Friday, 16 November 2012

In Session for Marc Riley

yup... David's back in session with your friend and mine, Marc Riley next Wednesday (21st November)... tell your friends!

to celebrate here's a new video for Black Muddy River, taken from his spectacular long player Little Martha:

Monday, 29 October 2012

Little Martha is out today

and here are a few words from David about each track on the album:

1. YES! JESUS LOVES MEAn Episcopal hymn learnt from a John Fahey record.
2. EMBRYONIC JOURNEYFrom Jefferson Airplane's 'Surrealistic Pillow', which is a rubbish album. This is a nice tune, though. 
3. BIRTHDAY SONG FOR NINASimon called me a cheapskate when I told him the title of this one. I didn't actually try to pass it off as a present.
4. LITTLE MARTHAWritten by the immensely talented Duane Allman. Such a sweet little tune. He recorded it a few weeks before his death in 1971, in a motorbike accident at the age of 24. Leo Kottke, who ought to know, called this ''the most perfect guitar song ever written''. My version doesn't do justice to it. It's well worth hearing both the original and Kottke's cover of it. It was Simon Trought's idea to name the album after this song.
5. BOXING YOUR BIRTHDAYA companion song to track 3. It isn't at all obvious how you are supposed to title instrumentals. I made up the titles for my ones on the day, to be honest. 
6. THE SUNSHINE HOTELThis is named after a radio documentary which I heard the evening before I went into the studio.
7. HAPPY MICHAELFor my father, Michael Tattersall. My first guitar teacher, and the one who introduced me to all the guitar music I love to this day.
8. THE RED PONYFahey again, but the long improvised section in the middle is all mine. Very indebted to Skip James' eerie use of D-Minor tuning. Skip James sounds like a ghost. If you hear him sing, you'll know what I mean.
9. CANDY MANFrom the king of ragtime guitar, and one of my many great heroes, Rev. Gary Davis, the funnest guitar player of all time.
10. GREAT DREAM FROM HEAVENA Joseph Spence tune. Spence was a Bahamian madman/genius - a true original of the acoustic guitar. I tried to get a little of his idiosyncratic heavily-syncopated style into this one. Playing this kind of stuff is all about the right hand. Rock guitarists are obsessed with the left hand. Except the left-handed ones, funnily enough.  
11. JOE KIRBY'S BLUESAnother John Fahey tune, with a long improvisation in A Minor. This is probably the most like my solos on the electric guitar on Wave Pictures tracks, but it isn't much like that.
12. BLACK MUDDY RIVERI learnt this tune from Norma Waterson's self-titled album. This is the only instrumental version that exists to my knowledge and my tune is so different I was tempted to give it a different name and pretend I wrote it from scratch. I didn't though. So I guess it's a variation on Norma's cover of some Grateful Dead thing. I have played this for so long I can no longer remember what the original sounds like. I play this with a brass slide. I always think about Ry Cooder when I play slide guitar. He is the cleanest and most expressive slide guitar player I've ever heard.
13. I WISH I KNEW HOW IT WOULD FEEL TO BE FREEAn American civil rights anthem, famously recorded by Nina Simone, perhaps more familiar now as the theme song to that BBC film review show. It's a lovely tune. I still haven't decided whether or not I like Claudia Winkleman. I think I do, but feel guilty about it, because she's clearly not good at reviewing films. 
14. POOR BOY LONG WAYS FROM HOMEThe blues. I love the blues. This is folk blues I suppose, or country blues. Whatever. Almost all the bluesmen did some or other variation on this theme or this title back in the day. Franic plays his socks off on the mandolin on this one. You can learn how to play this directly from John Fahey himself; the lesson is posted on YouTube.

