Jeremy Searle: Americana Uk: Album of the Year: To the Bone

Jeremy Searle is a much respected music journalist.
He writes for the fine online magazine Americana uk.
I'm proud to reproduce his 'Albums of the Year' list below.

You can read Jeremy's original review of 'To the Bone' here:

Jeremy Searle writes:

AKA everybody else is doing it, why shouldn’t I? Yes, it’s time for my Top Ten Albums of 2014 which will be completely subjective, with surprising omissions, astonishing inclusions and, quite frankly, an order that defies belief. In other words, just like all the other lists. Except it’s mine. So, to business.

10. Remedy – Old Crow Medicine Show. OCMS have been around for what seems like forever so sometimes you forget what a breath of fresh air on the bluegrass scene they were when they arrived and this is their best album since their debut.

9. Best Medicine – The Stray Birds. Their eponymous debut was one of the best of last year and the acoustic folk/bluegrass/country/roots trio deliver more of the same this time round. Great harmonies, great playing, great songs.

8. Going Down To The River – Doug Seegers. Seegers is the real deal. Homeless and playing for change, a genuinely heart-warming story leads to this debut album made at the age of 61. When people talk about authenticity, this is what they mean. Seegers has lived it and you can hear it in his voice and his songs. The title track is a classic and the rest of the album is snapping at its heels.

7. lullaby and… THE CEASELESS ROAR – Robert Plant. Wherein rock’s great front man and sonic experimenter, together with his best ever band, the Sensational Space Shifters, returns to the rock/folk/world fusion he’s so good at and also displays his vulnerable side. Majestic, as were the live shows.

6. Diamonds On The Water – Oysterband. Their first album since losing long-time bassist/cellist Ray Cooper, this could have a been a step back or a holding set. But it wasn’t, rather a creative rebirth with some of their best songs and playing. Thirty years down the road the fire still burns.

5. The History of New Orleans Rhythm And Blues 1955 – 1962 – Various Artists. Six CDs, over 180 tracks, exemplary packaging and booklet, some of the greatest music ever made and only £22. An object lesson in how to produce a reissue, with hours and hours of listening joy, from Sea Cruise to Lucille, Land of 1000 Dances to Sweet Sixteen. Bliss.

4. The Elizabethan Sessions – Various Artists. Set up by the EFDSS and Folk By The Oak, this collaboration between some of the finest folk artists around was an unalloyed triumph. Despite being created in less than a week, the quality of songs is astonishingly high, the playing likewise and all the potential pitfalls spectacularly avoided.

3. Centenary – Show of Hands, There have been a lot of Great War albums and songs this year but none approached Centenary. Poems read by actors Imelda Staunton and Jim Carter with traditional and original pieces by Show of Hands, it was appropriate, powerful and deeply moving. The best thing they’ve ever done, which is saying something.

2. Nothing Can Bring Back The Hour – Josienne Clarke & Ben Walker. I have proclaimed these two as future stars ever since first hearing them and, good though their previous work has been, this is not only their best yet but an album that takes folk music as a whole forward. Masterful songwriting and that voice from Clarke, great interpretations of traditional pieces, beautifully deft guitar work from Walker, this is as good as folk music gets in 2014.

1. To The Bone – Jones. Trevor Jones of Miracle Mile fame delivers his best solo album yet, which is

saying something. Exquisite heartbreak, devastating insights and words that cut, yes, to the bone, allied to impossibly beautiful melodies and perfectly judged playing and singing.

'To the Bone' is Released Today.

Thanks for your many messages of support and for the kind words from folk who have heard the record.

It seems to have struck a certain chord…

You could help me out by scribing Amazon and iTunes reviews; they really do help.

If you'd like a copy you can buy direct from me here.

If you want a deluxe HR download you can get it through Linn Records here:

Or you could go to iTunes here:

Or get from Amazon here:

If you like the album please pass it on to as many folk as possible.

