The Strange Brew - artist stories behind the greatest music ever recorded

When Jimmy Webb first saw Joni Mitchell at the Troubadour, he sent roses to her dressing room with a letter asking her to tea. It went unanswered. The following decade, after they had become friends, she told him she had moved the couch while clearing out her Laurel Canyon house and found the letter, and asked if he would still like to go. Webb wrote ‘Simile’ for her.

He tells that story in a conversation I recorded in February 2022, ahead of live dates in the UK. Elsewhere he describes the organ sound in the fade of ‘Wichita Lineman’, which he calls “a stroke of pure luck”, sessions with Richard Harris on ‘MacArthur Park’ that ran until the Pimm’s was gone, and a paper aeroplane contest with George Martin.

This episode was one of those that did not transfer when my website failed. I have re-edited it and put it back online under the Second Brew series.

Further information

jimmywebb.com

Jimmy Webb – Second Brew – Podcast tracks

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Randy Edelman is probably best known to British listeners for the records he made in the 1970s and early 1980s, including Uptown Uptempo Woman and Concrete and Clay. The Carpenters recorded his songs and took him on tour, and his records found an audience in the UK that he hadn’t found in America.

Then his career took a different turn. After working his way into film scoring, Twins led to a long run of Hollywood films including Ghostbusters II, Kindergarten Cop, Gettysburg and The Last of the Mohicans. Randy spent two decades concentrating on film music and didn’t write a song during that time. He’s now making records and performing again, with a new album, Green Park. We talked about his early records, his connection with London, The Carpenters, the move into film, and why he returned to songwriting.

Further information

randyedelman.com

Randy Edelman – Green Park

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From the dub sound systems of 1970s Ladbroke Grove to Killing Joke, The Orb, Paul McCartney’s Fireman project and Pink Floyd’s The Endless River, few musicians have moved through as many worlds as Youth (Martin Glover). In this conversation with Jason Barnard, Youth discusses the CHANT Artist Collective’s new release, Relics Of Tree Worship In Dub (Gaudi & Don Letts Roots Dub Plates), and explains why he still calls dub “an endless river” of reinvention.

He goes back to Gooseberry Sound Studios and the John Lydon-produced 4″ Be 2″ session that set him on a path into music, his departure from Killing Joke, the birth of The Orb and “Little Fluffy Clouds,” and what pulled him into the studio with Kate Bush, James, Crowded House, Paul McCartney and Pink Floyd.

Further information

Relics Of Tree Worship In Dub (Gaudi & Don Letts Roots Dub Plates)

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Podcasts also available: Trevor Horn, Dave Ball – Soft Cell, Andy Gill – Gang of Four, Glen Matlock

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Allan Clarke started The Hollies with Graham Nash as a teenager, copying other people’s records at Abbey Road. He left the group, came back, then left again, and along the way his voice carried the group through four decades.

Jason Barnard sat down with Allan again to talk through his new single “Walking On Still Waters,” a decades-long search through faith, the stroke he’s been recovering from, his wife Jenny who got him through the hardest years, and what the future holds for The Hollies and their legacy. Clarke also explains how “Long Cool Woman in a Black Dress” came together with Roger Cook in half an hour, why he’s glad Carl Wayne was first to front The Hollies after he left, and how he ended up singing lead on tracks for Steve Howe, Alan Parsons, and Carla Olson.

Further information

“Walking On Still Waters” by Allan Clarke is out now

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Podcasts also available: Allan Clarke – The Hollies (2023), Allan Clarke (2014) – Part 1, Allan Clarke (2014) – Part 2, Bobby Elliot – The Hollies, Mikael Rikfors – The Hollies, Roger Cook

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John Leckie joins The Strange Brew to talk through the Dukes of Stratosphear story, from his first sight of a young XTC through to the new Dolby Atmos edition of the complete Dukes recordings.

Leckie was the Abbey Road staff engineer who cut XTC’s 3D EP in three days, then White Music at the Manor, then Go 2 and the dub experiments released as Take Away / The Lure of Salvage under Andy Partridge’s Mr Partridge alias (later gathered on the Explode Together compilation). He explains how that dub habit of pulling a mix apart and rebuilding it shaped his production work and the Dukes sound years later.

He talks through the years between, freelancing after leaving Abbey Road in 1978, work with Simple Minds and Bill Nelson, the Lost Jockey orchestral project, a spell in the Rajneesh commune, and how a collapsed Mary Margaret O’Hara session left Andy Partridge with six spare weeks of studio time, which became 25 O’Clock. Leckie recalls the Chapel in Hampton Bishop, the sound effects tape run live during mixing so nobody knew what would come up when a fader was raised, and the move two years on to Psonic Psunspot at the boat-access-only Sawmills in Cornwall.

Further information

Psurroundabout Ride (Dolby Atmos)

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Podcasts also available: John Leckie on producing Be Bop Deluxe, Terry Chambers, Colin Moulding – Part 1, Colin Moulding – Part 2, Dave Mattacks

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