This year saw the release of "The Other Side Of The World", the excellent second solo album by guitarist extraordinaire James Stevenson, so did a global pandemic help or hinder the recording? Talking all things about the album and what we can expect in the coming year it's time to catch up with James!
With a global pandemic happening did that forced downtime spark the idea for the album or was it something that was already underway and did the pandemic help or hinder the recording process?A bit of both. I always wanted to do a second album - but lockdown definitely gave me the time to do it. I recorded the song "The Other Side Of The World" to be played at my brother Dave's funeral - that was the catalyst.
I emailed the files to Smiley and Peter Walsh and I was really pleased with the results, even though the reason I'd written the song was heart-breaking. So I asked Pete if he thought we could record a whole album like this and he thought we could.
Were all of the songs written with the album in mind or are there some that have been on the back burner so to speak?
Well "New York 10023" was a very old piece of music about a mad night I had in New York in the mid 80s with the model Paula Hamilton. I rerecorded it for the album - and even though it's basically an instrumental people do like it a lot. I got Johnny Pisano (Willie Nile's bass player) and Thomas Trask (who was David JoHansen's guitarist) - two New York mates to speak the script I wrote at the end - just to give it a New York edge.
"Take A Little Love" I wrote with Adam Masterson a few years ago and "Point It To Your Head" is a song by Steve New whose version was never released - so I recorded a version as a tribute to Steve. Other songs like "I'm Getting Over You Now", "Just Like I Do", "Gotta Find That Feeling", "When You're Feeling Sad and Lonely" and "Ugly/Beautiful" are all recent, or finished as the album progressed. "In The Nighttime" I wrote when I was about fourteen or fifteen - but I updated it a bit.
You've used a core "band" for the album featuring yourself, Peter Walsh on keyboards and Smiley on the drums then adding in guests for selected songs - do you think this helped focus the sessions and give a more unified feel overall?
I think it did, yeah. I liked the fact I played all the bass guitars too. I love to play bass and I don't think I'm a bad player if I say so myself! I didn't know Pete Walsh was such a great keyboard player until this album...he's very modest - but he's so tasteful. He produced the album too of course. So Pete, Smiley and I would basically knock the songs into shape and then I'd get people in to embellish. Terry Edwards is incredible and all the girl singers, Jessica Lee Morgan, Elizabeth Westwood, Tracie Hunter. I got my lifelong friend Henry Badowski out of retirement to play sax on "Baby Come On" - it was Henry who encouraged me to record "In The Nighttime" - we were in bands together in school. My friend Rana Rains did some great vocals on "New York 10023" too and Mike Peters added the harmonica on "Point It To your Head" of course.
Peter Walsh co-produced the album alongside you and has a rather impressive CV featuring such household names as Stevie Wonder, Peter Gabriel, Scott Walker, Spandau Ballet, Boomtown rats and Heaven 17 amongst others, where did your paths first cross?
You can also add Simple Minds and four Gene Loves Jezebel albums! We met when our A&R man at Geffen, Gary Gersh, wanted him to produce "Desire". It worked out great and he's been a Gene Loves Jezebel staple ever since - right up to GLJs last album "Dance Underwater". He has an incredible pair of ears and is a close personal friend too.
You've kept the guest list quite short with Elizabeth Westwood and Tracie Hunter returning again to provide the majority of the albums backing vocals, your Holy Holy bandmate Jessica Lee Morgan takes that role on the album opener "Baby Come On" and one Michael Peters lends his harmonica skills to "Point It To Your Head". Were there any guests that you would have loved for the album but couldn't get?
To be honest I would have liked Steve Norman to play sax on a track or two. He was incredible on my first solo album "Everything's Getting Closer To Being Over" but he was tied up in Berlin doing stuff.
What are your hopes and expectations for the album?
I just want as many people to hear it as possible. I'm very proud of it.
The album as well as the title track are dedicated to your brother David who sadly passed last year. Is there anything you'd like to tell us about him?