Cheers,

Trev

To the Bone: Out tomorrow

So, 'To the Bone' is released tomorrow.
June 16th.
I'm hoping that it'll stir up some interest but fear that it might pass unseen.
It's always an uneasy time around release date.
You want the world to tell you that your latest baby is beautiful, but secretly fear that it might have to abide in the cellar with all of the other slightly wonky, cross eyed offspring…
If that sounds dark, wait until you:
a: hear the album
b: see the Uruguayans kick Stirling up in the air on Thursday

You can order the album direct here.
You could also really help its cause by offering up reviews on Amazon or on iTunes.

Early reviews have been encouraging:

‘Music to stir the senses… a genuine gem’

Roots and Branches

‘Achingly tender’

Folk Radio UK

‘Gorgeous ambient touches. Another corker… possibly his best yet’

HiFi News (Album of the Month)

Here's a track (courtesy Macwood Fleet) to whet the appetite.

Jens Folmer Jepsen Reviews 'To the Bone'.

It's a strange thing releasing a record.
You hope that it will connect with new friends, make some new beginnings.
You also wait with bated breath for the reaction of the tried and the tested; in the face of commercial neglect, the folk whose opinions you come to value and cling to, like barrels in an ocean of seeming indifference.
One such man is Folmer Jepsen. Folmer is a friend and fan of Miracle Mile from way back. He would slavishly request that I send him an album upon every new release and would always respond with keen eyed and honest criticism... and kindness. 
You could always tell that Folmer had 'listened well'.

He was a Danish TV producer and journalist back then but has since gone on to become the Director of Denmark's biggest Arts Festival, The Aarhus Festuge which takes place in Denmark's second largest city at the end of every summer:

"It is highly esteemed and recognized both in Denmark and abroad. For 10 days every year in August - September the streets and alleys, clubs, stages, galleries and museums of Aarhus are teeming with entertainment and art. The programme encompasses a number of events in music, architecture, stage performance, gastronomy and much, much more."

As soon as Folmer took on that mantle he invited me to play the festival. For many years I had to decline because it clashed with my day job: in the Summer months I'm the Director of a large Summer Camp for an International School in North London. But then the fest' dates were moved to late, late summer and I could no longer resist. Thus it was that I found myself up on stage on the opening night, in front of the Queen of Denmark and 1600 of her citizens, TV cameras akimbo; the first musical turn at 2012's Festuge. It was quite a night. The previous night I had finally got to meet Folmer in the flesh, Di and I were guests at his house alongside the other main protagonists of the opening gala: actors, musicians, poets and writers. We sat around a long table and delighted in the offerings of our host and his lovely wife Anne, who just happens to be a celebrated TV chef; Denmark's version of Nigela if you like, although Anne is half the size and twice as charming… the food and wine was fabulous, as was the chat.

I always felt a kinship with the man, but after watching him in action I got to add 'admiration' to a list that started with 'friendship'. He is a true Prospero (he must tire of me saying that) as he draws all of his players together and coaxes performances out of them with great charm and subtlety. Sometimes you don't even know that he's there, such is his low key but benevolent spirit. Di and I returned last year as non performing guests and had another fine time. Actually Di ended up as unofficial Festuge Photographer and captured a moment or two. 
Anyway, all of this is in recognition of a blithe spirit, a fine friend, and by way of an introduction to Mr Jepsen's short but sweet review of my latest album 'To the Bone':

'To The Bone' is perfect for night-listening.
It is beautifully sad or sadly beautiful.
Each song is a little light that turns darkness into blue and makes life possible to live with. I came to think about this whilst driving tonight.
And Trevor… after the first few listenings I thought it was good - some of the songs up there with your best - but I had the feeling though I'd been there before - and that you`ve been there earlier too; but I know your songs: that besides having an immediate effect, they also need time... and suddenly, when I drove, and it was late evening and literally dark out there, it all started to make another, and deeper kind of sense.
Congratulations.

Folmer

Toronto Tim Reviews 'To the Bone'

Okay, I've had a couple of days to gnaw on "To The Bone"... 

The album title is apropos, and certainly a brave move considering the majority of MM/Jones discography tend to lean toward relatively polished & expansive productions, which I do happen to love. However, sometimes a change is a good thing. The songs at first had me wanting for more, but then after a few listens, I realize they contain all that is needed. Does that make sense? 

