My first featured interview this week is with the wonderful Sharron Kraus. A singer/musician/songwriter who creates music rooted in the folk traditions of England and Appalachia. Her work is characterized by soil-rich vocals, haunting banjo, fine acoustic guitar and visionary word craft. Her songs are populated by a carnival array of fatally charismatic characters, telling tales of enslavement, perversion, incest, obsession, love and death.

Sharron’s live performances are stark, compelling, and delicate. As with her music, her performance continues the tradition of the balladeer. She is like the roving storyteller, bringing tales of terror, sadness and joy to a stranger’s hearth on a dark and stormy night. (Taken from Sharron Krauss’s Press Release)

I first became aware of Sharron Kraus’s music through her album ‘The Fox’s Wedding’, a charming, haunting record full of drama and beauty. I was intrigued by the mystery and originality of her music and delighted when Sharron agreed to do this interview.

She has a new album coming out later this year, so I’m sure you will be seeing and hearing a lot more of her. I wanted to find out more about this enigmatic, artist

Thank you so much for joining us. You are one of my favourite artists and I am delighted to have this opportunity to find out more about you and your music.

What is your earliest musical memory?

One that sticks in my mind is one night when we were driving home from my grandparents’ house, my mum and dad were singing a song about the moon and my sister and I were in the back of the car watching the moon through the windows, turning our heads and craning our necks at every turn to keep it in sight. It felt like the song and the moon were connected and we were part of that connection.

When did you begin writing songs and why?

I don’t think I started writing songs as such till I joined a band and found myself around people who were writing songs and thought I’d have a go. But songs are just an offshoot of the writing I’ve always done: since I could write I’ve written stories, kept notebooks of ideas, experimented with poetry, etc. The reason I write is that it’s the best way to think things through. If I want to understand something, I write about it and the process of writing usually leads me to some insights.

What inspires your very beautiful way of writing? Do you draw on dreams, daydreams, and nightmares?

I draw on all those things, and also myths, fairytales, folk songs, art, philosophical ideas, conversations with friends – anything that comes my way really. The time between waking and sleep, when I’m lying in bed allowing ideas to run through my head, is often when the start of a song will come. Going for walks in quiet places is another good way to get the ideas moving.

Do you ever have re-occurring dreams?

I used to have recurring dreams about losing teeth – my teeth falling out one after another and I’d be spitting them out in the sink. It felt pretty real, and sometimes it’d get more complex – dreams within dreams: I’d be spitting out teeth, then wake up and realize it was just a dream, only to find myself still in another layer of dream and the teeth thing starting again! I don’t seem to be having those any more though – phew!

Your last album’ The Fox’s Wedding’ is one of my favorite albums and was very beautiful, what inspired such a wonderful creation?

I’m glad you like it! There wasn’t anything specific that inspired the album as a whole – the songs developed over a period of a couple of years and I didn’t really have an overarching concept. Musically I was working with Michael Tanner and Nick Palmer (The A Lords, Directorsound) for the first time and their playing was key to the overall sound.

I notice that you use a lot of Pagan imagery in your visual image.

I am also drawn towards the ethereal and magical aspects of symbolism. Is this something that you have grown up with or discovered by yourself?

I think in a sense it’s hard not to grow up with an awareness of the magical aspects of everything. Childhood is a magical initiation: the world is unfolding before our eyes and we’re learning what it is to be alive – that’s magical! Also we’re told strange and magical stories, and the magical worlds those stories describe may not seem too dissimilar to the world we find ourselves in. If we’re lucky that magic stays with us in one form or another. If we’re unlucky the magic drains away. I think the most important role a parent or teacher has is to encourage and inspire the children they’re rearing and educating to grasp onto the magic and not let it go.

Your music seems influenced by the more organic and dreamlike aspects of our world.
How do you cope with the modern corporate age? Do you feel as though you are part of it all or on the outside of it?