Well he was my best friend as well as my brother - the one person I would always call first to talk about anything. There were only fifteen months between us. I was destroyed when he died even though I knew it was inevitable and because he lived in Australia and died during lock-down I couldn't even go to his funeral.
I discovered it was caused by a familial gene on my mother's side. You have to inherit it from a parent. If you have a parent with the gene you have a 50/50 chance of inheriting it. If you inherit it you die from Pick's Disease, it's terminal and there's no treatment.
My mother died very young from cancer when she was only forty eight, before the disease took hold but her sister, my aunt Janet, who I absolutely adored, had the disease and died from it in her 50s but we never realised what it was until my brother started developing symptoms. It came from my mother and aunt's mother Claris Raynes who died of an illegal backstreet abortion in the mid1930s - she was only 28! So it's been hard to work out the trail.
I tested negative but it was a very stressful time.
You write about some very personal subjects lyrically on the album, do you find it cathartic to do so?
I've always written from personal experience - I think most artists in any genre do that don't they?
All the reviews I've seen have been full of praise and seem more positive than those of your debut "Everything's Getting Closer To Being Over" despite that album being a firm fan favourite ever since its release. Are you happy with how it has been received?
Yes, everyone does seem to like it. I'm very proud of both of my solo albums.
One thing that is striking about the release is that your vocals seem stronger and more natural, is this something that you consciously worked on?
Not really - I think they just evolved because I sang more. But I agree with what you're saying. My ex-wife Elizabeth Westwood did help with a bit of coaching - she's an awesome singer.
You've announced one live date for this year so far, do you envisage being able to play more solo shows next year?
Yes. Pizza Express Live in Holborn, London December 12th. I really want to do more solo gigs if I can.
I know Smiley will be playing drums with you in December but have you finalised the rest of the band yet?Yes. Smiley on drums, Terry Edwards, Patrick Ralla on keys (Mark Taylor sadly couldn't do it) but Patrick is awesome. Peter Rizzo from Gene Loves Jezebel on bass - he's my fave bass player of all time. And Liz Westwood, Jennie "Belle Star" Matthias and Tracie Hunter on BVs. Hope we can all fit on the stage!
What can those people fortunate enough to be able to attend the London show expect to hear in the set, with two albums of original material you certainly have enough to play all your own songs but are you tempted to play anything from your long career so far or even some covers?
It will be songs from my two solo albums...but I might throw in a surprise!
Are there any plans to potentially record the show for a digital release or maybe a livestream?
There aren't, maybe next time. So if you want to see the show get to the gig!
There have been plenty of tours in the news being affected due to band or crew becoming infected and having to cancel shows. Do you have any restrictions yourself that you'd like to see in place for the immediate future?
I think that's just the way the world is right now and we're gonna have to soldier on and hope for the best.
Do you envisage a few short notice calls asking you to fill in to allow gigs to go ahead within the multitude of friendships you have?
I'm always up for that!
One of the lockdown releases saw the rapid writing and release of the album "War" by The Alarm in order to catch the spark and it was very well received even garnering national media attention. With how quickly things move forward with The alarm and that live dates couldn't be played to support and promote it do you think there's a potential it may become somewhat of a "lost" album?
I hope not. I think it's a really strong album. But we are living in very strange times for sure!
Did the impact of the pandemic allow you any more time to develop your autobiography?
A bit, I've been slack there I have to admit - all my focus went on the album.
With the pandemic far from over but with live music making a return (albeit with some dates having to be pulled or rescheduled) what is 2022 looking like currently for you?
Well from March it explodes! Holy Holy first, then The Alarm and then Gene Loves Jezebel UK dates. Then Gene Loves Jezebel have the Cruel World Festival in the USA May 14th - not sure if you've seen the line-up for that but it's incredible! Yeah 2022 looks very busy with tons of cool stuff - thank god!
That certainly sounds like there's a lot to look forward to next year and not forgetting that solo gig in London on December the 12th this year. James Stevenson, as always, thank you very much!
James' excellent second solo album "The Other Side Of The World" can be ordered HERE!
Tickets to the Pizza Express Holborn gig in London on December 12th can be ordered HERE!