It's a subtle album then, not a lot of huge anthemic choruses, but a few tracks are already favorites... 

"Phil The Hat & TJ" is the perfect opener. A sweet, warm slice of nostalgic melancholy; memorable images glimpsed, but not stared upon...

"Pardon Me" recalls the stark beauty and honesty of Paul Buchanan's 'Mid-Air'. The opening line "Pardon me for this intrusion..." reflects exactly how I feel when I hear this one. So raw and personal, one feels like an eavesdropper. Intimate, concise and fully-formed...

"Some Kind Of Surrender" has a weird spaghetti-western Morricone intro/outro that still has me scratching my head, yet it's somehow become a favorite.

"Fireworks" is a corker, simply one of the prettiest tunes I've heard in a long while. A gorgeous waltz with a stunning chorus... "We will bring fireworks, to light up the sky. Our hopes and our dreaming, and dreams I deny... will light up the sky."

"To The Bone"... That singalong-drinking-song chorus is an ear-worm that won't leave my head, it's so bloody catchy. Not sure if I love or hate it! 

"Somewhere North Of Here" stands with the very best songs in the MM/Jones catalog. A perfect blend of brilliant melody/musical arrangement and intensely moving poetry. In the timeless tradition of "Hopeland", a hymn of hope, empathy, perseverance & love... 

"I will walk beside you, and you will know I'm there

And I will touch you gently, to comfort your despair

That you might go beyond me, and the permanence of fear

To where your guilt and sorrow will fade and disappear."

The outro that follows "You will find me standing, on the other side of fear... Somewhere north of here" with MC's church-organy keyboards, Melvin's heavenly pedal-steel,  and I'd swear there's a choir in there somewhere... then TJ's killer falsetto "Ooh-ooh... Ooh-ooh" gets the chicken-skin crawling and the tears welling. Whew...

"To The Bone" very tasty indeed! Once again, well done & Thanks boys...

'To the Bone' Available as a Hi Res Download From Linn Records

Linn Records have just made 'To the Bone' available as a Hi Res 96 bit download.
You can also get it from them as a download in CD and MP3 quality.
Click here to access and buy.
Of course, you could just purchase the CD pre June 16th release directly here from the Miracle Mile website.
Fill yer boots!

'To the Bone' Jones: Available Now

My new album 'To the Bone' is available to buy now through our website.
Please click here to access the Miracle Mile/Jones store.
PayPal is the payment method.
Otherwise you could go old school and post your £10 cheques (p&p included worldwide, whatever)
Trevor Jones
18 The Green 
Wooburn Green
BUCKS HP10 0EF
UK

Jones: To The Bone: Update

The album has been lovingly mastered by Peter Beckmann. 
Pete has pressed the 'stardust' button and has duly worked his wonders. 
One or two minor adjustments will see the the album off for production early next week.

Here's the running order with a tantalizing quote from each song:

Phil the Hat: Let's raise a glass to our younger selves

Dream Horses: Seven lonely satellites, circling my desire

Pardon Me: The love and the lust and the longing will always end up in our songs

Some Kind of Surrender: I reach out to you, reaching back at me

Books to Bed: When all hope is gone, we all grasp at straws

Man Behind the Moon: I could be beloved as I hide behind the moon

Angelicana: I know that in my blood I choose my words for sound

Cabin Fever: A question is forming. A knot is unravelling

The Fullness of Time: We danced as Dusty Springfield sang

Fireworks: It's magic we crave, explosions of wonder

Glimpsed and Gone: What does that mean?

To the Bone: If you're never awake you're never alone

Somewhere North of Here: Kindness is a kind of love and love it is a kind of fear

Row: I pray that the day will deliver all that's outstanding to me


Here below is what your CD will look like.
Makes me wish that we'd gone for the vinyl version...

To the Bone: Jones: Latest

'To the Bone' is finished; mixed and ready for mastering by those men in white coats: Peter Beckmann and Marcus.