That’s an interesting question for me: I’ve just moved out to the Welsh hills; to a beautiful, remote place, partly to be somewhere more ‘organic and dreamlike’ and to get away from the things I find ugly and uninspiring in cities: advertising boards, huge blocks of concrete, chain stores, piles of litter, etc. But I wouldn’t be able to do it without the help of some of the benefits of the modern age - a fast broadband connection for one!

There are a lot of modern things that I hate and I tend to prefer old things: old houses, big old trees, vintage clothes, etc., but I don’t want to be transported back in time to some bygone era. I’m happy to be alive now and think the thing that’s important in any age is to find a way to live the way you need to live to thrive and be true to yourself. In lots of ways that’s easier now than it’s ever been. The main thing is not to conform – to live in the modern world but by your own rules.

Who are your musical heroes?

I’d probably not use the word ‘hero’ – I admire musicians but don’t hero-worship anyone. Also, some of the musicians I admire as musicians may not be particularly good people – I love The Doors and have a bit of a thing for Jim Morrison but he was an asshole, for example! The musicians I find most inspiring and fascinating include Patti Smith, Leonard Cohen, Diamanda Galas, Sandy Denny, Richard Thompson, Nick Drake, Townes Van Zandt, Syd Barrett, Shirley Collins, …

Who are your favorite current bands?

Nalle, Thinguma*jigsaw, Fursaxa, Espers, Mary Hampton, Alasdair Roberts, Aethenor, Agitated Radio Pilot are some.

Please tell us about your new album to be released later this year

The new album’s called The Woody Nightshade and it’s coming out on Strange Attractors in November. This one’s a bit less folky in sound than previous ones – no fiddles, no banjo; some electric guitar, drums, bass. One thing that was exciting was that some of the songs seemed to need multiple vocal parts, so I’m joined on vocals by three other singers – Nancy Wallace, Susanna Starling and Clare Button. Sometimes the voices blend harmoniously, other times there’s discord.

Lyrically the songs explore themes around love and freedom – I’ve been thinking about things like how we can love without becoming possessive, how love can endure once the initial excitement has died down, how love can survive betrayal. The album’s title track takes a murder ballad as its starting point and subverts it: there’s a great murder ballad about a man who’s poisoned by his lover with the berries of the woody nightshade and I imagined a scenario in which there’s a betrayal, a plan of murder, and then some resolution/forgiveness.

www.sharronkraus.com
www.myspace.com/sharronkraus

There is an element to folk music which lends itself to the ethereal other world of dreams and storytelling which existed long before recorded music and cinema.

Since discovering the wonderful ‘Wicker Man’ film and soundtrack in the early 90’s, I became fascinated by the darker dreamier side of folk music and have enjoyed discovering some truly remarkable bands over the years, who have shaped and influenced the music of a genre which is known as psyche /Nu folk.

I enjoy the mystery and magic of this music and feel that many of the bands experimenting with the nu and psychedelic folk sound have managed to push the boundaries of simple traditional folk music and song writing to create some exceptionally beautiful records. I have chosen ten of my favourite psyche or nu folk albums here for you to explore.

These albums are by current artists as I feel that there is so much great music being made right now which is sometimes over looked. Some of the albums are not strictly psychedelic or strictly folk but albums that fall between the two or somehow embrace both elements.

Lookaftering by Vashti Bunyan
This is a beautiful album. One of the reasons I asked Max Richter to produce my Rocking Horse album was the fine job he did producing this album for Vashti Bunyan. I have loved Vashti’s delicate voice and wonderful sense of melody ever since first discovering her music whilst I was in California a few years ago. I have chosen this album as one of my favourites because I feel it is her best complete work.

Cripple Crow by Devendra Banhart
Devendra Banhart  was also responsible for making Vashti Bunyan’s work known again and I love this album, it’s full of character and a real pleasure to listen to.

 

From a Window to a Wall by Noa Babayof
On Greg Weeks’ label ‘Language of Stone’ this album is very beautiful and evokes an atmosphere of mellow mystery.

