To celebrate the release of This Way To Power each of us Housekeeping Society members have put together our desert island discs - you know the drill, 8 records, a book and a luxury item
next up is Ivan
you can listen to most of his choices on spotify here
Ivan's Desert Island Discs
This has been massively difficult and this list, although it includes my most favourite track ever, it omits tracks that would be in my top five favourite tracks. The reason being that I wanted to include some music that had been influential at various times either personally or inspirationally or musically.
John Coltrane: Blue Train
This song is very inspirational on a personal level, as it is a great reminder to any musician in fact, to really play with as much commitment as you can muster. Coltrane comes screaming out of the introduction like a thoroughbred racehorse just waiting for the track to start. The introduction is really just a gentle warm up. The energy doesn’t diminish until the final note. The sheer power of this performance is humbling.
Denis Jones: Third Song
I was lucky enough to see Denis Jones live about a year ago, and I might have well been watching a demonstration of antigravity. It was like hearing a sound I might have fleetingly dreamt about. His music is a combination of so many things that I adore about music made since artists messing with loop sampling, bit crunching, no input mixers and a host of other things that make awesome sounds. Yet underneath is a beautiful soulful delicate aesthetic and some great songwriting.
Ozomatli: Vocal Artillery
Two of the best gigs I’ve ever been to have been by these guys. I like that despite a few line up changes this band can never be big enough or it’s influences diverse enough. Firmly rooted in latin, hip-hop and rock, they are also strongly active politically and are a reminder that music can and in many cases should attempt to change people, challenge injustices and bring people together. This group has also included both my favourite turntablist and rapper, Cut Chemist and Chali 2na respectively. I would have happily also included other work by Chali 2na including much of the Jurassic 5 back catalogue or his tracks with DJ format.
Talvin Singh: Traveller
This the opening track of Talvin Singh’s album ‘OK’. I adore music that can take you on a journey, mentally, emotionally and physiologically. Much of this album does that and no matter how many times I return to this track I find it a deeply emotional experience.
Tunng: Bullets
Seeing Tunng for the first time on a festival stage came at a time when I was lacking in a certain amount of energy for live music. I’d stopped writing music reviews as very little felt truly new and exciting or really spoke to me very much and was not having any involvement in creating anything original. Songs like this one really gave me a huge amount of inspiration and help lift me out of a bit of a rut. They’ve been a major influence on my use of found sounds and loops.
Ryan Adams: Amy
I adore pretty much every track from Adams’ album ‘Heartbreaker’ but I include this one as a nod to a long running point of contention in the band. I am outnumbered in not liking the music of the Beatles, at all. Can’t listen to it. Ridiculous, I know. Inclusion of this track is by way of acknowledging that they have clearly been influential on musicians that I do listen too a lot. More favourite tracks from this album might be ‘Winding Wheel’ or ‘Come Pick Me Up’
Royksopp: Sparks
Despite being one of the few tracks in my library that still sounds good on phone speakers this track both appeals to my head and my heart. It’s beautifully put together and engineered. At the time it came out it was a really defining sound and there’s not been much of a similar impact at the time that’s aged as well as this track. On a personal level I first heard it during a period of being close to the top of the rollercoaster so it’s associated with some very positive and affirming experiences.
Deacon Blue: Hang Your Head
A guilty pleasure? Well maybe, but there’s few bands from these shores that have consistently spun such gold. I can associated so many experiences from early teenage years through to now. I could have chosen any song from any of their albums particularly those from ‘Fellow Hoodlams’ which I think slightly outranks ‘Raintown’ in my pecking order. I have chosen ‘Hang Your Head' from the 1993 album ‘Whatever you say, say nothing.’ This track gave me goosebumps when I first heard it. Perhaps it was the switch to using Paul Oakenfold as producer that created a grittier sound that makes this a clear departure from earlier work. Anyway, it’s the ultimate driving tune - go on listen and see what I mean. (Equally awesome from this album is ‘Only Tender Love’ also produced by Oakenfold)
Book
Compilation of my fathers poetry. My Dad has been writing verse on and off since before I existed. I haven’t yet managed to get through all the work he’s chosen to share so I can’t think of any better reading material.
Luxury
Longboard and leash. A desert island should surely have some decent surf once in a while. My favourite exercise that I don’t get to do enough.
15 Mar 2011
Ric's Desert Island Discs
To celebrate the release of This Way To Power each of us Housekeeping Society members have put together our desert island discs - you know the drill, 8 records, a book and a luxury item
next up is Ric
you can listen to his choices on spotify here
Ric’s Desert Island Discs
Ok, first of all this is really hard, and every time I look at this lists I am blown away by the fact that so much of the music I love is not represented. I’ve tried to go for not necessarily my 8 favorite songs, instead choosing the eight songs that have had the biggest effect on me as a musician. So, here we go…
God Only Knows by the Beach Boys
Composed by Wilson/Asher
Off the album Pet Sounds
Probably my favorite song of all time; the chords, arrangement and melody are flawless. I simply love the Beach Boys and there are a few of their songs that I could have chosen, but this is the one that made we want to be a songwriter. It is complex and simple all at the same time – heartbreakingly beautiful.
Into the Sunset by Neil Finn
Composed by N. Finn
Off the album One Nil
Neil Finn is a musician who has been a direct influence on my writing and there are loads of songs that I could have chosen. This one wins it, as it’s not only gorgeous (I particularly like the coda at the end) but it also reminds me of a really great summer a number of years ago when it seemed to be sunny every day.
Power of Two by the Indigo Girls
Composed by Emily Saliers.
Off the album Swamp Ophelia
I’ve always been a sucker for acoustic music and the arrangement to this song is lovely. Really beautiful sentiment as well that reminds me of when I was at uni. I love this lyric about being “stronger than the monsters beneath your bed”; lots of love songs sound contrived, but this feels incredibly personal and real.