That'll be Wednesday.

At that point we send the Hi Res files off to Linn Records who will make the album available as a 96 bit Hi Res Download and also as CD and MP3 quality downloads.

Hi Res seems to be the way ahead; read about it here at Audiophlie Audition.

Proper Records will be distributing the hard copy CDs upon release which should be around May time.

I will however be making the album available to buy via the MiracleMile/Jones website 'Store' here once we get the first pressing back; which should be early February.
No vinyl edition at this point but never say never...

'To the Bone' is back on personal ground.

After the balm and reflective calm of both 'Hopeland' and 'Keepers' and the dispassionate objectivity of 'In Cassidy's Care' this album comes from a period of relative instability.

For me, the daily dramas, the joys and the sorrows, the love and the longing; always ends up in a song; usually those songs stand as resolutions. 

This particular bundle still sit a little unsteadily so I’m unsure of their worth. 

A reticent recommendation I know but…

If I’ve learnt anything from the past year, it’s to wear your life loosely; it fits better that way. 

Mine’s still currently a tight fit, although a little baggy around the knees. 

And you’re only as good as your knees…

Thanks, as ever, to Marcus; my friend, my confidante, my brother.

And dedications?

This one’s for me.

Meanwhile, here's an early look at some of Barry Cross's excellent artwork:

To the Bone: The Mixes 2

Ok, ok... Marcus and Luce wish all of our readers a 'Merry Xmas'!
And me and Willow? Well, I'm a humbug who looked a bit of a bellhead in the hat and Willow? Well... she's a dog.

'Angelicana' is our most challenging mix thus far.
There are disparate elements flying around.
We had deliberately incorporated Americana (dobro/pedal steel) and Britsounds (mellotron/distorted piano/classic Hammond) and this starts to sit uncomfortably with Marcus who feels that we have lost the quirkiness, whilst I see that USA/UK dichotomy as vital to the track's meaning: our heroine's yearning for the 'dusty roads' of Elsewhere. We go eyebrow to eyebrow and I eventually get my own way. This one could come back to haunt me... The Scientist is usually right!
I offer elevensies and the olive branch is accepted, except we then cannot agree on English Breakfast, Earl Grey, or a cup of Java...
'Man Behind the Moon' is slight (the word 'vignette' is outlawed) but important to the flow of the album. "There's something in the water, there's something in the air, there's something in the way that you worry with your hair." 
It's a gentle diversion and (dare I say) an easy mix of voice, piano, guitar, double bass, with some mellotron 'voices' added to give add a bit of grain. My whistling tooth gives Marcus some grief but the de 's'er soon sorts the sibilance.
A light lunch of peanut butter and jelly sandwiches makes my whistling tooth ache even more . Willow wolfs down the left overs and then demands a walk.
'The Fullness of Time' is a similar arrangement to 'Man Behind the Moon'; we'll need to separate these in the running order. 'We danced as Dusty Springfield sang...' finds that whistling tooth again but it's sssoon sssorted.
Marcus and I hit the kitchen for a beer while I wait for the friday evening traffic to evaporate.
Three more songs to mix and we'll be done.
I'll be back on Tuesday for a couple of days.
It'll all be over by Christmas...

To the Bone: The Mixes

Today is the third day of mixing 'To the Bone' and all is well.
Every mix is challenging but things are controllable for Marcus because we have worked in the old school way by commiting to arrangement and sounds in the recording stage. The first challenge was to edit Melvin's pedal steel parts. As ever his playing is impeccable and, with two or three passes for each song it's really hard to choose what to keep and what to forever dispatch to pedal steel heaven. Marcus is keen that we don't hit the 'pretty button' on this album, so phrase after phrase of gorgeousness is 'wiped for now'. I'd hate to be a wasp in The Scientist's jam jar; he's brutal! To vary the sound we also got Mel to play Dobro and Weissenbourn and Marcus takes them out of their usual reverb and renders them bone dry. We aim at two mixes a day but have already nailed (I think):
Pardon Me: First track done and probably first track on the album. A live take, just me singing to Marcus's prodding piano.
Cabin Fever: Based on Raymond Carver's unsuccessful attempt at using a friend's cabin as a writing retreat. 'Send a letter or a woman!' he wrote...
Fireworks: Currently my favourite; a winsome waltz bathed in the ambience of overhead mics.
Phil the Hat and TJ: A friendship imagined that was then bathed in nostalgia.
Some Kind of Surrender: 'We settle for silence once again.' We go Tex Mex in search of an alternative.
To the Bone: Insomnia and ennui: 'I woke in the night from a stranger's dream, I'd rather be remembered that way.'
Row: Probably the last track on the album. Kind of sad; kind of hopeful.
Luce came in last night to add some siren like backing vocals to 'Angelicana' so we'll be mixing that after breakfast.
To the shower...

