A full-colour, 32 page magazine detailing the history of the Railway Inn as it celebrates forty years of presenting live music. Available to pre-order now here: https://sc4m.co.uk/order-loco-motion/
The line-up for our stage at the Rhythmtree Festival on the Isle Of Wight on July 11 is complete. We hope to see you there! And immediately after our stage finishes at 6 pm, another sc4m favourite will be appearing on the Didg Stage. Details soon. Clue for Germanists: We are very PROUD of this booking.
Plus special guest Ollie Wade
A warm welcome back to the Railway for Eileen Rose and her hot Nashville band.
“Like Lucinda Williams but with softer edges, Rose fuses country, honky tonk and smouldering pop into something all of her own.” – Time Magazine
“Makes you want to roar down the highway with the windows open and a finger on the repeat button.” – Rolling Stone
“She’s a woman hot-wired to her muse and and she knows exactly where her considerable talent is taking her.” – Uncut
19 and 20 September 2020
19th: Lucy Kitchen
20th: Lucas and King
Tickets on sale 10 am on January 31.
Two unique and intimate shows with one of the world’s most distinctive singer-songwriters. Hampshire connections make this a must, as Robyn performs in a house concert setting for just 35 people. This is a private show with all income going to the artist. To secure a place for one of the shows, you can make your contribution by getting your ticket here.
Robyn Hitchcock is one of England’s most enduring contemporary singer/songwriters and live performers. A surrealist poet, talented guitarist, cult artist and musician’s musician, Hitchcock is among alternative rock’s father figures and is the closest thing the genre has to a Bob Dylan (not coincidentally his biggest musical inspiration).
Since founding the art-rock band The Soft Boys in 1976, Robyn has recorded more than 20 albums as well as starred in ‘Storefront Hitchcock’ an in concert film recorded in New York and directed by Jonathan Demme.
Blending folk and psychedelia with a wry British nihilism, Robyn describes his songs as ‘paintings you can listen to’. His most recent album is self-titled and marks his 21st release as a solo artist. Out on April 21 2017, the album is produced by Brendan Benson (The Raconteurs). Hitchcock describes it as a “ecstatic work of negativity with nary a dreary groove.”
It has received rave reviews from UNCUT, Rolling Stone, Paste, Tidal and more.
“A gifted melodist, Hitchcock nests engaging lyrics in some of the most bracing, rainbow-hued pop this side of Revolver. He wrests inspiration not from ordinary life but from extraordinary imaginings…” – Rolling Stone
“These 10 gems slither, rock, roll, glide and shapeshift, coalescing around Hitchcock’s typically anxious, strained but striking and immediately identifiable vocals.” – American Songwriter
“Beloved of everyone from Led Zeppelin to REM, Hitchcock has only enhanced his status with this wonderful outing.” – Hot Press
“Witty, moving and seriously catchy, Robyn Hitchcock is a glorious return for a man who wasn’t really gone in the first place.” – Paste Magazine
There will be two shows at the Railway Inn in Winchester: an afternoon show at 2pm and an evening one at 8pm. You can buy an afternoon or evening ticket for £20 or a double ticket for both shows for £35. The shows will not be identical. Tickets will go on sale on January 17 at 10 am.
Cut live to tape with very little overdubbing, the new Felice Brothers album Undress was recorded in the late summer of 2018 in Germantown, New York. Band members Ian Felice, James Felice, Will Lawrence (drums) and Jesske Hume (bass) teamed up with producer Jeremy Backofen to record their most personal and reflective album to date.
Undress follows the band’s 2016 album Life In The Dark, and finds the group in a very different place three years later. Between personnel changes, families growing and the political landscape, the result is a tighter, more-paired down release. “Every song is a story,” said James Felice. “On this album everything was a bit more thoughtful, including the arrangements, the sonic quality and the harmonies.”
“Many of the songs on the new album are motivated by a shift from private to public concerns,” says songwriter Ian Felice. “It isn’t hard to find worthwhile things to write about these days, there are a lot of storms blooming on the horizon and a lot of chaos that permeates our lives. The hard part is finding simple and direct ways to address them.”
