Loves, losses, gripes, glories and gratitude in 2015

A rueful, joyful look back 

It's been a full-on year. I wrote, a lot. Did audio production, a lot. Halfway through the year, I pulled out of a draining work situation and cleared my head. Then, naturally, I took a deep breath and promptly hurled myself into new fields of work, scrambling up fresh and steep learning curves. Some of it has been difficult and disappointingly fruitless. Other stuff has succeeded beyond my wildest expectations. You think I'd have learned by now. 

Here's some of the things I stumbled across this year, some gripes and some regrets... and a few little treats, after the jump.

Dan Whitehouse and Chris Tye: they've got shows for you. And a Christmas song. No, really.

Dan Whitehouse and Chris Tye talk of cabbages and kings, new albums, big shows, collaboration, creativity and Christmas songs.

Dan Whitehouse and Chris Tye are comfortably ensconced upstairs at the Wellington in Birmingham City Centre. Two extraordinary singer-songwriters, each with a new album, each with full band showcase gigs in the next few weeks at the same venue – the Glee Club; both albums share some personnel : Michael Clarke has several cowriting credits with both Dan and Chris; Simon Smith crops up on bass on both albums. In some quarters, that might lead to flouncing, flared nostrils and rivalry. Not with these boys. Why, they've even written a Christmas song together. Read on for an exclusive listen.

Dan's new album, his third long player, 'Raw State' is largely a revisiting of some of his long-standing songs, sometimes after years of live performances; the core of the material was recorded live with a full band at Reservoir Studios in North London production chores were handled by Danny George Wilson and Chris Clarke from 'Danny and The Champions Of The World'. Chris' album 'Paper Grenade' was recorded this year, and produced by Michael Clarke in Kings Heath in Birmingham.

With the launch of albums and headline tours, talk turns to progression and development. 

Dan: Artistically, it's happening. 

Chris: Yeah, but it can be difficult to fish out the gigs where it doesn't cost you money. Saying that, to fund 'Paper Grenade', I did a Pledge campaign; which I was really sceptical about doing. It worked really well, and in the end it gave me the opportunity to work with Michael (Clarke), and to get it mastered properly..

So what that really means is a vote of confidence, surely – you've got enough people to put the money up for you to deliver a work the way you wanted to? 

Chris: Definitely a confidence boost.

I wonder whether Pledge and all the others have still got the same impact. There's been a lot of appeals, not all of them successful.

Chris: Seems like an honest way of doing it. 

Full bands? That's another big commitment

Dan: It's a big band. I've got BJ Cole on Pedal Steel, Paul (?) on lead guitar; the drummer from Danny and the Champions of the world.... I've thrown everything I have at it. Rehearsing tomorrow.

Chris: So are we. Same bass player, Simon Smith.

Dan: Simon is the glue that holds everything together.

So – shared bass player, shared producer. Tell me about your shared song?

Dan: Ah! A Christmas song, called....'This Christmas'. We wrote it in April.

Chris: We nearly did it a couple of years ago. A little trust exercise. One mix session away from finishing it - there's another mix session next Sunday. We sent each other four really primitive ideas. I didn't really know Dan at the time. He didn't send me any abuse.

Will you wind up on each other's stages, performing the song? 

Chris: Is the 23rd of November too early? 

No... by the time of your shows, you'll be wall to wall with Christmas. 

Dan: I'll play it in my show on the 7th. 

Well, how about collaboration and ideas? You exchanged...

Dan: … bits of songs. Sketchy ideas. You know what it's like, trying to get together. We've made it work with this song. And one other one that's quite close. 

Chris: I enjoy co-writing with the right people. It either works or it doesn't. You know within twenty minutes. 

When ideas come up – Dan, you run Songwriters Circles, so you get ideas coming at you all the time – how do you step away from that and move into a collaborative framework? Can you move from teacher and enabler to collaborator? 

Dan: I don't see myself as teacher in that environment, I've co-written a number of songs with members of the circle. I do my best... to apply the oil to the creative wheel, keep things spinning around all the time. 

OK – here's a question for you both. Which was the most difficult song to do?

Dan: 'Somebody Loves You' is a big song in my set. And it's a song that I've struggled to get a recording that I'm happy with. Because it's so much about the performance, rather than the components of it. You couldn't do Somebody Loves You to a click track.

Your first recording of that song placed your voice in the world, with the noise of the world all around you. And you slowly trace how the song's character recovers from a point of complete desolation. I loved that – you in a soundscape, climbing up and out.. 

Dan: We recorded that in a school playground. And when I did that recording, Robin, it was before I had four years of playing that song live, every night, in a number of different environments. I had some really emotional experiences playing this song. But I struggled for ages to be able to get into to the right environment to make a good studio recording of it. That was my mission – to get a complete recording of that song – that was partly the reason to make this record. It reflects my knowledge of the song. I learned about the song through playing it. It's a two-way song – I'm not sure the song works on record. It's a conversation.

And Chris – what's your hardest song?

Chris: I suppose 'Vicious Words'. I played it live for about a year. It became one of those songs – unexpectedly. It's a song about divorce, a little bit downbeat. Bit I can really get into it live. I feel like it connects. It's a good song, I'm able to communicate it to people. 

I played it to Ben Niblett, a producer who worked on about three songs on this album. He set up a mic – 'Gotta get a recording of this' – about three feet away. No spot mic on my voice and the guitar. I played it and we got it, one take. I know everybody says 'One Take', and it's usually comp'd. 

Note: For a definition of comping, see here. In effect, it's anything but one take.