Thursday, 18 October 2012

signed pre orders

David wasn't feeling so well the other day, but struggled through, and signed inserts for all of the Little Martha pre orders... i'm posting them out tomorrow, so you should get them before release date, 29th October...

there were a couple of extra signed copies, so if you order now you could well get one:

Monday, 15 October 2012

FREE single - Little Martha

Little Martha - the album's title track - is available as a free download here:

and if you want a signed copy if the album can you place your order before 5pm (UK time) on Tuesday 16th October?... i'm meeting David after that for a mammoth signing session (and perhaps a pint or two)

Wednesday, 10 October 2012

John Fahey playing Poor Boy Long Ways From Home

The blues. I love the blues. This is folk blues I suppose, or country blues. Whatever. Almost all the bluesmen did some or other variation on this theme or this title back in the day. On the album Franic plays his socks off on the mandolin on this one. You can learn how to play this directly from John Fahey himself; the lesson is posted on YouTube.

Monday, 1 October 2012

Monday, 24 September 2012

FREE single - the Sunshine Hotel

David Tattersall - The Sunshine Hotel from Adam Simcox on Vimeo.

the Sunshine Hotel - the first single from Little Martha - is available as a FREE download:

Thursday, 20 September 2012

Jeffrey Lewis and Little Martha

you may have noticed that David is wearing a Jeffrey Lewis shirt on the insert and press photo for the album... well, it turns out he's been listening to Little Martha, and this is what he thinks:

"Little Martha is an astonishing album, one that I've listened to many times and will continue to listen to for a long time.  I doubt many living guitarists could accomplish the feat of being in a raw rocking indie-trio like the Wave Pictures while on the side whip out an acoustic instrumental album on a level with John Renbourn/John Fahey/Nick Drake/Bert Jansch/etc., but Tattersall has done it.  Like the recordings of these 1960s acoustic master-pickers, Little Martha is luminous, meticulous, sublime, enveloping, perfect listening for any time of day or night.  The only problem with it is that I can listen to dead guys' records and not feel jealous, but Tattersall is just a young dude walking amongst us...  will somebody please just step on his hands and bring him back down to our normal modern indie-rock level?"

Friday, 14 September 2012

more on John Fahey

These are the John Fahey albums that you should rush out and buy:

1. Blind Joe Death.  
2.The Transfiguration of Blind Joe Death
3. Death Chants, Breakdowns and Military Waltzes
4. God, Time and Causality
5. Of Rivers and Religion/After The Ball (which handily are available on one cd)

There are good things on all of his albums, but there are also experiments, some of which don't bear repeat listening and some of which don't bear one listen. 

Two more points about John Fahey:

1: You can learn how to play fingerpicking guitar from listening to him. He 'shows the working' as art students say. You can literally see what he is doing. It's really fairly simple. You pick the bass strings with your thumb and the high strings with two fingers. As such, hearing Fahey was to me the acoustic guitar equivalent of hearing Lou Reed and becoming a songwriter. I would never have known how to write a song if I had only heard Springsteen or Dylan or The Beatles with all their fancy piano chords. But listening to Lou Reed I figured out how to do it. You just need two chords to start with! It's quite simple. Realising that you can do something yourself is huge. There are the artists who show you how and there are the ones who's technique is an impenetrable mystery. I love both kinds, but the musicians that i could copy as a kid are very important to me. Just as Lou Reed showed me what you needed to do to make a song, so John Fahey showed me how to fingerpick a guitar. Guitar playing would have remained an impossible kind of magic to me had I only ever heard Leo Kottke or Chet Atkins, or (heaven help me!) Manitas de Plata, perhaps technically the greatest of them all, with his eight arms and thousand fingers. This is still super important to me, and surely the reason there are so many Fahey compositions on ''Little Martha''. Musicians and music journalists love to talk about music as if it is some kind of black magic, but god bless the artists who keep it simple and let us in.