Zanzibar by Billy Joel
Composed by B. Joel
Off the album 52nd Street
Chords, chords, chords, chords – I’m all about the chords – I love them. Billy Joel was someone who really inspired me when I was teaching myself piano when I was in my teens. He’s not respected at all by most musicians but his use and understanding of harmony still blows my mind. This track is off my favorite Billy Joel album 52nd street. The chords and modulations in this tune are brilliant and I love how it takes you on a real harmonic journey.
I Wish by Stevie Wonder
Composed by S. Wonder
Off the album Songs in the Key of Life
I know it’s not very fashionable but I’ve always been more excited by harmony than I have about rhythm – but this song is an exception. An unbelievably tight groove makes this the best song to drive to that I’ve ever heard – no wonder it gets sampled so much. Also love the brass arrangement. Stevie Wonder is so positive; you can not be in a bad mood when this song is on.
I Get Along Without You Very Well by Frank Sinatra
Composed by Hoagy Carmichael
Off the album The Wee Small Hours of the Morning
Frank Sinatra is probably my favorite vocalist of all time. His phrasing and tone is incredible and, although it’s a cliché, he really makes you feel like you’re the only person in the room. I discovered this album when I was doing my A levels and it gave me a real understanding of what an album could do – it was one of the first albums I’d got into that had a real ‘theme’ all of its own. Sinatra mastered this concept album stuff during his time at Capital Records. This particular song’s lyrics are really clever and tell of a man deluding himself into thinking he’s ok – I have written about this subject in my own material many times.
Music for Airports (1st Movement) by Brian Eno
Composed by B. Eno
Off the album Music for Airports
This one’s a bit left of centre but I love it. It has no melody or words or rhythm it’s just one long soundscape. There’s something really magical about its minimalism that makes me constantly question everything about how I make music. As I get more experienced I get more excited about the difference between ‘sound’ and ‘music’.
The Wichita Lineman by Glen Campbell
Composed by J. Webb
Off the album Wichita Lineman
Jimmy Webb is a great songwriter and his book “Tunesmith” is a bit of a Bible for me. I adore this song and the vocal performance by one time Beach Boy Glen Campbell is faultless. There’s something about this arrangement that makes you understand how lonely the central character is, and the chord progression is a beauty.
Book: Catch 22 by Josef Heller
Luxury Item: A Piano
next up is Ric
you can listen to his choices on spotify here
Ric’s Desert Island Discs
Ok, first of all this is really hard, and every time I look at this lists I am blown away by the fact that so much of the music I love is not represented. I’ve tried to go for not necessarily my 8 favorite songs, instead choosing the eight songs that have had the biggest effect on me as a musician. So, here we go…
God Only Knows by the Beach Boys
Composed by Wilson/Asher
Off the album Pet Sounds
Probably my favorite song of all time; the chords, arrangement and melody are flawless. I simply love the Beach Boys and there are a few of their songs that I could have chosen, but this is the one that made we want to be a songwriter. It is complex and simple all at the same time – heartbreakingly beautiful.
Into the Sunset by Neil Finn
Composed by N. Finn
Off the album One Nil
Neil Finn is a musician who has been a direct influence on my writing and there are loads of songs that I could have chosen. This one wins it, as it’s not only gorgeous (I particularly like the coda at the end) but it also reminds me of a really great summer a number of years ago when it seemed to be sunny every day.
Power of Two by the Indigo Girls
Composed by Emily Saliers.
Off the album Swamp Ophelia
I’ve always been a sucker for acoustic music and the arrangement to this song is lovely. Really beautiful sentiment as well that reminds me of when I was at uni. I love this lyric about being “stronger than the monsters beneath your bed”; lots of love songs sound contrived, but this feels incredibly personal and real.
Zanzibar by Billy Joel
Composed by B. Joel
Off the album 52nd Street
Chords, chords, chords, chords – I’m all about the chords – I love them. Billy Joel was someone who really inspired me when I was teaching myself piano when I was in my teens. He’s not respected at all by most musicians but his use and understanding of harmony still blows my mind. This track is off my favorite Billy Joel album 52nd street. The chords and modulations in this tune are brilliant and I love how it takes you on a real harmonic journey.
I Wish by Stevie Wonder
Composed by S. Wonder
Off the album Songs in the Key of Life
I know it’s not very fashionable but I’ve always been more excited by harmony than I have about rhythm – but this song is an exception. An unbelievably tight groove makes this the best song to drive to that I’ve ever heard – no wonder it gets sampled so much. Also love the brass arrangement. Stevie Wonder is so positive; you can not be in a bad mood when this song is on.
I Get Along Without You Very Well by Frank Sinatra
Composed by Hoagy Carmichael
Off the album The Wee Small Hours of the Morning
Frank Sinatra is probably my favorite vocalist of all time. His phrasing and tone is incredible and, although it’s a cliché, he really makes you feel like you’re the only person in the room. I discovered this album when I was doing my A levels and it gave me a real understanding of what an album could do – it was one of the first albums I’d got into that had a real ‘theme’ all of its own. Sinatra mastered this concept album stuff during his time at Capital Records. This particular song’s lyrics are really clever and tell of a man deluding himself into thinking he’s ok – I have written about this subject in my own material many times.
Music for Airports (1st Movement) by Brian Eno
Composed by B. Eno
Off the album Music for Airports
This one’s a bit left of centre but I love it. It has no melody or words or rhythm it’s just one long soundscape. There’s something really magical about its minimalism that makes me constantly question everything about how I make music. As I get more experienced I get more excited about the difference between ‘sound’ and ‘music’.
The Wichita Lineman by Glen Campbell
Composed by J. Webb
Off the album Wichita Lineman
Jimmy Webb is a great songwriter and his book “Tunesmith” is a bit of a Bible for me. I adore this song and the vocal performance by one time Beach Boy Glen Campbell is faultless. There’s something about this arrangement that makes you understand how lonely the central character is, and the chord progression is a beauty.