Bird On The Water by Marissa Nadler
Greg Weeks produced this wonderful album by Marissa Nadler. A timeless and original record of beauty.

The Fox’s Wedding by Sharron Kraus
Sharron Kraus is one of my favourite UK artists. If you don’t know this album, check it out immediately!

Seven Swans by Sufjan Stevens
Sufjan Stevens has made some of the best albums I have ever heard. I love his music and his vision. His label, Asthmatic Kitty houses some of the most original innovative artists making music today. This album is very acoustic and pared down in comparison to some of his other more heavily orchestrated works.

Seed of Wonder by Jesca Hoop

Thankfully, Jesca Hoop is now becoming just as well known here in the UK as she is in the U.S. I had the great pleasure of seeing one of her shows in L.A. a few years ago and was blown away and mesmerized by the beauty of her voice and skilful guitar playing. This album is a little more produced than her live acoustic shows and she does have more acoustic albums but this album contains the classic Seed of Wonder, which you must hear, to appreciate the genius of Jesca’s songwriting.

 

Candles in Daylight by Jed and Lucia
Such a beautiful album by the great and wonderful Jed and Lucia. Recently signed to the Ubiquity label in the U.S. and working on a new album release, Jed and Lucia make sublime music and are two of the most wonderful people I know.

School of the Flower by Six Organs of Admittance
This is a great album; acoustic guitar and effects create sound scapes of otherworldly meditative horizons.

Bavarian Fruit Bread by Hope Sandoval & The Warm Inventions
This album was released in 2001 and is a true classic. I never tire of these songs and it still sounds as fresh today as ever.

Other artists and sites to check out
www.myspace.com/moonshinemoonshine
www.myspace.com/theleisuresociety
http://www.myspace.com/willkommencollective
http://psychedelicfolk.homestead.com/psych-folk.txt

Jeanette Leech 'Seasons They Change'

Jeanette Leech has written a new book 'Seasons They Change' all about the Acid /Psyche, Experimental Folk movement. Set to be released in the UK February 2011, this book is one of the most in depth insights into the music and the artists involved in the acid folk and nu folk scene and includes interviews with many legendary folk artists.

I was most honored to be interviewed for ‘Seasons They Change’ amongst some of the most visionary musical artists of our time and enjoyed speaking with Jeanette who is a very dedicated and informed writer on the subject of Psyche/Acid folk. Her experiences writing this book are intriguing and I thought it would be interesting for Jeanette to switch roles for a moment and share some of her thoughts and insights on the major players of the Psyche Folk movement and writing her fantastic book.

 

Many thanks for taking the time to join us and share your thoughts and experiences with us Jeanette.

Why did you decide to write a book about the Psyche Folk movement?

I have loved the music for a good few years now and, to me, there didn’t seem anything much written about it aside from isolated magazine articles and blogs.  Even in the plethora of books about folk music, and the plethora of books about psychedelic music, the sound was only ever skimmed – I had picked up on a lot of captivating characters and stories as well as fine music, and I wanted to know more.  The arc of the music’s fortunes is interesting in itself too, which was another attraction.  It intrigued me as to why the music once again found such a resonance in the 2000s after being pretty unfashionable for decades.

It was important to me to cover the sound right up to the present day.  There are some really amazing records being made in the 21st century and I don’t subscribe at all to the view that music was de facto better in the 60s and 70s.

You traveled all over the U.K. to interview some of the most influential musicians on the planet. Please tell us about the strangest or most bizarre experience you encountered whilst creating this amazing book about some of the most beautiful and esoteric music ever created.

I had a pretty incredible few months that will stay with me forever.  Vashti Bunyan invited me to her home in Edinburgh, and Vashti’s been a heroine of mine for around 15 years I got to hear first-hand the story of the journey on the horse and cart, and I can almost remember every word of it without recourse to my Dictaphone because it was so spellbinding.