2. Fahey was the best namer of instrumentals who ever lived. I had no idea what to name my instrumentals. His titles are works of art in and of themselves. Consider the following, each one suggests a story: 
Stomping Tonight on the Pennsylvania/Alabama Border
The Downfall of the Adelphi Rolling Grist Mill
Dance of the Inhabitants of the Palace of King Phillip XIV
The Death of the Clayton Peacock
The Great San Bernardino Birthday Party
The Portland Cement Factory at Monolith, California
When the Catfish Is in BloomView (East from the Top of the Riggs Road/B&O Trestle)
The Waltz That Carried Us Away and Then a Mosquito Came and Ate Up My Sweetheart
The Epiphany of Glenn Jones
The Great San Bernardino Birthday Party

And one more clip, playing lap slide guitar this time. I love this one:

Thursday, 6 September 2012

John Fahey playing The Red Pony


John Fahey looms large over me. I've listened to his strange music for most of my life. I love some of what he did and hate some of it, too. I suppose you could say that he started off playing fairly traditional-sounding tunes, simple and melodic, on acoustic guitars and ended up playing post-rock through effects-pedal laden electric guitars. (I like the former a lot more than the latter.) At his best, Fahey's music is pitched somewhere between the worlds of folk traditionalism (which he found creatively stifling) and intellectual avant-gardism (which can be tedious, to be honest). Fahey is the man who started his career by rediscovering Bukka White, one of the great Mississippi bluesmen, and ended it by recording with Jim O'Rourke. Negotiating your way through his back catalogue can be hard work. You are not guaranteed a good time because he never let himself be reduced to the role of 'service provider'. Fahey was a great artist of the guitar, a great thinker of the guitar, rather than a great player. He was a good player but one with an exceptional, wonderful mind.

To me, he embodies the idea of the true artist. I know it's a cliche, but I love these kind of people or at least the philosophy of artistic contrariness that I project onto them.

Fahey kind of invented the genre of solo steel-string guitar, or rather created the market for it. His first album, 'Blind Joe Death', was a kind of hoax, an attempt to trick the folk revivalists into believing he had 'discovered' a bluesman named Blind Joe Death. He pressed up a hundred copies of the album with money made pumping gas, but it took him five years to sell them all. There was no market for solo steel-string guitar recordings in 1959.  

The Red Pony, which I cover on Little Martha, is a fairly good example of Fahey's style. This is simple enough music to play, but who else would have thought to do it? The result is entirely original, dark and mysterious. Physically incapable of playing fast, and tortured by his efforts to play bluegrass, Fahey instead developed a ponderous style, with a heavy right hand thumb. This is thoughtful music, idiosyncratic, plain and plain strange. It seems to me to open up a space all of it's own; it's bittersweet I suppose rather than melancholy. I could write about the images it throws up in my mind, but I would sound incredibly pretentious. I do love it though, it's extremely poetic music to me. There, that's pretentious enough for now. Here is the clip.... at the end of it you can hear him mumbling something about ripping off Holst's ''The Planets''.  

Thursday, 30 August 2012

Duane Allman and Little Martha

Little Martha is named after a Duane Allman tune, and released on October 29th, the anniversary of his death, so it only seemed right to get a few words from David and to ask Steve Edmond to write a bit on the great man:

Written by the immensely talented Duane Allman. Such a sweet little tune. He recorded it a few weeks before his death in 1971, in a motorbike accident at the age of 24. Leo Kottke, who ought to know, called this ''the most perfect guitar song ever written''. My version doesn't do justice to it. It's well worth hearing both the original and Kottke's cover of it. It was Simon Trought's idea to name the album after this song.


"From Duane Allman, co-founder and leader of the Allman BrothersBand, much sought after session musician and damn fine slide guitarist.