To the Bone: The Third Sessions (Wednesday)

Sleepless; I finally get off by reading the late John O'Donohue's blessings in 'Benedictus'.  Lucinda has nudged this my way a few times. There's a fine line between preaching and teaching but the writer's Celtic lilt adds poetry to the piety. He presents wisdom and goodness so keenly and kindly that you can't help but admire his enthusiasm as you melt into the prose:

"There is a quiet light that shines in every heart. It draws no attention to itself, though it is always secretly there. It is what illuminates our minds to see beauty, our desire to seek possibility, and our hearts to love life. Without this subtle quickening our days would be empty and wearisome, and no horizon would ever awaken our longing. Our passion for life is quietly sustained from somewhere in us that is welded to the energy and excitement of life. This shy inner light is what enables us to recognize and receive our very presence here as blessing. We enter the world as strangers who all at once become heirs to a harvest of memory, spirit, and dream that has long preceded us and will now enfold, nourish, and sustain us. The gift of the world is our first blessing."

Willow wakes me from my uneasy slumber with an unearthly howl; apparently a love song for Luce who is on the other side of a closed door. Breakfast (coffee with peanut butter and jelly soldiers) then we head for the studio. Marcus plays a double bass part on 'Cabin Fever' and we think it's done. As Melvin is confirmed in sick bay we decide to start mixing any non pedal steel tracks; we might as well start with 'Cabin Fever' as it's up. The Scientist has to disappear behind the desk to rewire the thing; "lineoutlineinfucketybollocks" is his song as he brandishes a soldering iron...
One hour later Marcus pronounces that 'it's sounding good' and To the Bone's first track is in the bag.
A quick brew to celebrate then onwards.
Next up is 'Pardon Me'. This was the first thing that we recorded for these sessions. It was a live take, just vocals and piano. I shouted out the chords and after one run through we recorded it. Marcus added an electric guitar part and that was it. It was therefore just as easy to mix, so much so that I was dismissed to the shops for bread rolls and batteries. Talk about an energy sandwich!
'To the Bone' is our next mix, a bit more challenging this; like Tom Waits singing for the Salvation Army. I might change the title as I'm not sure that it's up to the pressure of being the title track. How does 'Holy Din' sound? Lots of stomping bass drums and cymbals and... a sousaphone. When I suggest this new title and circus freaks for the video Marcus glowers at me with those knitted scientist eyebrows. I get a similar reaction from Willow and go in search of Cadbury's chocolate fingers...

                                           

To the Bone: The Third Sessions (Tuesday)

