READY TO BEGIN 

I left the studio one Friday after producing some new material for another artist.

It was late February, the point where it's still winter but that extra hour's light around 5.30 makes you realise spring's close.
 

I got out of a cab and breathed in the sunny afternoon.

I started to feel full of hope and positivity, ready for new venture and experience. 

I promptly scribbled the first verse down on an iPad. The rest didn't take long.

NB The bonus of having a song with this title is that for the first time in a years I had a tune tailor-made to open a show with.

 

TURNAROUND TOWN

A place where many of us are obliged to visit whether we admit it or not. 

A place where personas may have to be adopted, shapes thrown.

 

Did I have any particular person in mind for the first two verses?

Really it's so long ago, my memory's hazy and I couldn't possibly say.

 

YOU NEED LOVE

I had a catch-up conversation with a close, valued friend. She was upbeat, funny and engaging as always -  a positive person with success and much achievement in her life. 

 

But the more we talked there was a sadness present in her musings.

She spoke a lot, about acceptance, compromise. 
 

It was by no means a downbeat conversation but as soon as it ended  I started reflecting, then the title appeared in my head and I knew I had to write it.

 

I always really liked this song and was thrilled that it got extensive airplay on BBC, Radio 2. 

And it was likened, in a Mojo review, to John Lennon.

And no I never told her. 

 

YOU BREATHE NEW LIFE INTO ME

This was written for another act to sing but, well, the artist in question didn't want it!

 

I never thought I could really sing it, but I played around it with, and when Robbie McIntosh told me he liked it I persevered... then when he sent me the George-esque slide for the intro I was sold.  From then on it had to go on the record. I still think Mark Owen should have recorded it though. 

 

WORK IN PROGRESS

In spring 2016 I slipped over and put my back into spasm.

the pain was seriously intense, I was suddenly moving like a 90 year old. 

I was sent home by an emergency GP with the strongest painkillers available, and told to sit still for a week.

I'm never great at that last bit, but I didn't have much choice.

 

I was also told strongly to 'avoid alcohol'.

On the 4th or 5th night, fed up and still in pain I succumbed, and had a cold beer.

(Don't  try this at home). I went and sat quietly at the top of the house I was then living in, fell asleep on a couch, woke and crashed into bed around 5am.

 

The next morning when I turned my devices on the first two verses of this song were there. I genuinely had no recollection of writing them.

 

But as they were good I finished them.
 

Kids - always read the small print in your prescription, and stick to the rules. Otherwise you may end up side effects that include spewing out sub-Subterranean Homesick Blues like ramblings

and the belief that the word 'surpasseth' can work in a middle 8.

 

FROST FLOWERS

The title came from a book I was reading called "An Encyclopaedia Of Snow" by Sara Emily Miano. The image in question stuck in my mind and haunted me for a long while. I eventually wrote the bulk of the lyrics backstage at Union Chapel.

 

SNOWFLAKE OBSIDIAN 

"A Shangri La turns to a war zone"

 

I'm not sure how many takes it took me to nail 6 verses of Leonard Cohen ish nylon string finger style, but Seadna McPhails patience, as always, was heroic.
 

And sensitive performances from Paul Beavis, Thea Gilmore and Liz Hanks were a big part of this coming together. 

 

DRINK THIS IN 

My great mate Chris 'C J ' Hillman brought this alive in the studio with beautiful dobro.

 

The song itself was written in a children's soft play area.

I had taken my younger son there, he was on a slide while I was sat doing my tax return and getting grumpier by the minute. I looked up to check on him, and he was grinning from ear to ear and beckoning me to go join him.

 

I had a bit of a light bulb moment, saved the spreadsheet, closed the laptop and spent the next half hour laughing with him.  Sometimes the daily grind of being an adult empties your brain of what's important, of the potential and glory in every waking moment.
 

We had a lovely time.

(I probably ended up paying way too much tax that year but we had a lovely time)

 

​

MAKING MOMENTS 

It's what we do. 

I played this song live on the Clare Balding Radio 2 Sunday morning show, Clare was and is a great supporter of my music and a lovely person. It's a snapshot of where my life was at that point, so in that respect it's a time capsule and probably harder to perform now, but I love it, and hey never say never.

 

My other great memory of the song is of when my older son taught the cat to join in the chorus. Yes really. 

 

THE EXTRA SONG 

Came back from a days'  meetings in London in Old Compton St, which took me back to a day in the mid 70s when my Dad accompanied a 17 year old me to my 1st ever meet with my soon-to-be publishers, in that exact street. 

 

The next day I was back home, bleary eyed, on a way to collect a repeat prescription and while waiting for it I sat in a cafe and wrote this song. 

 

It's about exactly what it says. 

 

Parts of 2016 left me - and many others  - numb, in mild trauma even.
 

I took inspiration from Hannah White whose album I'd just produced, she had a song that was a mission statement "In It For Love". 
 

I felt we may all have reached a 'Stand up and be counted' point. 

I decided I too was in it for love, and ready to go the extra mile.

 

Thea Gilmore on whistle & vocal, Egan Stonier on fiddle & vocal (then 9) and Asher Stonier on hand drums (then 5) joined me in the studio to record this live. 

 

It was a statement of intent to play music and make what stand one could against the worryingly dark forces rising in the world. Notwithstanding profound life changes, I would say with some confidence that all 4 of these individuals are still in that fight.

​