Two blogs in a month. Clearly a sign of bad things to come or a serious mental decline!
This diary entry is partly prompted by Jakub Kurek and Piotr Zdunek, two very enthusiastic and knowledgeable no-man fans from Poland. Not only did the dynamic duo send me songs from the 1990s and early 2000s that I’d completely forgotten I’d recorded, they also reminded me of the fact that it’s the 20th anniversary of the release of no-man’s Dry Cleaning Ray.
The unreleased tracks were a revelation in many ways, not least because I’d entirely erased them from my memory and don’t have copies myself.
My ‘hard drive of doom’ contains several album’s worth of unreleased material. Some of it’s good and some – probably courtesy of my Bandcamp downloads page – might even end up being heard. Sadly, it doesn’t contain the original – Flame outtake – version of Wild Opera’s Taste My Dream, which I recorded with Richard Barbieri.
Amongst the lost and lonely:
– A half-finished Bowness/Chilvers album of Nick Drake songs from around the time of California, Norfolk. We were genuinely pleased with our versions, but felt that there were too many Nick Drake covers in existence at the time and didn’t want to add to the clutter. The result, one abandoned project.
– A Bowness/Chilvers album of Ambient/Electronica meets spoken word. Fully completed (around 2001) and featuring some interesting music, this was deemed too pretentious to ever be heard (by anyone, including us!). Consequently, the lock and key is strong on this one! The spoken word parts were drawn from poems and short stories I’d written in the 1990s.
– A very eccentric Postcards From Space (me with Alistair Murphy) album circa 2007. Hugely ambitious, this never felt quite right to me. The first side contains five self-contained, and slightly melodramatic (in an early Bowie/Hammill sense) songs, while the second consists of a demented 22-26 minute ’suite’ which has elements of very early Tangerine Dream, Stockhausen, Pawn Hearts-era Van Der Graaf Generator and some prettiness to counter the aural horror. This was put aside when I started to write for no-man’s Schoolyard Ghosts. Alistair and I subsequently got together to co-produce and co-write Judy Dyble’s Talking With Strangers and that album’s 20 minute epic Harpsong scratched my sidelong itch.
– An EP with Tony Harn from 1998. Containing four songs – one of which emerged on World Of Bright Futures – this was a surprising and surprisingly accessible fusion of Tony’s virtuoso Summers/Fripp meets Pat Metheny guitar approach and my vocals. Lyrically, the songs were more in the Modernist/disjointed style of no-man’s Wild Opera and Centrozoon’s Never Trust The Way You Are.
– An EP’s worth of Samuel Smiles’ World Of Bright Futures rejects from 1999. Of the many tracks brought to my attention by Jakub and Piotr, these were perhaps the best and most fully formed. With a line-up of me, Michael Bearpark, Peter Chilvers, Sandra O’Neill and Myke Clifford the music operated in a lyrical, Ambient-tinged singer-songwriter style. Take The Sadness was perhaps the strongest of the pieces, with rich textures, ethereal flute solos and nice vocal harmonies. Should it ever happen, these outtakes may find their way onto a World Of Bright Futures reissue.
– Outside of the above, ‘the hard drive of doom’ also contains many solo experiments/songs, half an unreleased no-man album, the original 1992 version of Loveblows And Lovecries including a 12 minute take on Tulip, the completed Plenty album, the very nearly finished Bowness/Chilvers 2.0 (we’re almost there!), an EP with Jacob Holm-Lupo, two unreleased collaborations with James Matheos, two unreleased pieces written with Kit Watkins, dozens of Henry Fool works in progress etc etc.
The horror, the horror!
As for the odds and sods mini-album that is/was Dry Cleaning Ray:
Originally, it was intended as a single or an EP featuring Wild Opera outtakes and alternative mixes of songs (including the shorter – re-recorded – version of DCR itself). Pretty quickly it became something more substantial.
The main reason the project expanded in the way it did was that Steven and I were excited about three new songs we’d written. The songs seemed like a more crafted evolution of the Wild Opera ‘hourlong experiments’, and we liked the idea of material being released very soon after it had been completed. Outside of this, I think we already had in mind the notion that no-man’s next album proper would be something quite lush and different from Wild Opera. Consequently, the new pieces seemed out of place with what we imagined for the band’s future. By contrast, when we wrote Carolina Skeletons in 1998, we knew for certain what direction the band should take (a direction that led to 2001’s Returning Jesus).
Dry Cleaning Ray and Diet Mothers – which along with Wild Opera outtake Born Again Lovechild represents no-man’s solitary flirtation with Dub – were new mixes of Wild Opera material. Evelyn was a cover version of a Serge Gainsbourg song, which I believe we’d been asked to do for an American Serge Gainsbourg tribute album. Kightlinger and Urban Disco were outtakes from the Wild Opera sessions.
Jack The Sax, Sicknote and Sweetside Silver Night were the three pieces we wrote in 1997. Originally intended for whatever was going to be no-man’s official Wild Opera successor, all three songs share a similar sense of melancholy, fear and desperation. They’re softer than most of Wild Opera, but they still possess the sonically experimental edge and playful lyrical quality that marked out Wild Opera from all other no-man releases.
Twenty years on and I still like all three songs. For me, they point to something different for no-man and stand apart from the rest of Dry Cleaning Ray in terms of their quality and emotional intensity. In retrospect, my feeling is that an album could have emerged from a starting point of these songs – one quite unlike Returning Jesus – and that the pieces would have worked better had they been released as a self-contained EP. Conceptually, all three songs carried on the Wild Opera obsession with victims of fame and victims of the pursuit of fame, but there was a consistency and seriousness about these pieces that was absent from most of Wild Opera and the rest of Dry Cleaning Ray.
1997 was the year I left London and in some ways – lyrically, musically and in terms of its cover artwork – Dry Cleaning Ray represented a goodbye to a particular way of life and a particular way of writing songs.
I’ll be attending this year’s Prog Awards sitting at the Inside Out table alongside be-caped Gods from the past and present.
The cover for Lost In The Ghost Light has been nominated, which is pleasing as it’s the most detailed of any I’ve been involved in. I sent Jarrod images for reference and several pages of notes about Moonshot, Jeff Harrison’s character and the specifics of the place and time the cover should depict. As with Abandoned Dancehall Dreams and Stupid Things That Mean The World, the gatefold king took my ideas and made them into something far more substantial than I could (in the way Carl Glover does with no-man’s artwork). For me, this provides another example of the difference between the recent ‘Inside Out trilogy’ and My Hotel Year. My Hotel Year – with a title derived from a Douglas Coupland short story – was patchwork in all ways. The music came from a variety of sources, the title was ‘borrowed’, and the artwork was entirely Carl Glover’s concept based on the title and the feel of the music. While the last three solo albums feel like mine, My Hotel Year will always feel like somebody else’s compilation album with my name accidentally printed on the cover. As negative as that sounds, it’s not meant to denigrate the album, which contains some material I still like (especially Last Year’s Tattoo and Sleepwalker).
It looks like I’ll be playing at this year’s Isidurs Bane Expo (alongside Peter Hammill) in Halmstad, Sweden in November. Utilising the members of IB and associates, I’ve been encouraged to put together something I couldn’t and wouldn’t do elsewhere. A unique tribute to the Syco and Stock Aitken and Waterman catalogues could well be on the cards.
The Art Of Noise – In Visible Silence – Deluxe Edition (2017 / 1986)
Randy Newman – Dark Matter (2017)