Chris: I loved this take. The first reverb we put on sounded ace. Do we change anything? We then did about six versions to try to recreate the magic. It didn't work, it almost never does when you do that. But I just thought the song could take a different treatment – electric guitar, double bass - so that's why there are the two versions.

Vicious Words: acoustic version

Vicious Words: full version

I think the acoustic cut hits harder. It's a tough listen.

Chris: A lot of people said that! 

Note: Chris and Dan are very interested in hearing from video producers with a view to getting something up for a December release - please get in touch with Dan at dan@dan-whitehouse.com. All proceeds go to charity, here.

Links 
Chris Tye
Dan Whitehouse

Albums
Buy Dan's album here; buy Chris' album here.

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Dan Whitehouse: old craft, new songs, growing audiences.

How a song develops, from raw demo to the finished article: hear both in this post. 

I first heard Dan Whitehouse when scheduling Rhubarb Radio’s output in 2011, in the dying days of its second incarnation. I used just local material, mixing the best of West Midlands music makers into one audio stream. 

It was great. I got to listen to lots of music in different combinations, which is always interesting. And I saw how unusual and new songs bedded in on air with consistent and repeated play, the way they are delivered on mainstream radio..

Dan’s songs worked brilliantly. The more they came round, the better they sounded. That may well be because of how he crafts his songs. They wear well; they stick in the memory. 

It seems to be working for him. On Sunday 29th September, Dan put together a particularly lavish hometown launch gig for his second album, Reaching For A State Of Mind. Unsurprisingly, the gig sold out.  

Moseley Folk. John Fell would like a 30 hour day, please. And no hangovers.

2013 Festival season #4: Three weeks out from Moseley Folk, with four hour Goodnight Lenin rehearsals, This is Tmrw work and solo gigs to juggle…

Courtesy Skakeypix

John Fell is ridiculously difficult to get to in mid-summer. It’s not his fault – this is the halfway point between the two Moseley festivals, and he has segued from Festival booking team chores to stage manager, senior bottle-washer and soother of fevered muso brows. He has – hopefully - helped clear up after Mostly Jazz, while setting up for Moseley Folk. His band Goodnight Lenin have a slot at the Festival, clearly set on delivering something special ahead of a much delayed album release. So that means lots of rehearsals as the band shifts to a more raucous, punchier approach. 

And on top of this, weeks before Moseley Folk, John also signed up for solo gigs supporting the redoubtable Patty Griffin. Then there’s the gig with This Is Tmrw. So it’s been a struggle to pin the boy down. But I bet lots of people say that.

March/April 2012 Airplay

Last Month saw a really pleasing burst of radio activity at national level for West Midlands acts. Time for a few facts and figures. 

Impressive music is emerging from the West Midlands. Some of it is starting to get equally impressive recognition at National radio. 

This is a big deal. Scoring airplay at Radio 2, the country's most listened-to station, even in off-peak shows, means more than scoring airplay on any other station in the country. It means that hundreds of thousands, perhaps millions, of people, will have heard your song, and that it will have been presented, sympathetically, to an unusually receptive audience. It's a great trick if you can pull it off, and it is definitely not easy - just ask anyone who's tried. 

Local acts are breaking out. When you gather it all together, it begins to look good: we're talking about millions of listens at national level. Of course, I have no way to ensure that this info is comprehensive; there's probably a lot more to celebrate.


Star performers in March:

The Musgraves: Last of Me single, with 6 plays in the past month at BBC Radio 2

Also shining brightly: 

Destroyers: Hole in the Universe single. Transition Records 
Mike Harding Show, BBC Radio 2, 28 March
It’s also worth noting that the Destroyers logged two sell-out shows last week to alarmingly enthusiastic crowds in Birmingham and London. And if you play the video, do note the comment, from Taysidethistles, up near the top.

Urban Folk Quartet: Jaleo Bus/Up In The Air. Taken from 'Off Beaten Tracks' CD 
Mike Harding Show, BBC Radio 2, 28 March

Dan Whitehouse: My Heart Doesn’t Age, It Just Gets Older single, Tiger Dan records.
Alex Lester, 21 March; Steve Lamacq, 3 March, BBC Radio 2; also playlisted at Q Radio (National Digital)   

  Sam Redmore: Is This Love Remix 
Craig Charles, BBC 6 Music, 17 March.

Thanks to the excellent Compare My Radio website, we also know that
Ruby Turner scored more play at BBC Radio 2 with Lord I Thank You - thank you for the update comment, PF - in March. 

Nightingales: Best of British Luck / The Burster, new CD tracks
Marc Riley, BBC 6 Music: 8th/13th/19th/22nd/28th March

Chris Tye and Wes Finch 
Honourable mentions in Guardian reader playlist, 21 March

So, so far, so good, but I've almost certainly missed some stuff out. Researching this in detail is time-consuming; getting play details out of all the key specialist shows isn't the easiest thing in the world. If you're not on the above list, and you’ve scored some national play, please drop me a note so that I can update the post. 


There are some interesting issues to consider: 

How did these guys score national airplay? 

In particular, what steps did each act take to bring their work to national exposure? 

There are a number of routes, but it’s heartening to note that national DJs are going out of their way to explore new music from the West Midlands. 


Now, this can’t be the whole picture, and it goes without saying that Kerrang, BBC Introducing at WM, CWR, Hereford and Worcester, Shropshire and Stoke are all playing their part, as are WCR-FM, Bridge FM, Scratch Radio and other community operations. And, as I have repeatedly suggested, judicious local plays for the right local artists can bring unique benefits to both station and artist.