Book: Catch 22 by Josef Heller
Luxury Item: A Piano
Spence's Desert Island Discs
To celebrate the release of This Way To Power each of us Housekeeping Society members have put together our desert island discs - you know the drill, 8 records, a book and a luxury item
first up is Spence
you can listen to his choices on spotify here
Spence's Desert Island Discs
Eight songs, eh? A tricky task, but thankfully I have my ‘all-time greats’ iTunes playlist to use for reference. Needless to say, this list could’ve been a *lot* longer…
Envy Of Angels by The Mutton Birds
Composed by Don McGlashan
Off the album Envy Of Angels
Envy Of Angels came out a couple of months before I left home to go to Uni, and as such is coloured by memories of fresh starts and exciting prospects. It helps that the album as a whole is a masterpiece of melodic pop, mostly written by the songwriting genius that is Don McGlashan. This song was written as a letter home to his dad in New Zealand (the band were based in London at the time), and is a touching and evocative song about memories and the landscapes of home. It’s also incredibly beautiful, with Don’s haunting euphonium playing off David Long’s insistent, jangling guitar. Check out the album – it’s amazing.
Gentle Hum by The Finn Brothers
Composed by Neil Finn
Off the album Everyone Is Here
Picking a Finn tune was always going to be tricky, both brothers having written some of my favourite songs ever. I’ve somehow narrowed it down to this one, taken from their wonderful 2004 album. On an album that dealt with a lot of family issues, this closing track was particularly poignant, Neil having written it in the wake of his mother’s death: “My wish is for you / An end to your sorrow / And if it comes true / You’ll wake up tomorrow… alone… with a gentle hum.” Gulp. Close friends (and now you, the reading public) know that this slice of utter perfection is the record I want played at my funeral.
Falling Aeroplanes by Darren Hanlon
Composed by Darren Hanlon
Off the album Early Days
This Australian songwriter is one of my favourite lyricists, capable of going from incredibly funny to tear-inducingly emotional with a single observation. This particular gem is a song about songwriting: “Making up songs is for losers, I should build something she uses / Like a box or a bed or cupboards or shelves / Songs are made of air, they can’t be any use to her / Better off trying to catch falling aeroplanes.”
Being Boring by Pet Shop Boys
Composed by Neil Tennant and Chris Lowe
Off the album PopArt: The Hits
I love a song that can capture the essence of something changing over time. To be able to write something that carries an imagined character through different stages of a lifetime, with just the right amount of pathos and emotion, is a real gift, and is something Being Boring gets absolutely right. The narrator begins by finding “a cache of old photos, and invitations to teenage parties”, before noting, years later: “And now I sit with different faces in rented rooms in foreign places / All the people I was kissing, some are here and some are missing…” Not sure I noticed the weight of the words in my teenage pop phase, but it makes a lot more sense now.
Find The River by R.E.M.
Composed by Bill Berry, Peter Buck, Mike Mills and Michael Stipe
Off the album Automatic For The People
R.E.M. at their most wistful and melodic. I love the story of how Mike Mills and Bill Berry recorded their backing vocals for the choruses separately, without having heard what the other was going to do. As a result, Bill’s is low-key and subtle, while Mike’s higher part is ethereal and spine-tingling, both combining to make the song even more magical. This is an absolute dream of a song, and a perfect soundtrack for summer evenings. From a flawless album, but you knew that already, right?
Living A Boy’s Adventure Tale by A-ha
Composed by Pal Waaktaar and Morten Harket
Off the album Hunting High And Low
I was going to pick Stay On These Roads, but I’ve gone with this one that I’ve recently become reacquainted with since buying the remastered version of the album. I make no secret of my love for A-ha, but this song in particular is one that should be a revelation for anyone who only remembers the big pop hits. This is a tune where cold, clinical 80s production is matched to a typically heartfelt delivery from Morten Harket to produce something quite a lot darker than Take On Me. Cracking tune, and you can’t beat the impassioned cry at the song’s close.
Finest Little Space by Unbelievable Truth
Composed by Andy Yorke, Jason Moulster, Nigel Powell
Off the album Almost Here
The band I’ve been trying to emulate in my own songwriting for the best part of a decade, even going as far as borrowing some of singer Andy Yorke’s vocal tics on occasion. Superior indie-rock for the masses (if only), and goes to show you can’t beat a nice bit of morose balladeering. While on Spotify, check out their magnificent Tyre Tracks (which I subconsciously ripped off on a Last Night’s TV track a few years back… oops).
The Tracks Of My Tears by Smokey Robinson & The Miracles
Composed by Smokey Robinson, Pete Moore, Marv Tarplin
Off the album Motown 50 (and probably a million other compilations)
Motown’s finest three minutes. Mere words can’t do this song justice, so I won’t even try.
Book: Any Human Heart by William Boyd
Forget the recent TV adaptation, which - to me at least - lost the heart (ironically) of William Boyd’s masterpiece, this is a magnificent trek through the last century, told via the journals of a guy who leads a hugely eventful life. By turns exciting and heart-stoppingly sad - thoroughly recommended.
Luxury Item: An umbrella
first up is Spence
you can listen to his choices on spotify here
Spence's Desert Island Discs
Eight songs, eh? A tricky task, but thankfully I have my ‘all-time greats’ iTunes playlist to use for reference. Needless to say, this list could’ve been a *lot* longer…
Envy Of Angels by The Mutton Birds
Composed by Don McGlashan
Off the album Envy Of Angels
Envy Of Angels came out a couple of months before I left home to go to Uni, and as such is coloured by memories of fresh starts and exciting prospects. It helps that the album as a whole is a masterpiece of melodic pop, mostly written by the songwriting genius that is Don McGlashan. This song was written as a letter home to his dad in New Zealand (the band were based in London at the time), and is a touching and evocative song about memories and the landscapes of home. It’s also incredibly beautiful, with Don’s haunting euphonium playing off David Long’s insistent, jangling guitar. Check out the album – it’s amazing.
