Hello, well
what a year it's been and now we come to our final release of 2020...which
due to the total chAos at Her Majesty's Royal Mail (yeah, private company,
we know) we've decided to hold it over to 2021...
We really
don't want these lovely packages going missing or getting battered along
with the Christmas crackers!
PLEASE NOTE: Pre-Sale for both of these will
start on Tuesday 5th January, shipping by Royal Mail, Next Day Guaranteed in the
UK and 'Tracked and Signed' or courier post for the rest of the
world.
Shipping will start on the 8th of January
2021
THE WILLIAM
LOVEDAY INTENTION - THE DEPT. OF DISCONTINUED LINES - DAMGOOD544LP-BOX -
£85.00
100 copies
only, numbered.
This is a lovely boxed set of the four LPs released
and being released by Damaged Goods featuring the 2020 recordings by The William
Loveday Intention!
Limited to 100 numbered copies.
the four albums are...
people think they know me but they don't know
me / will there ever be a day that you're hung like a thief / blud under the
bridge / the bearded lady also sells the candy floss
These are ‘white label' copies of each
album, together with 4 cards, one for each album plus an exclusive book with
lyrics and photos provided by Vipers Tongue and L-13.
THE WILLIAM
LOVEDAY INTENTION - THE DEPT. OF DISCONTINUED LINES - DAMGOOD544LP-BOX-X -
£295.00
26 copies
only, A thru Z
and then there is a very special version in an
edition of 26 A-Z copies, these have the 4 LP’s, the Book, the 4 cards, as
above PLUS an exclusive woodcut, signed and marked A thru to Z
by William Loveday.
This is the aforementioned woodcut.
For the uninitiated, The William Loveday Intention
is the latest band put together by Billy Childish. The four-album project
includes guest appearances by James Taylor (The Prisoners, JTQ), Dave Tattersall
(The Wave Pictures) and Huddie Hamper (The Shadracks) amongst others.
Two of the albums are available separately already,
the third and fourth will be available as stand-alone albums in January and
February 2021
We asked Mr Loveday about these
albums…
The group's name comes from my Grandmother, Ivy
Loveday. When registering my birth it was mistakenly recorded as William Ivy
Loveday, William being my great grandfather's name.
The beginning of The William Loveday Intention
Group was 'the intention' to revisit some songs from the past that
I had imagined could be orchestrated. (I've wanted to do something like this
since Thee Headcoats with pieces like 'This Wondrous Day.') About 20
years ago I was approached with the idea of touring these songs with a small
orchestra, an idea I was up for but never happened. In lockdown however it
just came to my mind as something to follow through on. As is quite normal for
me I booked the studio and under that pressure wrote two or three songs the
night before - and on a few occasions, at eight in the morning just before I
left for the studio. As usual there where no rehearsals and, due to the lockdown
conditions, a few of the tracks are just me and Jim Riley (engineer) doing
everything: drums, guitar, bass, organ etc - because no one else would brave the
plague and come into the studio. Those tracks sit hidden within the actual group
recordings, and sound the same as if recorded by the group.
Influences - I've been a fan of Jaques Brel
since Kyra (Thee Headcoatees) introduced me to his work (and drinking Hole - Le
Mort Surbite). Kyra is Belgian and I visited Brussels a lot in the 1980s.
Bob Dylan -
When I was a kid we had The Times They are
a-Changing on release - so I heard Dylan’s stuff in '64, along
with The Stones and The Beatles, etc . . . It might seem strange but I was
brought up with Louis Armstrong and Sinatra records from before I can remember.
When pop records came into the house I latched onto them right away - copying my
elder brother and the girl from the terrace next door, Big Caroline (who was my
favourite person). We also had the pirate radio station playing in the house
most of the time - before my father left us he was into all that stuff.
I never really bothered putting my poetry into
pop music before, it showed up now and again but I never made a strong
point of it preferring to keep disciplines separate but
knowing ‘All Along the Watchtower’ by Hendrix ( i was a fan
since i was a kid), I thought Jim was over produced and gave Bob's a version
a spin. Listening to Bob’s empty version sort of it sucked me in. Next
thing I found myself peering into Bob’s world a bit more closely. I
was amazed by the live version ‘Shelter From the Storm’ (about 1975)
where it sounds like Joe Strummer singing. We tried recording that one as well.
That lead to ‘Oh Sister’ etc. (which again was new to me only
knowing Bob’s folk stuff from over 50 years previous. Then I thought -
this stuff is easy - they call Bob a poet, well I am one, so I chucked a few
lines and chords together and we were off. I'd say I’m not a Bob Dylan
fan, just Bob curious. I am amazed at how bad he got, but when he is good he is
great. I was also pleased to find out that we were inspired by the same artists:
Little Richard, Buddy Holly, etc . . . Another thought - There was a news
snippet in the NME in the early ‘80s where Bob went into Rock On Records
in Camden and brought a few Milkshakes LPs. And we did do a cover of Hollis
Brown on Sub Pop records in the early ‘90s so I guess it’s all there
in the soup.
I've known Jim Riley since 1977,
he was in the local R'n'B group and I was in the local punk group.
We are both obsessed with the 'sound' in music. It has to have an
origin, an emptiness and a vulnerability. I don't look for guitars to be
impressive, I’m sick of impressive ego driven music - I want authentic
heart music. No one asked for one LP of this stuff, now there are five
(including the Hangman Records release The New and Improved Bob
Dylan.) When mixing we see the whole thing visually - the room in the
mind’s eye; where all the players sit; the drummer to the right; the
vocalist stood up front; the wood paneling on the walls of a top end US studio
in the ‘60s / ‘70s. This is how music is to me: a picture in
sound.
As in all my endeavours, games and life, I only
do what I do irrespective of what's wanted or required and then force it on
the world regardless.
To the point -
For the vocal approach on some of these songs I
found I was leaning into my version of what I think Richard Hell does -
something I've done since at least Thee Headcoats, - if not The Pop Rivets -
when approaching more 'poet' driven lyrics. Doing this I was
surprised to realise how much Richard was taking from Dylan but then again it
makes sense what with that overly arty NY punk thing: Patty Smith and Ginsburg,
etc . . . Makes me think about what's actually going on, and that strange,
twisted lineage in music
It would be great if someone liked it enough to
want to put a show on with the full line up. I'd have to learn it! -
they're as long as bloody novels some of those tracks. That's what
amused me about Dylan as well - how ridiculously long some songs were with an
apparent contempt for the listener - I wanted to capture some of that - the
total opposite of my ethos.
I’m so happy to have made these records that
are for no audience - but hopefully will find one. These are as true to my heart
as anything I've done.
William Loveday - December 1st
2020
-----
PLEASE NOTE: A 4 CD VERSION OF THIS BOX SET
WILL BE RELEASED IN FEBRUARY 2021 alongside the final two William Loveday
Intention albums as stand-alone releases.
-----
Pre-Sale for both of these will start on Tuesday
5th January, shipping by Royal Mail, Next Day Guaranteed in the UK and
'Tracked and Signed' or courier post for the rest of the world.
Shipping will start on the 8th of January 2021
All the best
IAN & DUNCAN
not shedding any tier 3's here for
2020.