Hi Henry, how’s life in the music business for you today?
I don’t really feel I AM in the music business anymore …and life’s oh so much better for it. It’s almost a cottage industry, I sort my own gigs, and workshops, record my own albums in my own studio. Indeed, initially I was going to release this album on my own label (the old adage “why give away 50%”!), but the enthusiasm from Proper was such that I thought I’d give one more go with a label, and I’m not brilliant at admin…and so far, they’ve been great!
Your new album has a lot of personal songs; does that make them harder to write?
No, actually makes them easier to write…don’t have to rack your brain too hard for something to say. Plus it’s cathartic too.
The record must resonate with a lot people in the early autumn stage of their lives, was that your intention?
Not particularly, I’m just singing about my life, and it’s great that other people can relate to it too. Pre “The Chronicles of Modern Life” (my debut solo album, that came out in 2008) I was mainly working/writing with other people (usually singers), so they would tend to choose the subjects they wanted to sing about. Even with The Christians (my former band), I was aware I was writing songs that I personally wouldn’t be singing lead vocals on, so tried to tailor them to Garry Christian’s voice and give him topics/themes that he’d want to sing about. Now I’m solo, I can sing what I like, and re your question above, they’re the easiest songs to write; it’s more honest, and more real. After releasing Chronicles people would come up to me and say things like “you’re singing my life”!
The record was three years in the making, was it the ‘difficult second album syndrome’?
Not really. As I’ve explained before in interviews, I started it in 2010 with the idea of getting it out pretty quickly, in order to capitalize on the relative (and critical) success of the first album. Had it nearly ready and mostly mixed, then sadly I lost my Mum and my mother-in-law in a 7-month period, and suddenly rushing out an album didn’t seem that important. Also, due to what had happened, I started writing different (and to my mind better) songs that perhaps better reflected where I was in my life (my solo work has been largely autobiographical, I suppose). So I shelved half of the album, and then, in my own time (and without any record company distraction or deadline), started putting together the album that you hear now.
Photo: Derek Schultz
What other musicians are on the album with you and how did you decide who you would ask to help out?
I suppose 98% of the time it’s just me in the studio (which can send you a bit crazy!); setting up the mics, operating the mixing desk, pressing record, and playing most of the basic instrumentation, well, all of the easy stuff. I’m lucky to be friends with a few great guitarists (I’m strictly a meat ‘n’ potatoes “4 chords and the truth”-type guitarist) so for anything fiddly or finger-style I called on them (mostly Pete Riley, Jinder and Simon Johnson). Realistically, the way I chose each guitarist was a/choosing who’s particular style fitted what I was after and (equally important), b/not abusing anybody’s kindness too much (as they were mostly doing it as a favour, or as a barter!).
Then there are a few more “exotic” instruments on the album. These were once again mostly done by friends & acquaintances, and entirely over the ‘net: so I’d send a backing track of the song, describe what I was after, and they’d send me a few different takes. I was lucky enough to get Probyn Gregory (from the Beach Boys/Brian Wilson band) to play some lovely French horn on “In My head”, and Graham Gouldman (whom I’ve worked with a lot in the past) played bass on “We Used To Be You” (the latter’s extortionate session fee was one pie dinner…!). Also Katriona Gilmore and Pip Jopling (both of whom I met at Folk Festivals) both had home studio set-ups and both added some lovely strings to different songs on the album
Now the LP has been out for a few weeks, what are your hopes for it this year and what is your own personal favourite song on the album?
I think the critical (and audience) reaction to it has already surpassed what I expected. I have to say I expected to get the odd severe slagging off the press (and punters too!) - “It’s not as good as Chronicles” etc - but the response has been amazing, and people seem to get what I’m trying to say in this album, and the poignant circumstances from which it arose.
I’ve got gigs coming up throughout the year check on my website which are being added to all the time, so my hopes are just to keep on gigging, and plugging away, and you never know in this business, Adele might choose to cover one of the songs (yeah right!). Though actually Valentine Song off the album (co-written by myself and Lotte Mullan) has already been used in a wonderful award-winning 8 minute short film by Ridley Scott Productions (sung by an actress in the film); check it out here.
Hmmm, my favourite..hard to decide, possibly the more poignant ones: I wrote At The End of the Day for my Mum, so that’s a bit special (and Tim Hutton’s brass really gets to me!). Mum is also remembered in the title track and We Used to Be You seems to be striking a chord with people too.
How did your record deal with Proper Records come about and are you happy in your new home?
At our first meeting, I warmed to them immediately when I was greeted with the sentence “We used to come and see you in Yachts when you used to play the Hope & Anchor back in the late 70’s!”…Immediately I knew they were music lovers, and we clicked straight away. It’s a great record label, with a great catalogue, that puts music first, and I can’t fault what they’ve done for me so far…the reviews have been the best I’ve ever had in 37 years of making records.
Will you be taking the record on the road this year?
I already have started doing just that. It’s a “never-ending tour 2014”…Think I have about one weekend off between now and June! Started in Feb, 5 sold-out gigs this month, I’ll have a bit of a break in the summer, then back to doing more gigs in the autumn…check website/facebook for details, and I’m probably coming to somewhere near you.
Do you miss anything about your time with the Christians still today?
Absolutely nothing..and no disrespect intended. It’s nice that, after a few years of daggers drawn, potential lawyers etc & all the rest, I’ve managed to sort out my peace with both Garry and Russell Christian (was having a brew in Garry’s kitchen the other day). I enjoyed getting up onstage with Garry and the current line-up of The Christians for a song or two in December 2012 (to celebrate 25 anniversary of the first Christians album), but have to say I prefer doing what I’m doing now. It’s to smaller audiences, granted, but it’s very easy to run, a cottage industry, with usually me going out solo, or sometimes a duo, in my Mazda, armed with a guitar and uke, and hopefully putting a smile on people’s faces.
Who designed the artwork for the new record?
I found the “Bicyclette” painting (by Welsh artist Gilly Thomas) in an Art Gallery in Llangefni, on Anglesey. The original is not that much bigger than CD, actually; I really liked it, bought it, then suddenly thought “hang on this is perfect for my album”. It seemed to go so well with the title, and Gilly was up for me using it as the album cover. We embraced the bicycle theme (and I’ve used it in my “Goodbye Common Sense” video, my wife designed the CD onbody bicycle motif and did all the backgrounds, and it was all put together by my friend, art designer Helen Stephens.
Finally, any advice for someone starting out in the music industry today?
Well, luckily my demographic still (just about) buy CDs, but nobody under 45 does! So, the thing now is play live, learn your craft, learn how to work with an audience, talk to the audience, explain your songs, get them to listen to you (don’t just shoe-gaze and grunt!)…and most of all LOVE IT, ‘cos if you don’t then there are plenty of easier ways to earn a living….but if you love it, then it’s the best job in the world!
Photo: T. Gavin Williams