Then there was the time I met Clive Palmer down in Cornwall, and after our interview he talked me through the construction of the Northumbrian smallpipes.  He was absolutely wonderful and I couldn’t believe I was so privileged!  A few days later I traveled to interview Shirley Collins, who has to be one of the sweetest, funniest and strongest people I’ve ever met.

I interviewed Sharron Kraus in an Oxford graveyard.  There was a moment when we both noticed a dead squirrel.  “Cover it over with leaves and say a little squirrel prayer”, she said in her gorgeous voice.  I felt like part of the narrative in one of her songs at that point.

Halfway through interviewing Steven Collins of The Owl Service I found out that I’d been pick pocketed.  He definitely deserves a shout out for cheering me up, buying me a drink and lending me £20 to get home.

Who surprised you most in the interviews and why?

I’m not sure that ‘surprised’ is the right way to put this – more ‘deeply impressed’ – but I loved hearing about the intellectual scaffolding around my interviewees’ music.  A good example of this was Alasdair Roberts, whose music I’ve admired since back in the Appendix Out days.  He has given a lot of consideration to the mythological and religious history of the British Isles and how this links in with the music he makes, and that was really fascinating to hear about, since he weaves it all in so subtly.  Similarly, Linda Perhacs, who made the album Parallelograms, told an enthralling tale.  She talked a lot on the concept of ‘thought forms’ and how that phenomena inspired her songs.  In general there was a high level of intellectualism, personal philosophy and individuality in the artists I talked to.

What did you learn from interviewing all of those great musicians?

This is my first book and, although I have interviewed musicians for articles before, never had I done so for a longer narrative work.  There were thus a lot more abstract questions – about genres, about press attention, about image, about the role of the internet – than would generally come up in an interview for a stand-alone feature on one artist.  These yielded some of the most revealing answers of all for how artists consider the nature of their music and their place in a wider society, so I think that, in future, even when interviewing people for shorter features I’ll throw in a lot more of these kind of questions!

When researching your book, you must have found out some pretty interesting musical history, please share something that you discovered about an artist or band that shocked or surprised you.

I was surprised at how much glam rock affected the popularity of the sound in the UK.  Everyone always says that punk was this great ‘year zero’ but I think glam has even more of a case for making the 60s and folkish hippie idealism seem stupid and fey and backward.  Those are images that proved remarkably tenacious.

I also found out how truly damaging the free download culture has proved to small-scale artists.  It has affected sales to the extent where many question the viability of carrying on.  Small record labels find it tremendously difficult – especially when, because of the nature of the music they release, they had found only a limited audience anyway.  I just hope we don’t lose the cutting edge of music because people have got out of the habit of paying for it.

I heard plenty of gossip through off-the-record comments too, but my lips are sealed!

For those people who may be unfamiliar with the genre, who are your favorite Psych Folk artists?

A big question.  Anyone who’s completely new to it won’t go far wrong with checking out the Incredible String Band, especially The Hangman’s Beautiful Daughter.  Other well-known albums with a deserved feted reputation are Comus’ First Utterance, Pearls Before Swine’s One Nation Underground, Mark Fry’s Dreaming With Alice and both the COB albums.  Of the newer, more popular artists I particularly love Espers and I still think no-one does modern psychedelic folk with more care.

Outside the canonical albums I have a whole heap of personal favourites, if you’ll indulge me, Kelli…  Lau Nau – Nukkuu; Dredd Foole – In Quest Of Tense; Festival – Come, Arrow, Come!; Simon Finn – Pass The Distance; Susan Christie – Paint A Lady; Joshua Burkett – Gold Cosmos; Midwinter – The Waters Of Sweet Sorrow; Amon Düül – Paradieswärts Düül; United Bible Studies – The Jonah; Directing Hand – What Put The Blood; Josephine Foster – All The Leaves Are Gone.  In fact, the entire back catalogues of all those artists are pretty sublime (although with the other Amon Düül albums you need to come armed with a fair bit of patience for noodling jams…)

But if I were pushed to pick just one album of the genre to listen to forever, it would be Stone Breath – The Silver Skein Unwound.  A simply astounding record.