Gentle Hum by The Finn Brothers
Composed by Neil Finn
Off the album Everyone Is Here
Picking a Finn tune was always going to be tricky, both brothers having written some of my favourite songs ever. I’ve somehow narrowed it down to this one, taken from their wonderful 2004 album. On an album that dealt with a lot of family issues, this closing track was particularly poignant, Neil having written it in the wake of his mother’s death: “My wish is for you / An end to your sorrow / And if it comes true / You’ll wake up tomorrow… alone… with a gentle hum.” Gulp. Close friends (and now you, the reading public) know that this slice of utter perfection is the record I want played at my funeral.
Falling Aeroplanes by Darren Hanlon
Composed by Darren Hanlon
Off the album Early Days
This Australian songwriter is one of my favourite lyricists, capable of going from incredibly funny to tear-inducingly emotional with a single observation. This particular gem is a song about songwriting: “Making up songs is for losers, I should build something she uses / Like a box or a bed or cupboards or shelves / Songs are made of air, they can’t be any use to her / Better off trying to catch falling aeroplanes.”
Being Boring by Pet Shop Boys
Composed by Neil Tennant and Chris Lowe
Off the album PopArt: The Hits
I love a song that can capture the essence of something changing over time. To be able to write something that carries an imagined character through different stages of a lifetime, with just the right amount of pathos and emotion, is a real gift, and is something Being Boring gets absolutely right. The narrator begins by finding “a cache of old photos, and invitations to teenage parties”, before noting, years later: “And now I sit with different faces in rented rooms in foreign places / All the people I was kissing, some are here and some are missing…” Not sure I noticed the weight of the words in my teenage pop phase, but it makes a lot more sense now.
Find The River by R.E.M.
Composed by Bill Berry, Peter Buck, Mike Mills and Michael Stipe
Off the album Automatic For The People
R.E.M. at their most wistful and melodic. I love the story of how Mike Mills and Bill Berry recorded their backing vocals for the choruses separately, without having heard what the other was going to do. As a result, Bill’s is low-key and subtle, while Mike’s higher part is ethereal and spine-tingling, both combining to make the song even more magical. This is an absolute dream of a song, and a perfect soundtrack for summer evenings. From a flawless album, but you knew that already, right?
Living A Boy’s Adventure Tale by A-ha
Composed by Pal Waaktaar and Morten Harket
Off the album Hunting High And Low
I was going to pick Stay On These Roads, but I’ve gone with this one that I’ve recently become reacquainted with since buying the remastered version of the album. I make no secret of my love for A-ha, but this song in particular is one that should be a revelation for anyone who only remembers the big pop hits. This is a tune where cold, clinical 80s production is matched to a typically heartfelt delivery from Morten Harket to produce something quite a lot darker than Take On Me. Cracking tune, and you can’t beat the impassioned cry at the song’s close.
Finest Little Space by Unbelievable Truth
Composed by Andy Yorke, Jason Moulster, Nigel Powell
Off the album Almost Here
The band I’ve been trying to emulate in my own songwriting for the best part of a decade, even going as far as borrowing some of singer Andy Yorke’s vocal tics on occasion. Superior indie-rock for the masses (if only), and goes to show you can’t beat a nice bit of morose balladeering. While on Spotify, check out their magnificent Tyre Tracks (which I subconsciously ripped off on a Last Night’s TV track a few years back… oops).
The Tracks Of My Tears by Smokey Robinson & The Miracles
Composed by Smokey Robinson, Pete Moore, Marv Tarplin
Off the album Motown 50 (and probably a million other compilations)
Motown’s finest three minutes. Mere words can’t do this song justice, so I won’t even try.
Book: Any Human Heart by William Boyd
Forget the recent TV adaptation, which - to me at least - lost the heart (ironically) of William Boyd’s masterpiece, this is a magnificent trek through the last century, told via the journals of a guy who leads a hugely eventful life. By turns exciting and heart-stoppingly sad - thoroughly recommended.
Luxury Item: An umbrella
14 Feb 2011
Album Launch Gigs
Written by Ric;
To celebrate the release we will be doing three separate and quite different performances during the course of one month, all of which are detailed below:
The Adelphi, Leeds: Saturday 12th March, 3pm - tickets 2 pounds on the door:
To start the ball rolling we will be doing an entirely acoustic performance at this aweome old Victorian Leeds pub. We'll be playing a mixture of acoustic versions of songs taken from "This Way to Power" as well as a few surprises. The gig serves as part of The Adelphi's regular 'Acoustic Revolution'. We will take the stage at 3pm, and will no doubt be sticking around afterwards for a few beers. This will be the first opportunity to get your hands on a copy of the new album.
Mind The Gap, Lister Mills, Bradford: Saturday 19th March, 3pm - free entry:
We are very excited to be performing at Lister Mills, once the biggest silk mill in the world. What better setting in which to debut a concept album about... well you'll find out. We will be adding in all of the electronica used on the album. In true Victorian English style, this will be followed by tea and cakes made by some of our friends.
Wakefield Arts Centre, Wakefield: Monday 11th April 11th, 7pm - 2 pounds on the door (all proceeds going to WaterAid):
For this very special final launch gig we will be performing in this 120-seat theatre in the middle of Wakefield's Thornes Park. For this show we will be joined by a number of other talented musicians, from strings, to woodwind and brass, to recreate the full orchestrated sounds from the album. Before the gig there will also be a showing of a short film about the making of "This Way to Power".
There are details about all thesde gigs available on our website www.thehousekeepingsociety.com
To celebrate the release we will be doing three separate and quite different performances during the course of one month, all of which are detailed below:
The Adelphi, Leeds: Saturday 12th March, 3pm - tickets 2 pounds on the door:
To start the ball rolling we will be doing an entirely acoustic performance at this aweome old Victorian Leeds pub. We'll be playing a mixture of acoustic versions of songs taken from "This Way to Power" as well as a few surprises. The gig serves as part of The Adelphi's regular 'Acoustic Revolution'. We will take the stage at 3pm, and will no doubt be sticking around afterwards for a few beers. This will be the first opportunity to get your hands on a copy of the new album.
