Credits

The following text is taken from the credits on the insert for the album 'Heathcliffian Surly'.

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The making of this record has been a long and arduous process, spanning at most 5 years, if you take into account the oldest songs that appear here. I have had plenty of personal crises during this period that have undermined the drive behind the record, some of which are documented here, albeit abstractly. The songs have been recorded in many a bedroom, studio, boat, and field. Even the band that contributed musical parts to these songs have undergone many line-up changes over the past few years. In fact the only constant on this whole record is myself, perhaps appropriately so, as it is a faithful expression of my character and no other, as it was in this period.

I wish to thank the following people for their help, advice, support, and inspiration that made this record possible. Thom Ntinas, a masterful engineer who has captured the sound here. Naomi Doran, a fiddler that introduced me to an entirely different kind of music, and can be heard very faintly on “All of Me”. Peter “Old Timer” Hall, who is missed dearly on this side of the Atlantic. Rebecca Jade, who better not remain dead to the world, if there is any justice in it. To Citizen Helene and Jennifer Hatt, for still talking to me. The King of Hearts, John Patterson, who lent his fast licks to “Life Can’t Get Any Better”, and for the relentless barrel of laughs. Paolo Bertagna, who plays drums with an exquisite light touch on “No Tomorrow” and “All of Me”. My old friends Greg Duncan and Odel Jeffries, who played guitar and drums on “Odessa” and “This I Ask Of You”, respectively, your legacy lives on! Marti Bowley, the longest standing member of my band, a fine double bass player and great friend, your role in this cannot be overstated, many many thanks my good man. The newest recruits in my band, Peter Maidens on guitar and banjo, Andy Marvell on drums and Sonia Gurdjieff on piano, all of whom have a remarkable ability to learn quickly, and most importantly able to suffer this fool’s whims without issue. Chancery Blame, who lends his searing violin solos to “Give Me Detumescence”. Nicole Brant-Zawadski, for the invaluable insights into how the modern world of music works. Daniel my bludda, for all the teenage giggles. Madeleine Brangwen, for doing the dirty work. Tom “the pen” Harris, for the album cover artwork. Dan Smith at Finyl Tweak for mastering. James Bowman, for giving me Sondheim. Aysha Ahmed, for giving me Lawrence. All at the Islington Arts Factory for being so accommodating. Ultrasound, still the best band that ever walked the planet, and without whom I should not have embarked on such a folly as this. Will E. Hogg, for being there for me in times of great emotional hardship. Dougald Hine and Paul Kingsnorth, for posing the questions that no other dares to. My dear parents, for not knowing they even owned a copy of “Young Americans”. Leeland Crane, for your unfaltering support and insistence that I get on with it. Alex “Lemond” Reece, for the exposure to pop music, Scotland, and Musgrove Road parties. To Russia, for Pushkin. To Holloway, for The Prince. To those bastard aspidistras that never give up, and finally, to B.S. Eliot.