Jeanette Leech has contributed to the magazines Shindig!, Saatchi Art and Music, Staple, Record Collector and Music Week.  When not tangled in the vines of acid-folk, she nurses a vigorous obsession with girl groups past and present, DJs with the B-Music collective, and (in a parallel life) writes about good practice in social care.  Seasons They Change is her first music book.

www.twitter.com/seasonstheychge
www.myspace.com/seasonstheychange
www.jawbonepress.com

Seasons They Change: The Story Of Acid And Psychedelic Folk will be published by Jawbone Press in February 2011.

Patrick Campbell-Lyons is known as the singer and founder of the psychedelic, symphonic rock band Nirvana. Patrick formed the band with Greek musician Alex Spyropoulos in 1967. The duo (augmented in the studio and live by a floating line-up of session musicians) created a series of critically acclaimed baroque, orchestrated albums before disbanding in the early 1970s.
Now Patrick is becoming known for his writing also, as he travels the world promoting his new book ‘Psychedelic Days’.
A literary voyage of music, freedom, adventure and self discovery, ‘Psychedelic Days’ is a must read for anyone interested in Nirvana, the Psychedelic music scene or music history in general.
I was lucky enough to spend time with Patrick last summer and he agreed to join me for an interview especially for Spiral Earth

 

 

Thanks so much for joining us Patrick. Where have you just returned from and what have you been up to?

I HAVE BEEN IN THE USA FOR THE PAST 3 MONTHS, NYC AUSTIN SEATTLE SAN FRANCISCO AND LOS ANGELES.....PROMOTING MY BOOK PSYCHEDELIC DAYS .....IT WAS PUBLISHED IN EARLY FEBRUARY.
IT WAS HARD WORK ESPECIALLY THE TRAVELLING BUT VERY EXCITING BECAUSE IT WAS DIFFERENT FROM THE WAY I WOULD PROMOTE MUSIC/RECORDINGS AS A SONGWRITER/RECORDING ARTIST.....
MY POETRY RECITATION SKILLS FROM MY STUDENT DAYS AT SCHOOL IN IRELAND WERE REALLY HELPFUL DURING READINGS IN STORES AND ON RADIO, I ALSO DID PRESS AND SOME CABLE TV SHOWSAND IT WAS ULTRA SPECIAL TO MEET YOUNG FANS WHO CAME WITH VINYL COPIES OF OUR ISLAND LP'S TO BE SIGNED , MANY OF THEM WERE MUSICIANS IN NEW PSYCH BANDS......THERE IS A REAL PSYCH SCENE GOING ON ESPECIALLY ON THE WEST COAST, LONG MAY IT LAST.

What is your earliest musical memory?

WHAT A COINCIDENTAL QUESTION THAT IS......THE FIRST PAGES OF MY BOOK DESCRIBE THAT WHILE I WAS INSIDE MY MOTHERS WOMB I COULD HEAR THE MUSIC THAT MY PARENTS WERE DANCING TO....THEY WERE BIG INTO DANCING AND WOULD DRIVE DISTANCES TO FIND A GOOD BALLROOM.......I LOVED IT ESPECIALLY WHEN THEY DID THEIR KIND OF JIVE. ....IT WAS SOMEWHERE BETWEEN AN IRISH JIG AND THE TWIST WHILE ON ACID........SO THAT'S GOT TO BE THE ANSWER....READERS OF THE BOOK WILL DISCOVER THE SONGS AND THOSE WHO HAD MADE THEM WELL KNOWN.    

 

What kind of music/bands did you listen to as a teenager ? 