Mind The Gap, Lister Mills, Bradford: Saturday 19th March, 3pm - free entry:
We are very excited to be performing at Lister Mills, once the biggest silk mill in the world. What better setting in which to debut a concept album about... well you'll find out. We will be adding in all of the electronica used on the album. In true Victorian English style, this will be followed by tea and cakes made by some of our friends.
Wakefield Arts Centre, Wakefield: Monday 11th April 11th, 7pm - 2 pounds on the door (all proceeds going to WaterAid):
For this very special final launch gig we will be performing in this 120-seat theatre in the middle of Wakefield's Thornes Park. For this show we will be joined by a number of other talented musicians, from strings, to woodwind and brass, to recreate the full orchestrated sounds from the album. Before the gig there will also be a showing of a short film about the making of "This Way to Power".
There are details about all thesde gigs available on our website www.thehousekeepingsociety.com
6 Jan 2011
January Update
we've not been blogging for a while because, quite frankly, we've been too busy making the album...
15 tracks of glorious prog folk will soon be winging their way to your iTunes collection and we couldn't be more excited about them. we've had a lot of help since last week spoke, notably from our friend and honorary society member Gary Chilton who's helped us record and taken on a lot of the mixing responsibility which has really helped us out. We've also been working with Lizzie Hussey who has played some lovely viola and violin on a couple of the tracks and they sound great.
Check out the video below for a bit more info;
2 Aug 2010
The Housekeeping recording weekend
On the weekend of the 17th of July 2010, ably assisted by our friend and honorary housekeeper Gary Chilton, the Housekeeping Society embarked upon a weekend of recording. We went to my house (bought almost specifically for this very purpose) and set up a sea of mics, cables, instruments and recording equipment.
As well as eating custard creams we got a lot done. We recorded the bare bones of the song's "But I Won't", "Spin a Yarn", "100 Years" and a new, as yet untitled piece. We did the recordings in our usual way, with the three of us playing live together, and then one by one adding different overdubs.
It was great to get as much done as we did. Up to now we've been doing the recording a song at a time in evenings after work and stuff, and, though this has been successful, has been less enjoyable. It was great to have less time pressure on us - like when we went to Hurst Green at the beginning of the writing process.
These tracks still need mixing and a few overdubs (notably a couple of lead vocals), but at this stage we're very excited...
As well as eating custard creams we got a lot done. We recorded the bare bones of the song's "But I Won't", "Spin a Yarn", "100 Years" and a new, as yet untitled piece. We did the recordings in our usual way, with the three of us playing live together, and then one by one adding different overdubs.
It was great to get as much done as we did. Up to now we've been doing the recording a song at a time in evenings after work and stuff, and, though this has been successful, has been less enjoyable. It was great to have less time pressure on us - like when we went to Hurst Green at the beginning of the writing process.
These tracks still need mixing and a few overdubs (notably a couple of lead vocals), but at this stage we're very excited...
13 Jun 2010
New Single!!!!!
We are very proud to release our brand new, download only single. you can listen to it and buy it here...
if you would prefer you can also purchase it via iTunes. There will be plenty more news about this over the next few weeks, but for now please listen, download and share with all of your friends... Thanks
7 Jun 2010
Acoustic Sessions Vol.1
We've just made a brand new acoustic EP entitled "Acoustic Sessions - Volume 1" for your listening pleasure. The plan was to release something for free on the same day as we release our new single "The Wheel". We picked three tunes and did some simple acoustic arrangements and prepared to record them live. We were ably assisted by our friend Gary Chilton, who recorded and mixed the tunes and did a cracking job of it too I might add. You can see some photos from the session on our facebook page.
As well as an acoustic version of the Wheel there are two other songs here; "All That Changes", about a millworker who still dreams of a woman in a nearby village with whom he had a childhood fascination and "The Inventor" about a hapless inventor who thinks that life in the late 1800's is so perfect that there's nothing left to invent.
Big thanks also go out to our friend Ian Smart who took some great photos, one of which was used for the cover of the EP. Enjoy...
11 May 2010
The Making of "The Wheel"
Here's a video put together by Spence about the making of our forth coming new single "The Wheel"
28 Apr 2010
April update...
Written by Ric
Thought I'd update the blog to let you all know how things are going. Basically were very busy. I'm in the process of finishing off the new single "The Wheel" which (I'm hoping) will be done in the next couple of weeks. Everything is recorded and is sounding awesome - just a couple of synth parts to add and we're done. Me and the guys are really excited about it - i think it sounds genuinely different to anything we've heard before. we've got a brass band on there, some flutes and some cello as well as some samples and sound effects recorded at Styal Mill - cant wait for the world to hear it.
At the same time as this we've been sorting out other elements of band life - Spence is in the process of building our new website (which is looking ace BTW) while Ivan is liaising with artists to try and get the visual elements of the band up and running. Also, we've teamed up with a company called totmerch to design some T-Shirts which are looking great.
As well as the single we've been working on the recording of some other songs "Little Boy Lost" and "All That Changes" in the studio and we're really excited about them both - they should be done fairly soon as the lion share of the recording was done last weekend so there's just a few overdubs to deal with.
Thought I'd update the blog to let you all know how things are going. Basically were very busy. I'm in the process of finishing off the new single "The Wheel" which (I'm hoping) will be done in the next couple of weeks. Everything is recorded and is sounding awesome - just a couple of synth parts to add and we're done. Me and the guys are really excited about it - i think it sounds genuinely different to anything we've heard before. we've got a brass band on there, some flutes and some cello as well as some samples and sound effects recorded at Styal Mill - cant wait for the world to hear it.
At the same time as this we've been sorting out other elements of band life - Spence is in the process of building our new website (which is looking ace BTW) while Ivan is liaising with artists to try and get the visual elements of the band up and running. Also, we've teamed up with a company called totmerch to design some T-Shirts which are looking great.
As well as the single we've been working on the recording of some other songs "Little Boy Lost" and "All That Changes" in the studio and we're really excited about them both - they should be done fairly soon as the lion share of the recording was done last weekend so there's just a few overdubs to deal with.