It’s the perfect gift for anyone interested in music, travel and Americana. Available from Amazon, or any bookshop, or direct from me.
Part travelogue, part guide book, part music memoir but mainly observational nonsense – Banjo On My Knee shows you how to survive a three-week journey through the music of America’s South and avoid some of the pitfalls of US travel.
In two decades on the road Jeffrey Foucault has become one of the most distinctive voices in American music, refining a sound instantly recognizable for its simplicity and emotional power. He’s built a brick-and-mortar international touring career of multiple studio albums, countless miles, and general critical acclaim, lauded for “Stark, literate songs that are as wide open as the landscape of his native Midwest” (The New Yorker), and described as “Quietly brilliant” (Irish Times).
In April 2020 Jeffrey Foucault will tour the United Kingdom in support of BLOOD BROTHERS (Blueblade Records, 2018) his sixth collection of original songs, with his longtime drummer and tour partner Billy Conway (Morphine) on drums. Ry Cavanaugh (Session Americana) opens the tour.
Since 2013 Foucault and Conway have toured relentlessly together, refining a primal, stripped-down stage show: two men, two chairs; a beat-up Gibson J-45 and an electric guitar tuned low and played through a 5-watt amp; a suitcase kick drum, a low-boy cymbal, a snare drum. The pair plays only what they can carry into the club alone in one trip, and cover all the territory from blues and country, to rock ‘n’ roll and folk, with a laconic ferocity and timeless cool. Their dynamic partnership – as nimble as it is sonically powerful – is the bedrock on which BLOOD BROTHERS builds its nuanced and poignant lament.
THE NEW YORK TIMES:?“Sometimes his songs run right up to the edge of the grandiose, and hold still, and that’s when he’s best… Close to perfection.”
UNCUT MAGAZINE (UK): “The music of Wisconsin native Foucault is the kind so many aspire to but never attain: beat-up troubadour folk whittled to dolorous perfection…”
Jerry Leger has a thing for ghosts. The Toronto singer/songwriter confirmed it a couple of years ago when he went on a personal journey to explore many of Ontario’s largely unknown ghost towns, having been inspired by the writings of historian Ron Brown. Leger has immortalized one of those towns, Burchell Lake, on his new album Time Out For Tomorrow, containing 10 portraits of the impermanence of life, love, or simply catching a glimpse of a shooting star.
Yet, other ghosts reside much deeper in Leger’s songs. Whether they’re the voices of Roy Orbison, Lou Reed, Gene Clark, Rick Danko or Ronnie Lane, they naturally complement the universal truths at the core of Jerry Leger’s music, along with his undying faith in rock ‘n roll as a way for all people to find common ground.
Time Out For Tomorrow continues Leger’s run of consistently high output and displays the finely honed artistic vision that has been evident since 2005 when, at age 19, he released the first of nine studio albums, along with three more with his side projects The Del-Fi’s and The Bop-Fi’s. It’s added up to a body of work that was recently celebrated with the European-only compilation Too Broke To Die, aimed at Leger’s growing fan base in Britain and the EU.
Most of those listeners didn’t discover Leger until his 2014 album Early Riser, his first with Michael Timmins of Cowboy Junkies handling production duties, as well as the first to be released on the Junkies’ label, Latent Recordings. The combination of Timmins’ capture-the-moment production aesthetic and the Rolling Thunder-esque chemistry of Leger’s longtime band The Situation (plus a few special guests) now appears unbeatable. And although Time Out For Tomorrow may not be as expansive as Leger’s previous Timmins-produced effort, the acclaimed 2017 double album Nonsense And Heartache, its more concentrated dose of everything Leger does best is just as potent.
“I got the name for the album from an early ‘60s dime store collection of science fiction short stories a friend gave me,” he explains. “Everything around me seems like science fiction these days, and the phrase ‘Time Out For Tomorrow’ fit these songs and my mood in one way or another.”