THE EVERLY BROTHERS (WHO IN FACT 20 YEARS LATER RECORDED ONE OF MY SONGS CALLED "FINDING IT ROUGH") ROY ORBISON, RICKY NELSON, MOSTLY AMERICAN MUSIC OF THE TIME, BECAUSE THE IRISH SHOWBANDS PLAYED ALL THOSE SONGS LIVE AND EVERY PLACE WHERE YOUNG PEOPLE CONGREGATED HAD A JUKE BOX.....MY FAVOURITE WAS SWEET NOTHIN BY BRENDA LEE.... I DREAMED OF GOING TO AMERICA TO FIND HER AND FALL IN LOVE WITH HER. I LIKED BILLY FURY FROM ENGLAND ...HE WAS SPECIAL.

Which album do you feel was the most exciting to make and which are you most happy with?

I LOVE THE WHOLE WRITING AND RECORDING OF SONGS PROCESS, THE MOST THRILLING MOMENTS ARE THE PLAYBACK OF THE FINAL MIX IN THE STUDIO AND THEN SEEING IT IN THE PACKAGING A FEW WEEKS LATER, EVERYTHING MOVED FAST IN THOSE DAYS, THEN IT IS OVER AND YOU MOVE ON TO THE CREATION OF THE NEXT ONE.

SO LETS SAY THE 3 ALBUMS WE DID AS NIRVANA FOR THE ORIGINAL ISLAND RECORDS PINK LABEL, (BY THE WAY OUR FIRST LP THE STORY OF SIMON SIMOPATH WAS THE FIRST ALBUM RELEASED ON THE LABEL PRODUCED BY CHRIS BLACKWELL THE FOUNDER OF LABEL) WERE ALL FAVOURITES.

THEY WERE OUR CHILDREN AND I AM PROUD TO SAY THAT THEY HAVE GROWN UP TO BE SPECIAL AND HAVE COME THROUGH THE TEST OF TIME, WHEN YOU HEAR THE SONGS ON THE RADIO TODAY (THEY HAVE BEEN DIGITALLY RE-MASTERED BY UNIVERSAL ALSO) THEY SOUND WONDERFUL AND THE QUALITY COMES THROUGH BIG TIME RAINBOW CHASER IS AS FRESH TODAY AS IT WAS BACK IN 1969

Did you have a process, which you would use to write your albums, or was it different every time?

THIS IS GOING TO SOUND STRANGE MAYBE ...........WHEN I SAY "WE WENT TO WORK EVERY DAY" AND IF WE HAD BEEN OUT ALL NIGHT BEFORE.....WE STILL CONTINUED THE NEXT MORNING ......
SLEEP WAS NOT A NECESSITY IN THOSE DAYS FOR ALEX OR I AND MANY OTHERS I KNEW "PLOUGHING THE SAME FURROW AS OURSELVES IN LONDON TOWN, AMPHETEMINES ALSO HELPED.

WE HAD A SMALL ATTIC ROOM IN SHEPERDS BUSH WITH A PIANO, A MELLOTRON, 2 REVOXES AND A FEW "TOYS", THERE WAS ALSO A BED AND SMALL KITCHENETTE WITH A SHOWER FOR DWARFESTHAT WAS OUR WORLD ...WE HAD A WEEKLY WAGE FROM ISLAND RECORDS JUST LIKE ALL THE OTHER ARTISTS, THATS HOW CHRIS BLACKWELL DID THINGS, IT WAS A LOT OF MONEY AS WAGES WENT £55.00 A WEEK EACH AND TO PUT THAT INTO PERSPECTIVE THE RENT ON THE FLAT WAS £7.50A WEEK.  

EVERY DAY REALLY WAS A "HAPPENING".....WE LIVED LIKE THAT FOR 3 YEARS, MADE 3 ALBUMS, AND PROMOTED THEM AROUND EUROPE WHERE WE WERE TREATED LIKE POP-STARS.
WE THEN WENT INTO SEMI -RETIREMENT ... WE NEEDED A BREAK FROM EACH OTHER AND FROM THE "SCENE" WHICH WAS CHANGING RAPIDLY BEFORE OUR SUNSET EYES, ALSO TO RECHARGE THE ENGINE AND DO SOMETHING DIFFERENT LIKE DOING NOTHING OR TRAVELLING IN EUROPE AND NORTH AFRICA.......