There are also some ideas floating about to do with launch gigs and live recordings as well as putting a little "making of..." film together so there is much to be excited about. Naturally, we will continue to keep you all in the loop as best as we can. Exciting times for The Housekeeping Society...
3 Mar 2010
The Recording Begins...
On the first day of march 2010 The Housekeeping Society began the lengthy process of recording their upcoming album at the studios in Wakefield College’s Thornes Park campus. Assisted by honorary Society member Ray Tovey, we set about recording the basic tracks for two songs; “The Wheel”, which we intend to be our first single, and “Sluice Gates” an instrumental (and dance floor filler in the making) that attempts to depict the journey of water from a sluice gate through to a water wheel (who’s excited?).
The session went unfathomably well and we managed to get the main bones of the tracks down. With me on piano, Ivan playing a brushed cajon and Spence playing a mixture of acoustic guitar and bass we put the tracks down live and by the third take of each had a really nice feel that sat very comfortably “in the pocket” as they say. The tracks are sounding awesome at this early stage and I’m really excited about doing the overdubs – in fact as I write this I’m surrounded by manuscript paper as I begin to arrange parts for cello, brass section and flute to add over the top.
When we finished the rhythm tracks we had time to add some glockenspiel and a hilariously “seaside-sounding” organ that had been sitting in the corner of the studio redundantly for many years, both of which are sounding good.25 Jan 2010
Housekeeping in Styal
Written by Ric
In January 2010 Ric, Ivan and Spence went to visit Styal Mill in Cheshire for a days fact finding. As you probably already know, under thier band name "The Housekeeping Society" they are making a concept album based on northern mill towns and Quarry Bank Mill in Styal is still a working mill (in fact it has the largest working water wheel in all of europe).
Spence was designated driver and other than a short war of attrition between Multimap and Googlemaps we got there safe and sound and on the way listened to some of the dodgy demos we have made of snippets for the new project. After some sandwiches in the car we hit the mill. Ivan soon kitted himself out with recording equipment so we could capture the sounds of some of the machines for use on the record (he got some undeniably funny looks). Without wishing to sound too nerdy, all the stuff in the museum was really interesting and gave us lots to think about. as well as the great audio stuff we found there were some great things in there that will definatley end up in our lyrics at some point. We also recorded some video stuff for our website and got some lovely photos as well.
After some good cake (tiffin) and a pleasent journey home we rounded off the day with a few pints of old perculiar in Fanny's Ale house in Saltaire and discussed our findings.
In January 2010 Ric, Ivan and Spence went to visit Styal Mill in Cheshire for a days fact finding. As you probably already know, under thier band name "The Housekeeping Society" they are making a concept album based on northern mill towns and Quarry Bank Mill in Styal is still a working mill (in fact it has the largest working water wheel in all of europe).
Spence was designated driver and other than a short war of attrition between Multimap and Googlemaps we got there safe and sound and on the way listened to some of the dodgy demos we have made of snippets for the new project. After some sandwiches in the car we hit the mill. Ivan soon kitted himself out with recording equipment so we could capture the sounds of some of the machines for use on the record (he got some undeniably funny looks). Without wishing to sound too nerdy, all the stuff in the museum was really interesting and gave us lots to think about. as well as the great audio stuff we found there were some great things in there that will definatley end up in our lyrics at some point. We also recorded some video stuff for our website and got some lovely photos as well.
After some good cake (tiffin) and a pleasent journey home we rounded off the day with a few pints of old perculiar in Fanny's Ale house in Saltaire and discussed our findings.
30 Nov 2009
The Housekeeping Society in the wilderness...
Written by Spence
The prospect of a musical weekend away has been on the cards for a couple of years, but in November 2009, with the newly named Housekeeping Society in the initial phase of writing their debut record, it seemed like the perfect opportunity to make the suggestion a reality. The plan was simple – three blokes, a load of instruments, one isolated location and plenty of supplies.
For two-thirds of the Housekeeping Society, Hurst Green (near Clitheroe) in Lancashire may as well have been Timbuktu. Fortunately, being driven into the village by someone with local knowledge (Mr Mack, in the car with the whistling roof-rack), who could navigate the narrow bridges and locate the lodgings (having detoured via the pub to collect Ric who, in all honesty, didn’t have a hope in hell of finding the cottage on his own), images of being stranded in the middle of nowhere thankfully didn’t eventuate. And while the cottage we were staying in wasn’t quite the isolated out-house I’d pictured, in darkness it might as well have been the only house for miles. Stepping out for some night-time air (translation: off to the pub), torches were essential, the solitary streetlight only shed its guiding beam so far.
So, a little village in the glorious countryside; similar (well, a bit less industrial) I presume to where our record’s protagonist would have been living. He possibly wouldn’t have been faced with the dilemmas of what to choose from the The Bayley Arms’ generous lunch/dinner menu however. Not such a fine choice of ales, but fortunately bottled supplies of Leeds Best had come along for the ride (should Leeds Brewery be looking for a band to sponsor/mentor, the Housekeeping Society would be interested in entering into negotiations).
Fellow musicians to whom the tale has been told have responded wistfully to the concept of finding a location out of the usual comfort zone and setting out to spend a weekend working up new songs from scratch. The reality was blissfully just that – setting up the instruments in the living room of the cottage, playing through what we already had and jamming up new material, either from ideas we’d individually brought in, or pulled out of thin air. Ric brought along a Korg, which was the biggest sonic development. It single-handedly transformed my initial ideas for a song called ‘Civic Pride!’ (I’m hoping the exclamation mark makes it to the final cut), which started out taking our March Greens hit Cinders as stylistic basis before undergoing transformations that turned it into a 60s-pop pastiche. It’ll be one for the kids in the front row at the gigs fo’ sho’. Ric brought in an idea of a song that switched liberally between 3/4 and 4/4, which baffled and (almost certainly will continue to baffle) all three of the band at various points. It goes without saying that it’s a fine tune – indeed, one thing which everything adheres to is a fine sense of melody. Even the Korg-led instrumental that sounds like something Air foolishly left off Moon Safari has the kind of nagging refrain that’ll set up camp in most peoples’ minds. Air, I hear you say? On a concept about 1880s millworkers? Yeah, well, we’re pushing the eclectic side of things here, so aside from that, we have some Billy-Joel-70s-singer-songwriter-piano tunes, a ukulele-led ode to the industrial revolution and the afore-mentioned Monkees moment (among other things).