In highlighting some of the album’s key moments, Leger points to the opening track “Canvas Of Gold,” on which he sings, “Everything was almost decided when we were young, you’ll stay poor like your family before and I’ll keep hustling.” It’s a reference to Toronto’s well-known gentrification projects in recent years that have put tremendous pressure on the city’s artistic communities. Jerry adds, “Close to where I live there’s a condo development starting at $400,000 called ‘The Poet.’ I don’t know too many poets who can afford that. I’m living in a time that is harder and harder to do what I at this point involuntarily do. What I have to do.”
He also takes aim at tensions stoked by hate groups on the inspiring “That Ain’t Here,” another seemingly endless battle in which artists have been forced to engage. However, the mood on Time Out For Tomorrow often abruptly shifts to showing off Leger’s genuine love of early rock ‘n roll, as evidenced by the gripping ballad “Read Between The Lines.”
“I originally wrote that one for The Del Fi’s, but many people I played it for convinced me to keep it for myself, so I did,” he says. “It has a great energy and feel, and I think this album more than any of the others really succeeded on getting the perfect feel for each tune. It’s hard to do; usually the songs come across better live, but I think with this record we managed to capture that spirit.”
In keeping with his love of all things vintage, Leger is a voracious vinyl collector and notes that when recording Time Out For Tomorrow, the two albums he was listening to most often were Lou Reed’s Coney Island Baby, and Nick Lowe’s The Impossible Bird. He says their influence had more to do with the overall sound he wanted to project rather than any specific musical or lyrical content.
“Coney Island Baby was the first solo Lou Reed record I heard, probably around age 14, and I’ve always loved it,” he says. “The production just glides along and really puts the focus on the words. My song ‘Justine’ on this record benefited from that the most.
“I got into Nick Lowe through Elvis Costello, and with The Impossible Bird, there’s a real brightness to that album—the sound just makes me feel good when I hear it. It’s the same feeling as when I throw on an old Everly Brothers record like ‘Cathy’s Clown.’ It gets me out of a depression every time, even though it has depressing lyrics! I wanted Time Out For Tomorrow to have that same kind of open arms sound to it while still presenting lyrics about the human condition for better or worse. I think my song ‘I Would’ is one Nick Lowe might dig.”
Indeed, other songwriters of Lowe’s caliber, such as Ron Sexsmith, and outlets such as Rolling Stone, PopMatters and the Toronto Star have sung Leger’s praises. He’s also shared stages with The Sadies, Justin Townes Earle, Deer Tick, Dawes, and others, along with making his debut at Holland’s Take Root Festival in 2018 alongside Neko Case, Kurt Vile, Father John Misty, Shakey Graves, and Alejandro Escovedo.
Canada may be known more these days for punching above its weight in the global pop music field, but its long and storied tradition of singer/songwriters refuses to die. Jerry Leger is carrying that torch, and if there’s any further proof needed that he’s at the vanguard, just listen to Time Out For Tomorrow.
Full band show plus special guest Don Dilego.
Jesse Malin — who the London Times says “writes vivid songs with killer tunes and sings them with scary conviction” — and Lucinda Williams — the southern troubadour once named “America’s best songwriter” by Time magazine — first met in the early 2000s at a jazz club in NYC’s West Village. In a joint 2017 Rolling Stone interview, the two discussed their “shared love of miscreants, misfits, the misunderstood and the mysteries of everyday lives binds them across the Mason-Dixon line.”
“From the early frontier days of hardcore in New York to all the punk rock and singer/songwriter touring,” says Malin, “it’s all been about survival and reinvention. I wanted to make an open-sounding record with the space to tell these stories. I like to write about characters and people I meet along the way. The dreamers, schemers, hustlers, romantics, lovers, leavers and believers.” Many of the dreamers, schemers and so on from Jesse’s own life contribute to Sunset Kids, his new album of highly personal songs being released August 30 on Wicked Cool Records.
Oliver Gray’s day job is writing school text books and non-fiction items, but his hobby is promoting live shows by visiting roots artists from the US and Canada. When contemplating his first foray into fiction, he was advised to “write about what you know about”. It’s therefore no surprise that “Zander” is set in the world of small-time music promotion.
When American roots musician Corey Zander sets out on his first UK tour, things start badly and rapidly get worse. Not even his drug-strewn rock and roll past could prepare him for the violence of his reception in provincial England.
We hope you will enjoy it.
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