Tuesday: I've changed the title of 'Somewhere North of Here' to 'Huckleberry Dear'. I had initially played a chugging acoustic as a guide to sing against; we decide that, although a bit rough around the edges, it's a keeper and commit to using it as the essence of the track; there's a meditative quality that's quite hypnotic. We then add some Mellotron flutes and voices. Affecting and effective; it sounds like Sparklehorse galloping through Strawberry Fields... is that a good thing? We rub our chins and decide to have a cuppa. When I return with the brew and a cheese butty Marcus has a retro 70s Roland Space Echo and a Wurlitzer reverberating. Lovely! The Scientist then plays a shaker which loosens things up nicely; ironic as it's home made from a coffee bean tin...
'Some Kind of Surrender' sounds Tex/Mex and unlike anything we've ever done before; this should dash the Blue Nile comparisons for a while at least. It's ready to go; just needs a bit of Melvin's magic.
'Fireworks' provides a moment of serendipity; on our first listen through Marcus mishits a mute button and there are no direct drum sounds, only the room overhead mic's which give the song a lovely, late night lonely ambience. It's a High 5 moment for sure. We decide to leave it as it is...
'Dream Horses' sees some spikey chords from the Epiphone semi-acoustic and then sends Marcus back to the house in search of his double bass and dog food for Willow.
We're getting messages that Melvin might be cancelling tomorrow; struck down by 'Man Flu', which is a bummer as he is the final brick in the wall before mixing commences in a couple of weeks...
We have a listen to 'Cabin Fever' which is an odd little thing; part spoken, part sung. We try and emulate the reverbed snare sound from 'Bridge Over Troubled Water'. We find a snare sound that is mighty, record it in place, turn the reverb up to '11' and then remove the snare, keeping just the ghostly echo of the reverb; it works really nicely. We'll add some double bass tomorrow but it's now time for curry and beer...

To the Bone: The 3rd Sessions (Monday)

Monday: The Monday and Tuesday sessions will be nuts and bolts stuff; tidying up the vocals; adding a minimal amount of backing. The nature of the recordings needs to be refined and fairly... austere so we need to keep our fingers off the luxuriant button... On Wednesday we have Melvin Duffy booked to come in and play some pedal steel, something I always look forward to; it means that things are starting to come together.
Into the studio:
Marcus adds double bass to 'Row', 'To the Bone' and 'The Fullness of Time' and we end the day adding some high castrato backing vocals to 'To the Bone' which induces much mirth and Hinge and Bracket comparisons...
Lucinda cooks a cracking risotto for supper, featuring leeks and crispy chestnuts. Marcus suggests to Luce that she can't really call his bowl of rice a 'Risotto' if it doesn't feature parmesan and nearly ends up wearing it as a hat! The red of the night is a bottle of The Black Stump which takes the edge off nicely. Marcus puts on a yellow vinyl copy of 'Goodbye Yellow Brick Road' and we both play air guitar to 'Funeral for a Friend/Love Lies Bleeding' whilst Luce looks on with a sympathetic gaze.
He was good was Elton.
Whatever happened?
Time for bed Zebedee.

To the Bone: The Second Sessions: Sunday

Up early; Willow tries to get into the shower with me and I tell her to... be elsewhere. Which brings us neatly on to the first song of the day. 'Angelicana' is concerned with a restless spirit's wanderlust. It's a fairly raw song that we strip bare. I play a lo-fi acoustic guitar part and then sing close mic'd. The throaty rasp is benefit of last night's chat and the gravel works nicely, although I do sound slightly pissed off... The chorus is a one word repetition of the title. I hear it as a kind of female Greek chorus, or sirens beckoning our traveller either onto the rocks or towards a better future. We section up my voice and hope to get Luce in to give the hook line a feminine resonance. That'll be an interesting experiment as Lucinda sings in tune...
Marcus plays his Dan Electro bass which warms the bottom end of the mix, working well with the trashy drum sound. Joe Henry would be proud of us...
As the evening sets in we set about the final song. 'The Fullness of Time' is a piano ballad that Marcus pronounces 'too pretty' and sets about deconstructing it; ordering me to remove all of the twiddly bits and simplify; removing the diminished and minor 7ths etc. 'Think Lanois rather than James Taylor' he prompts, so I put on a pair of oven gloves for performance. As you will surely hear, this paid dividends. My least dextrous performance ever is proclaimed 'perfect' by the Scientist. It's a rough science...
Later, I look down my nose at him as he sits poised at the piano and I smugly suggest a piano part that is 'more Mrs Mills than Elton." He looks confused but gets it when I mention Les Dawson... Once the vocal is down (our usual 3 takes and a 'comp') we add a wonky Sparklehorse mellotrone and it all sounds surprisingly effecting. Amazing what imperfection can do to the heartstrings...
Lesson learnt: one bubble in the paint job: bad. Many bubbles: good.
That's 13 songs in the bag of bones.
Stripped bare they do sound naked; now comes the fun: we need to add the right flesh to the bones...
Less fat and fulsome, more lean and keen methinks...