Howard Duane Allman was born in Nashville, Tennessee alongside his brother Gregg, (bandmate and future husband of Cher), were raised by their mother after their father was murdered when Duane was just 3-years-old.
Although Gregg was given a guitar and Duane a motorcycle for Christmas in 1960, when Duane wrecked the bike in an accident he sold the spares and bought himself a guitar.
The brothers formed several bands from 1965 onwards, initially The Kings then the Allman Joys and finally Hourglass after moving to Los Angeles – 2 albums were released on Liberty Records but failed to take off.
Following some amazing but frustrating session work in Muscle Shoals with the likes of Clarence Carter, Percy Sledge, Boz Scaggs, Wilson Pickett and Aretha Franklin, Duane returned to his home in Florida and formed finally the Allman Brothers Band in 1969.
During his time as a session guy Duane had perfected his electric slide guitar technique, using an empty Coricidin (strong cough medicine and recreational drug) glass bottle over his ring finger as a slide, which would become his trademark in the band he then formed in Macon, Georgia with his brother Gregg, The Allman Brothers Band.
Fusing country, blues, rock and soul they toured non-stop and produced the first taste of what would become known as southern rock.  They recorded 3 studio albums and a live album recorded at the Fillmore East, which saw immediate success and achieved critical acclaim. Duane’s playing was seen inspired and imaginative and Eric Clapton asked him to play on the hugely successful Derek & the Dominos album.
However, on October 29th, 1971, while out on his latest motorbike Duane crashed into a flatbed truck, not far from the band’s home, The Big House in Macon. Duane was taken straight to a local hospital, but died from internal injuries. The band played at his funeral. He was 24 years old.
The Allman Brothers Band completed the album they had been recording with Duane and it was released as “Eat a Peach’ in February 1972 which included the only Allman Brothers track solely written by Duane – “Little Martha”
The inspiration behind the song is thought to be Dixie Lee Meadows, “Little Martha” being his pet name for his new girlfriend. She was one of a bevy of girls that the Allman Brothers and their roadies dubbed the Hot ‘Lanta girls.

Later rumours suggested that he named the song after a young girl called Martha Ellis buried up at Rose Hill cemetery (where Duane himself was buried in 1972) – Fellow bandmate Dickey Betts comment “Little Martha, for God’s sake is not a little baby that died”.

When I visited the Allman Brothers former home and now museum, The Big House last year, I spoke to another excitable fan there that told me that Duane heard the song in a dream. A dream where he and Jimi Hendrix were holed up in a Holiday Inn bathroom and Jimi taught him the melody using the taps of the sink as the fretboard of a guitar.
 “Little Martha” continues to be played over the PA system at the end of every Allman Brothers Band show in tribute to Duane."
Steve Edmond
Hangover Lounge DJ & Southern Rock nerd

Thursday, 23 August 2012

Rev Gary Davis playing Candy Man

there are a number of cover versions on Little Martha, and we'll be hunting down some amazing footage of the originals over the next few months...

first up we have:

From the king of ragtime guitar, and one of my many great heroes, Rev.Gary Davis, the funnest guitar player of all time.


Gary Davis was born in 1896 in Laurens, South Carolina and he was blind from the age of 2, which was of course mandatory for blues singers. He became a street musician, a ragtime picker and blues shouter. He first recorded in New York in 1935, playing second guitar on sessions with Blind Boy Fuller, but a couple of years later he was ordained and subsequently gave up singing the blues (''the devil's music'') altogether. He'd either sing Christian songs (everyone should hear his joyful ''Say No To The Devil'') or play ragtime instrumentals. By the 40s he was living in New York and teaching guitar and I suppose it's because of a couple of his students - Stefan Grossman and Ry Cooder - that Rev. Gary Davis is one of the folk musicians that became more famous when they were rediscovered during the 60s folk revival than they ever were in the first place.

My Dad had a record from the 60s of Davis recorded in his house by Stefan Grossman. I still have the album. It's called Ragtime Guitar, appropriately enough (they can't have rejected many titles before they hit on that one). The album had a huge effect on me when I was a kid. His guitar playing, which is sort of clumsy, sounded magical to me. It was playful, humorous and mischievous. When I heard it, I realised for the first time that it was possible to express your personality through an instrument. There are guitarists who can play much faster than he could, ones who can play much more complicated stuff, but so often they don't have any personality, any character. Their kind of musicianship is more like a kind of sport. Davis, on the other hand, had personality in spades. He makes mistakes too. He tries stuff out, and sometimes it doesn't work. This isn't a precise, robotic kind of music. I remember in the sleevenotes, Grossman writing about how important it was to record Davis in his home, where he was at his most relaxed. I always liked that. There's even a little bit on the album where he has a chat with his wife, and then he starts playing the next tune. I vividly remember sitting in front of the speakers and listening to this and seeing the whole neck of the guitar in my mind's eye, visualising it as if it was a road or a town even, with all these different points of interest in it, these different things that could happen. Hearing this album was when I started really liking guitars and liking the idea of being a guitar player. It's one of the first things I really listened to. I was learning how to listen. It's still a touchstone album for me, one that I will put on to cheer myself up or to remind me why I got into music in the first place.