Lots of rough recording and video footage was captured, nothing especially incriminating, you’ll be disappointed to know. We were even quite respectful while doing a spot of recording in the church, leaving out our Muppets covers and focusing instead on the barbershop-trio stylings of Same Old Same Old (with Ric on church organ, no less).
Many important issues were discussed and put to rights, including confirming once and for all that the north of England is better than the south, the joys of watching plane crashes on Youtube, and the most pressing matter – configurations should the Housekeeping Society chaps ever be presented with the girls from Friends. These issues matter, dammit.
We returned to our respective homes the other (right) side of the Pennines with the knowledge that we have a good EP’s worth of material under our belts, if not more. That dream of a concept double-album may not be so unlikely after all. Our 1880s millworker would be proud.
The prospect of a musical weekend away has been on the cards for a couple of years, but in November 2009, with the newly named Housekeeping Society in the initial phase of writing their debut record, it seemed like the perfect opportunity to make the suggestion a reality. The plan was simple – three blokes, a load of instruments, one isolated location and plenty of supplies.
For two-thirds of the Housekeeping Society, Hurst Green (near Clitheroe) in Lancashire may as well have been Timbuktu. Fortunately, being driven into the village by someone with local knowledge (Mr Mack, in the car with the whistling roof-rack), who could navigate the narrow bridges and locate the lodgings (having detoured via the pub to collect Ric who, in all honesty, didn’t have a hope in hell of finding the cottage on his own), images of being stranded in the middle of nowhere thankfully didn’t eventuate. And while the cottage we were staying in wasn’t quite the isolated out-house I’d pictured, in darkness it might as well have been the only house for miles. Stepping out for some night-time air (translation: off to the pub), torches were essential, the solitary streetlight only shed its guiding beam so far.
So, a little village in the glorious countryside; similar (well, a bit less industrial) I presume to where our record’s protagonist would have been living. He possibly wouldn’t have been faced with the dilemmas of what to choose from the The Bayley Arms’ generous lunch/dinner menu however. Not such a fine choice of ales, but fortunately bottled supplies of Leeds Best had come along for the ride (should Leeds Brewery be looking for a band to sponsor/mentor, the Housekeeping Society would be interested in entering into negotiations).
Fellow musicians to whom the tale has been told have responded wistfully to the concept of finding a location out of the usual comfort zone and setting out to spend a weekend working up new songs from scratch. The reality was blissfully just that – setting up the instruments in the living room of the cottage, playing through what we already had and jamming up new material, either from ideas we’d individually brought in, or pulled out of thin air. Ric brought along a Korg, which was the biggest sonic development. It single-handedly transformed my initial ideas for a song called ‘Civic Pride!’ (I’m hoping the exclamation mark makes it to the final cut), which started out taking our March Greens hit Cinders as stylistic basis before undergoing transformations that turned it into a 60s-pop pastiche. It’ll be one for the kids in the front row at the gigs fo’ sho’. Ric brought in an idea of a song that switched liberally between 3/4 and 4/4, which baffled and (almost certainly will continue to baffle) all three of the band at various points. It goes without saying that it’s a fine tune – indeed, one thing which everything adheres to is a fine sense of melody. Even the Korg-led instrumental that sounds like something Air foolishly left off Moon Safari has the kind of nagging refrain that’ll set up camp in most peoples’ minds. Air, I hear you say? On a concept about 1880s millworkers? Yeah, well, we’re pushing the eclectic side of things here, so aside from that, we have some Billy-Joel-70s-singer-songwriter-piano tunes, a ukulele-led ode to the industrial revolution and the afore-mentioned Monkees moment (among other things).
Lots of rough recording and video footage was captured, nothing especially incriminating, you’ll be disappointed to know. We were even quite respectful while doing a spot of recording in the church, leaving out our Muppets covers and focusing instead on the barbershop-trio stylings of Same Old Same Old (with Ric on church organ, no less).
Many important issues were discussed and put to rights, including confirming once and for all that the north of England is better than the south, the joys of watching plane crashes on Youtube, and the most pressing matter – configurations should the Housekeeping Society chaps ever be presented with the girls from Friends. These issues matter, dammit.
We returned to our respective homes the other (right) side of the Pennines with the knowledge that we have a good EP’s worth of material under our belts, if not more. That dream of a concept double-album may not be so unlikely after all. Our 1880s millworker would be proud.
10 Nov 2009
The Housekeeping Society in the public eye...
Written by Ivan
On 2nd November, 2009 The Housekeeping Society played their first public gig. Given that the new material mainly tells the story of the son of a Victorian Mill owner it seemed appropriate firstly to be playing in the Victorian model village of Saltaire, and secondly to be playing at the opening of an exhibition of contemporary fashion and fabric based art.
Magic Number Three, was full in equal measure of familiar faces and some new would-be devotees to progressive folk pop. The set contained three of the new songs plus classics from Ric and Spencer’s recent work. Given that probably no more than an hour of collective rehearsal had gone into the new songs they felt good to play and half an hour flashed by.
In conclusion, Saltaire’s fashionistas are clearly not fazed by the odd nine minute prog folk odyssey. Where will the Society strike next?
On 2nd November, 2009 The Housekeeping Society played their first public gig. Given that the new material mainly tells the story of the son of a Victorian Mill owner it seemed appropriate firstly to be playing in the Victorian model village of Saltaire, and secondly to be playing at the opening of an exhibition of contemporary fashion and fabric based art.
Magic Number Three, was full in equal measure of familiar faces and some new would-be devotees to progressive folk pop. The set contained three of the new songs plus classics from Ric and Spencer’s recent work. Given that probably no more than an hour of collective rehearsal had gone into the new songs they felt good to play and half an hour flashed by.
