First full-length album from the French quintet Le Superhomard. Shindig 4**** "one of this year's early gems", MOJO 4**** "sparkling debut"
Lloyd Cole Broken Record
Tapete CD TR186 4047179469029 19 Jul 19
Lloyd Cole returns with a fully fledged band & a stunning new album.
Lloyd Cole - June 2010, Massachusetts, USA "About a year ago, after almost a decade in self imposed exile as a would be folksinger, I developed an itch I wasn't expecting. It seemed that there were aspects to my old life in rock and roll that I missed. Tour buses and product managers, certainly not. But the interacting with musicians, the camaraderie and the joy of hearing one's music enhanced, and elevated by the aesthetic of others, absolutely. Damn. I never wanted to make records alone, but somehow I ended up spending much of the 2000's in a studio with just a bunch of equipment and a computer, or touring with a suitcase and two guitars. Two things made me realise that I needed to rejoin the fray, at least for a little while - I had
written some songs which demanded a beat, and I was having great fun with my new acoustic trio - The Small Ensemble. Why not make a rock(ing) record, or whatever it is that 49 year olds make when they try to do that?
I emailed my ideal band - I was making a record, in a studio, old school with tape. Interested? NB. The money is not much, and not negotiable. All said yes. I had a studio band: Drums, Percussion - Fred Maher (Scritti Politti, Lou Reed, Matthew Sweet), Bass, Vocals - Rainy Orteca (Joan as Police Woman, Anthony and the Johnsons), Guitars, Mandolin, Vocals - Mark Schwaber, Guitars, Banjo - Matt Cullen, Keyboards - Blair Cowan (The Commotions), Pedal Steel - Bob Hoffnar (Crash Test Dummies), Piano, Violin, Guitar, Vocals - Joan Wasser (Joan as Police Woman, Anthony and the Johnsons), Vocals - Kendall Meade, Production and Vocals - Dave Derby (Dambuilders, Brilliantine), Mixing - Mick Glossop, I played acoustic guitar, banjo and sang. About a month before rehearsals commenced I had about 15 song ideas for the record of which only seven or eight were actually finished or close enough not to worry about. We narrowed it down to twelve to record. I then entered a state of songwriting frenzy which, frankly, undermined my enjoyment of the sessions. We had a deadline. The songs must be completed or I'm screwed.
Well, we made it. The final lyric was written and then recorded at Mick Glossop's Magazine Studio in West London on April 22nd, leaving us two days to mix the song and fine tune the rest. Amazingly there was time for a beer (only one) at the end of the final day.
The whole experience was, for me, rewarding, perplexing, fabulously enjoyable and heinously stressful. Singing with a rock and roll band in the studio I felt exactly as I did in 1987, or 1995 and then I would see my reflection in the glass of the gobo and wonder who this old guy was ... I'm happy we got these songs finished, because I'm not sure I'll make another record like this again. Having said that, I'm never going back to that room with the computer"