A few years after I first heard Gary Davis, a folk musician called Derek Brimstone came to Wymeswold to play in the back room of the pub. Derek Brimstone had been a folk club musician for years, since the sixties. Like Billy Connolly or Jasper Carrott who came from the same world, he was more noted for his jokes than for the songs he would play. I guess I was about ten years old by then, around about 1993 or 94. I got up in the middle of Derek's set and did a couple of the Rev. Gary Davis tunes that I had learnt from Stefan Grossman's guitar tab books. I was terrified! Performing in front of 50 or so grown-ups! I think I got through the tunes OK. Derek was really sweet to me. It turned out that he had toured England with Gary Davis many years before and he told me stories about him. By Derek Brimstone's account, Davis was every bit as loveable in life as his recordings suggest he was. I remember too, I think I will always remember, Derek Brimstone singing the Rev Gary Davis version of Delia (All My Friends Are Gone) that night; just as beautiful and measured a performance of a song as I have ever heard.  

Monday, 20 August 2012

signed copies

David Tattersall - Little Martha insert
David will be signing all the pre-ordered copies of Little Martha... the discussion now is where they should be signed... please let me know, and we'll go with the majority:

1. front
b. back
iii. insert

Wednesday, 15 August 2012

a few words about Little Martha

David Tattersall at the Union Chapel
“I recorded Little Martha in one day with Simon Trought at the old Soup Studio, underneath the Duke of Uke ukulele shop on Hanbury Street, just off Brick Lane in East London. There are no overdubs on the album, which was recorded live with one microphone. Franic Rozycki stopped by to play mandolin on a couple of tracks, but otherwise it's entirely me playing acoustic guitar. There are no vocals on the album.

I love guitar players. For every songwriter I like, there are a hundred guitarists who impress me. There are too many that I enjoy listening to to mention them all, but there are a few key influences on this particular record that are worth naming: American guitarists like Reverend Gary Davis, LeoKottke, Blind Blake and Ry Cooder. John Fahey, who started recording in 1959, was one of the first guys to get me hooked on instrumental fingerpicking guitar. He plays with a simple thumb-and-two-fingers right hand technique, nice and slow. His music contains tremendous power and mystery, yet it is easy to grasp exactly what he is doing. He called himself an ''American Primitive'', which in technical terms I suppose is true, but his ideas are very strange and sophisticated, particularly in his synthesis of 20th century European classical music and (American) folk and blues. I cover a number of his tunes on the album, and I clumsily attempt to copy his style a little on the ones I wrote. More than anyone else, the album is a tribute to Fahey and to my love of his music, which I have listened to for 20 years now and still find fascinating. We even copied the simple black-on-white style of Fahey's Blind Joe Death LP cover when we made the sleeve.

From the age of 9 until I was about 16, this was all I played: acoustic guitar instrumentals like the kind on this album. I abandoned this practice when I started writing songs and formed The Wave Pictures. It was really nice for me to go back to this way of playing that means so much to me, after 14 years playing rock music. I had a lot of fun learning the tunes, developing big blisters on my fingers again, practising for hours in the bathroom where the acoustics are better. And it was a pleasure, as always, to record with Simon. It's nice to show a different side of yourself every so often. I am so happy I got to make this record and that WIAIWYA records kindly decided to release it. “

David Tattersall, August 2012

Monday, 13 August 2012

the records arrived today

yup... the brand new album from David Tattersall arrived this morning (stroke of luck, as i had the day off)... it's out at the end of October, but available to pre-order already...