In conclusion, Saltaire’s fashionistas are clearly not fazed by the odd nine minute prog folk odyssey. Where will the Society strike next?
17 Sept 2009
Who the hell do The Housekeeping Society think they are?
Written by Ric
Hello, my name is Ric Neale and I am in a band called the Housekeeping Society. We thought it would be a good idea to explain a little bit about who we are and what we’re trying to achieve in this new musical project. The Housekeeping Society came into existence in the summer of 2009, but the three members had already formed a strong musical alliance long before that…
As well as me the band features Spencer Bayles. Spence (as he is lovingly known) had been the main songwriting force behind Leeds band Last Night’s TV http://www.lntvweb.co.uk/ for many years and I started to work with him when we met, bizarrely enough, on an internet chat forum. Despite being warned off going out for drinks with men I met on the internet by friends, I persisted and we went out on a “man-date” that consisted of us going out for a few pints and talking about music. It was pretty clear that we had a lot of musical heroes in common and so I asked Spence to come and play bass for me as part of my solo project http://www.ricneale.co.uk/ . I had just finished my second album and was doing a few gigs to promote it. Spence was not initially a bass player, preferring the acoustic guitar and vocals but he acquitted himself admirably. Spence and I went through a number of band members before finding the third member of the Housekeeping Society; Mr Ivan Mack.
Ivan has played percussion as part of the Ric Neale Band for about three or four years. We met via an ex-girlfriend of mine and then shared a few gigs when I played on a bill with his previous band; Bradford based Rent, who have since disbanded. In fact the first gig I played with Ivan was when I deputized on keyboards for Rent and we became firm friends, and drinking buddies, from then on. Ivan started playing percussion with me and Spence, along with Stu Hudson from the band Loqui (who me and Ivan have both been in at one time or another) and we started to record my next record “Someone Else’s Home” all four of us worked really hard on the record and over time Stu’s other commitments took him on to pastures new and three of us were left to add the finishing touches to the record.
As well as me the band features Spencer Bayles. Spence (as he is lovingly known) had been the main songwriting force behind Leeds band Last Night’s TV http://www.lntvweb.co.uk/ for many years and I started to work with him when we met, bizarrely enough, on an internet chat forum. Despite being warned off going out for drinks with men I met on the internet by friends, I persisted and we went out on a “man-date” that consisted of us going out for a few pints and talking about music. It was pretty clear that we had a lot of musical heroes in common and so I asked Spence to come and play bass for me as part of my solo project http://www.ricneale.co.uk/ . I had just finished my second album and was doing a few gigs to promote it. Spence was not initially a bass player, preferring the acoustic guitar and vocals but he acquitted himself admirably. Spence and I went through a number of band members before finding the third member of the Housekeeping Society; Mr Ivan Mack.
Ivan has played percussion as part of the Ric Neale Band for about three or four years. We met via an ex-girlfriend of mine and then shared a few gigs when I played on a bill with his previous band; Bradford based Rent, who have since disbanded. In fact the first gig I played with Ivan was when I deputized on keyboards for Rent and we became firm friends, and drinking buddies, from then on. Ivan started playing percussion with me and Spence, along with Stu Hudson from the band Loqui (who me and Ivan have both been in at one time or another) and we started to record my next record “Someone Else’s Home” all four of us worked really hard on the record and over time Stu’s other commitments took him on to pastures new and three of us were left to add the finishing touches to the record.
At the same time as recording my record, Spence began working on a new EP under the name “The March Greens” http://www.themarchgreens.co.uk/ and he invited Ivan and I to take part. Three marvellous songs were recorded and released on iTunes around about the same time that “Someone Else’s Home” was released. It was around April 2009 at this point and the three of us went out to celebrate our respective musical ventures. Whilst very drunk one Saturday night at North Bar in Leeds, the idea of us joining forces to become one band was tabled. This idea was further discussed on the following Sunday over lunch where a number of issues were talked about – all of us had been in bands before and had had similar problems with people not pulling their weight or the way that labour was divided. We agreed that we were all a bit/lot older now and we had been working together long enough to know that we would not let one another down. The unanimous decision was reached – we had become the least impressive super-group of all time.
Having decided that we were going to start creating music together rather than just get one another to play on our separate pieces we set about trying to find a theme that we could write about. We all decided that if we were going to make an album together we shouldn’t just write separate songs about our own lives or experiences, we wanted to create a group of songs that hung together under one consistent theme. We discussed at length various ideas by talking about the things we had in common. All three of us have moved away from our home towns to go to university and have ended up making so many friends and contacts that we ended up staying where we studied. This made us think of all the good, and bad things about this. It made us think about how things have changed, as in the past what we have done was simply not an option for many people. We started talking about the big mill towns in the north of England and the way that mill owners built mills, and then surrounded them with affordable housing and schools to attract workers. This all meant that many generations would naturally carry on living and working in the same place as their parents. This interested all of us and we got thinking about how different our lives would be if we had stayed in our home towns doing the same jobs as our fathers, and grand fathers.
A bit more research was done before the pub quiz at the Midnight Bell in Leeds (which we miraculously won) and we started to solidify our idea. We would write a group of songs about the experiences of a community working in a northern Mill town in the late 1880’s. We chose that period as it was the time when ideas started to spread more freely via the development of cheaper printing presses making newspapers and magazines (in fact the first edition of “Good Housekeeping” came out in 1885 from which we got our band name), the record player and the first cars were coming in to wider production.
The songs we then began to write were not specifically about working in a mill but were, instead based in broader themes inspired by our concept – songs about longing, about feeling trapped, about realising that there might be a different world out there. Musically, this project was also a bit of departure for us. For starters I am playing piano and keyboards rather than guitar as I have done on all my solo stuff. Also, Ivan is taking far more control of samples and drum loops he’s been building out of found sounds. Spence and I are sharing lead vocals and all three of us are doing a lot more complex harmonies.
All of us have been very excited in our early rehearsals and we can’t wait to start recording some of these new tunes and see where this project takes us.
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