AND ONE OTHER THING…… FOR EVERY SONG WE WROTE TOGETHER WE SCRAPPED OR REJECTED MANY MORE THAT SOUNDED AS IF THEY MIGHT BE PROMISING.

 

You have recently been traveling the world promoting your book, 'Psychedelic Days. Why did you decide to write a book and how does the process compare with writing an album?

I HAD NO INTENTION OF WRITING A BOOK, SONGWRITING IS HARD ENOUGH, BUT IN LATE JANUARY 2009 I WAS WORKING ON A NEW LYRIC FOR A SONG, WITH NO PRESSURE ATTACHED IT STARTED TO BECOME A POEM / A SHORT ESSAY/THEN A STORY. I COULD NOT STOP WRITING AND BEFORE I KNEW WHAT WAS GOING ON, A VOICE WAS SAYING TO ME "YOU ARE WRITING A BOOK", IT WENT ON FOR 7 MONTHS, 6 HOURS A DAY, ALSO I WAS IN THE RIGHT PLACE TO BE ABLE TO DO SUCH A THING, I WAS LIVING IN A SMALL VILLAGE IN THE MOUNTAINS ABOVE THE TOWN OF GRANADA IN ANDALUCIA SPAIN.....NO DISTRACTIONS WHATSOEVER.
YOUNGER MEMBERS OF MY EXTENDED FAMILY WHO ARE IN THEIR 20'S AND 30'S IN FRECDENT YEARS, OFTEN ASKED ME "WHAT WAS IT LIKE TO BE THERE IN THE 60'S? DID YOU HAVE FREE LOVE? DID YOU DO
DRUGS? DID YOU MEET ANY FAMOUS ROCK STARS?
MAYBE THERE WAS A SUBCONCIOUS THING GOING ON THERE ALSO!

As a musician who was involved in the height of the new experimental period of modern popular music, you must have experienced many changes in the way that music is both recorded and distributed. How do you feel about the way these aspects of music are changing?

TO BE IN A BAND TODAY TRYING TO GET THINGS "OFF THE GROUND", DEALING WITH MORONIC, UNCREATIVE, GREEDY CHARLATANS WHO HAVE MANAGED TO DESTROY THE MUSIC BUSINESS AND IN SO DOING CREATE A MASSIVE VOID BETWEEN WHAT IS AVERAGE AND WHAT IS BAD......TO BE A SUCCESS OR A STAR YOU JUST HAVE TO BE AVERAGE IN THE EYES OF AMANDA COWELL, THAT SAYS IT ALL.....ORIGINALITY AND GOOD DOES NOT WORK. .....

IF I WAS IN MY EARLY 20'S TODAY I WOULD TRY TO BECOME A SCIENTEST..........SCIENCE IS GOING TO BE THE NEW "ROCK AND ROLL"

 

Who are your favorite current bands?

I LIKE - THE DIRTY PROJECTORS...........RICHMOND FONTAINE........THE VILLAGERS.......HELEN STELLAR......LUCKY SOUL........ BEECHWOOD SPARKS..........DAVE RAWLINGS....... AND THE BOX ELDERS.

 

What's next for you Patrick?

PROMOTE THE BOOK HERE IN LONDON AND IN ENGLAND WHERE I AM AT PRESENT (BOOK IS AVAILABLE FROM  WWW.PSYCHEDELICDAYS.COM AND FROM AMAZON AND IN EARLY SEPTEMBER I WILL HAVE SOMETHING NEW TO OFFER OUR "CULT "FOLLOWING OF LOYAL FANS AROUND THE GLOBE IN THE SHAPE OF THE 13DALI’S.....A NEW SOLO RECORDING. ......THE SHOW MUST GO ON!

 

Find out  more about Patrick Campbell Lyon’s fantastic new book
WWW.PSYCHEDELICDAYS.COM