend B. J. Cole and Danish multi-instrumentalist, Gustaf Ljunggren whose woodwind breathes a very particular life into the songs.

There's other collaboration here too:

I wrote 'Morning Pockets' with the wonderful Boo Hewerdine, a man whose work I have long admired.

I also got to work with another longtime influence, Australian songwriter David Bridie. David offered up four musical vignettes that I gave lyrics and melody to.

Barry Cross did another brilliant job with the album's artwork.

Di Holmes took the photo for the album's cover.

Peter Beckmann worked his usual magic at the Mastering stage.

Matej Kolmanko, a Slovenian Auteur and musician, is working on some short films to support the release. I'm excited about this collaboration as we've never used this media before. Matej's work is fabulous: edgy and challenging, his interpretations of the songs will surely add some meat to the bones. I'll be hosting the films here and also on the various promotional platforms.

Paul Woodgate is a fabulous writer who has written the press release.
You can read this below.

Carver's Law by Jones

Avail yourself of a quality malt and an hour of me-time; 2019 marks the return of Jones with his fifth solo album, Carver's Law. The result of soul-searching on the Suffolk coast and collaborations with Boo Hewerdine and David Bridie, Carver's Law is another offering of classic songwriting from an artist who breathes the rarefied air of the unsung hero. Cut Jones and he bleeds quality.

What do we want from an artist? Are they duty bound to inform, educate, entertain? Do they dissemble, put words into the mouths of fictional characters that shoulder their creator’s burden, or is the contract approved with read-between-the-lines clauses that swap comfort zones for the twilight variety, the uncertain half-light where you trust images in the corner of your eye more than those you can stare at? Should they hollow themselves out for us, such that we spend hours listening to their pain as it circles our turntable?

In truth, we demand all of this and more. When we get it, it can be beyond anything we dared hope for and hope, like need, is a dangerous master. Carver's Law is such a record, a long-player of profound beauty, where words twist and tumble like the first leaves of Autumn, coming to rest amongst layers of effortless melody like weary travellers. Here are acutely observed vignettes on life, death and everything that matters in-between. The anticipation of hope, the shadow of fear, doubt and self-analysis, and the slow slow, quick quick slow passing of time. A nervous energy frames these songs, one born of hard won knowledge and experience. The ability to articulate our deepest sorrows, desires, happiness and heartbreaks is a gift. Carver's Law is shot through with spirits bottled and biographical, often half full, always haunted, never less than 100’ proof.

Drink up; time is short and the water is rising.

Paul Woodgate

As one half of Miracle Mile, Trevor ‘Jones’ released nine albums of beautiful, literate pop music, the last of which, In Cassidy’s Care, was issued in 2012. He’s a master songwriter, the type that worries beauty into shapes and sounds that unfurl with repeated listening. Together with musical partner and arranger Marcus Cliffe they collected a bouquet of critical acclaim that continues to flower in Jones’ solo career. Carver's Law is his fifth solo outing, though Cliffe is never far away, helping to produce, record, arrange and play on every one; Hopeland (2009); Keepers (2010); To The Bone (2014) and Happy Blue (2016). Like King Arthur under his hill, Jones waits patiently for the public to recognise what some of us knew from the start. In the meantime, we have this wonderful collection and an opportunity to share it.

‘Gentle enchantment. The loveliest melodies you've ever heard.’  Uncut

‘Intellectually as well as emotionally engaging.’  MOJO

‘Meticulously orchestrated, careful and complex, this is canny songwriting leavened by bona fide humanity.’  Q

‘Masterpieces of subtlety and observation clothed in sumptuous, lush melodies.’  R2

‘Gorgeous, as ever. Trevor Jones finds the poetry in real life; gently beautiful and genuinely moving. You may cry.’  The Sunday Times

‘Classic pop songwriting, gorgeously realised. Jones has compiled possibly the finest catalogue of adult pop. Gently beautiful and genuinely moving.’  The Times

‘Jones is in a class of one. Near-perfect explorations of the human heart. The beauty on offer here is enough to make you weep. It did me.’  Americana UK

‘Achingly tender.’  Folk Radio UK

Moves you to tears and refreshes the soul. Scintillating.’  Maverick