To The Bone: The Second Sessions: Saturday

I'm up early and Marcus and Willow are still out for the count. As I'm in 'Rock 'n' Roll' mode... I decide to make Bolognese sauce for later tonight. Once Marcus has walked the dog we're ready to roll...
Time for another new song. It wouldn't be a Jones album without what Marcus calls 'a bit of waffling'. Yup, here's Trev talking again. 'Cabin Fever' comes from a story that I'd read about Raymond Carver. He needed to finish some short stories for a publishing deadline and borrowed a friend's cabin by a remote lake. He thought that such classic isolation would focus his artistic mind. He didn't make it beyond the weekend. The reclusiveness did nowt but bore the arse of him. 'Send a letter or a woman" he wrote as an S.O.S to a friend, before giving up and running from the hills and back to the static of the city. I know the benefits of solitude based on my Corsican ennui and Carver's reaction interested me. For me, silence offered solutions. It wasn't immediate, but eventually the benefit of a quiet life insinuated itself... I was dumbstruck by a keen but gentle excitement; the sense that something within me was really changing and... it had nothing to do with alcohol or caffeine.
This felt like a true and natural healing; there really was therapeutic benefit to submerging oneself in silence.
"A question is forming
A knot is unravelling
A new day is dawning
And my heart is beating fast..."
I play a ten thumbed guitar part on Marcus's Country and Western Gibson, and then comes the warbling, partly spoken, partly sung. Marcus prods away at the piano and conjures up some atmosphere with mellotron voices. It all sounds suitably odd; conjuring up images of a bug eyed unshaven writer in old clothes, smelling like a damp dog, sitting poised for inspiration.

Lunch and then into 'Some Kind of Surrender'. Marcus suggests a Ry Cooder rhumba type shuffle and that kind of shapes the approach. It's slower than I'd intended and I have to roll the lyrics and even sustain a few notes. Christ, I'm almost singing! The Scientist adds Norah Jones octaves on the piano and some electric twang and acoustic strum before we head indoors for that Bolognese. We discuss whether vegetarian Lucinda (just returning from a gig) will notice that there's a pound of beef mince and half a pound of pork lardons in the sauce. Marcus reckons that she'd be more offended by the garlic, so I rustle her up a tomato and basil ragu that will suffice. Tonight's red is a stonking Spanish/French border Cabalie 2012. Lemon tart and some straight talking ensures that I don't think of Match of the Day until it's too late. How did that happen?
Regardless of the Cabalie's 14% content, we'll all sleep well tonight...

To the Bone: The Second Sessions (Friday): 'Dream Horses' & ''Row'.

I'm in Norbury Brook studio again with Marcus, to continue work on what has been tentatively re-christened 'To the Bone'. It's another 3 day session that should see us break the back of the album in terms of basic tracking. This time we're in the company of Willow, Marcus and Lucinda's lovely lady lurcher. She's discerning; Willow doesn't like jazz chords or cellos... that'll keep us honest. She also has her eye on the garden squirrel whose days are surely numbered.
We commence at noon (very civilized) on 'Dream Horses'. This starts as a simple voice and piano arrangement but is now starting to swell into something... swell. Marcus battles with string samples. I can't spell most of the words he's barking out but musically it sounds like Steve Reich in the afternoon! "Stereo: L: Scratchy R: Awful.... Flat as a fart" is the maestro's assessment. Willow is less articulate but her flatulence speaks volumes. Later, as we have the upright piano sound sorted, we potter with 'Row', a vignette which works nicely. Once the piano is done I sing and Marcus plays along on his blue melodica, giving the thing a sea shanty slant which works well with the lyric. A great day's work and it's time for our reward; nuts for the monkeys. As it's Friday we contemplate curry and offer it up to the dog, just to keep the wind in the Willow.
She assures us that she is more than content with her Chappie.