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Hi Phil, welcome to VENTS! How have you been?
I have my own hair, my own teeth, still play football (a deep lying playmaker in the Andre Pirlo style since you asked) and still enjoy making music. So not bad at all. thank you.
Can you talk to us more about your latest single “Fast Car”?
In my former life as songwriter-for-hire I occasionally wrote something ‘for myself’ rather than the ‘pop machine’ that paid me. Writing songs for other artists, for a living, involved imagining the artists’ world view, understanding their vocal limitations, their range, their lyrical do’s and don’ts and what the record company wanted to hear. So, it was essential to spend a few days every now and then writing something fresh that made me laugh and want to sing-a-long with. A healthy indulgence. ‘Fast Car’ is one of those songs. The production is a nod towards Jeff Lynne’s sound. His mastery of the pop hook married with a gritty rock band and covered with an over-the-top orchestra. Mr Lynne is known for ELO but also The Traveling Wilburys. I like to think of my album style as ‘The Traveling Philburys’.
When it came time to make a solo album Did any event in particular inspire you to write this song?
Lockdown. I adjusted the original lyrics during the lockdowns so the gist wasn’t just a song about frustration in a relationship with the metaphor of a fast car stuck in a traffic jam, ( ‘my life ain’t moving on from where I am , stuck in a jam’ ) but also include the common experience of the weird two years of no gigs, no sessions, no sitting in a room with another artist impatiently telling them what to do. Haha.
How was the filming process and experience behind the video?
I’m lucky to have a fancy friend in the fashion photographer and video maker Neil Matthews. He’s incredibly experienced, confident and calm. Back in the 90s he was making videos for Sir Paul McCartney and shot photos for George Michael, Meatloaf etc. so I’m obviously an upgrade. Neil convinced me to perform ‘Fast Car’ wearing a green screen gimp suit and orange kitchen gloves. The original footage of me without the process of replacing the green parts would scare anybody. It’s a horror show. I utilize a soul singer’s emotive trick of describing most lyrics literally by miming with my hands e.g., the line ‘I feel so far way’ is expressed by shielding my eyes and looking into the distance. It’s my only talent! Somehow Neil managed to make it all work with the help of some friends of mine wearing hazmat suits, weird masks, playing inflatable instruments and occasionally putting on print-out faces of Jeff Lynne and Roy Wood from 70s orchestral rock band ELO.
The single comes off your new album Now That I Have Your Attention – what’s the story behind the title?
The title came to me at the start of the album a year ago. It’s tongue in cheek. No one pays any attention to a veteran rocker, writer and would be philosopher like me. I can’t complain. I’ve had some magnificent moments in a mainly enjoyable, hard working career. Playing bass and producing for The Cure and Bryan Adams. Writing hit songs for more talented artists than me, something I’m very proud of. So, if anybody does pay attention to my music, I’m both surprised and grateful. Andrew at Lojinx, the record company, has always encouraged me both with this solo album and my Astral Drive albums (My musical nod to Todd Rundgren’s genius). At least I have his attention for the moment. Andrew’s not Todd’s. I don’t think Todd could give a monkeys. Fair enough.
How was the recording and writing process?
I’m lucky to have my own recording studio full of instruments and vintage gear. Piano, glockenspiel, drums, a few guitars and basses, cello and so on. So, if I get an idea for a song, I can indulge all my musical whims in a second. I usually record without any due care and attention. I do a couple of takes on each instrument in a haphazard fashion trying to catch a vibe . After 45 years of making records, I sort of know what I want it to sound like and have an ‘ok’ ability on drums, guitars and piano. Probably close to ‘professional standard’ on the bass and harmony singing. I’ve always gravitated towards exploring harmony vocals, using different mics in different parts of the house for sonic painting, layering the vocals to distract from my limitations as a lead singer. Song ideas generally just fall into my head whilst watching TV or cycling. as they say, if it’s a melody you’ll remember it. The lyrics often go through a few brutal edits while trying to encapsulate something that’s pop but original too. The lyric writing and the lead vocal are usually the only thought-out part of my process. The rest of it, hooks, melody, chords, beats, engineering is all second nature. I share my string arrangement ideas with Sal Herbert and she adds the technicolor know-how to create the full orchestral experience. The rest of it I do myself – I don’t bother anyone else! Only a couple of tunes I enlisted my writer-producer friend Jimmy Hogarth to freshen things up. He’s successfully produced all the James. Bay, Blunt and Morrison. I wish I was called James sometimes. Maybe my voice would have a better tone.
Do you tend to take a different approach when you are producing someone else rather than your own work?
Definitely. Whilst I feel hyper confident in my production and songwriting ability I try and respect the artist’s sense of where they want to be. The more self-actualized artists usually come with a clear idea of what they’re trying to achieve either by talking about it or highlighting some new or retro album that chimes with their emotion. Sometimes I do ignore all that stuff and just try to make a hit. Hits make the music business turn, they encourage a longer career for the artist and the team. No one talks about the flops I’ve made in my own career. That’s a clue isn’t it? I have semi-retired from making records with other people. The phone stopped ringing and I stopped listening for it. I’m like a compost bin of talent, organically decaying by the month, but useful if you need something to grow quickly.
Where did you find the inspiration for the songs and lyrics?
They seem to fall from the sky into my head. Often the melody comes first, then I build a track around the melody and in that process some phrases I sing, gooble-de-gook, might stick or suggest something meaningful. Sometimes I hear a phrase and decide to write a song starting with that phrase as the title. It’s a matter of being patient waiting for the penny to drop. Except I’m the one dropping the penny as well. The McCartney-esque ‘Bluer Than a Bluebird’ was a tune built around a tack piano chord progression waiting for the right story. ‘Heaven In A Hash Pipe’ similarly was a melody looking a reason to be a song. The title gave it that. It’s neither pro or anti by the way. Just observing. ’One Night in America’ was a title that became an anthemic song, so the process was reversed the other way round. Lyrics then melody. ’Solid Gold Sunshine’ (the next single) came from a Friday night jam session with myself. I had a glam rock riff and added 70s elements like stomping drums (Slade), slide guitar (A-La JoJo Gunne) and T-Rex like cellos and a Wings ‘Jet’ like Moog synth. Once you sing a hook like ‘Solid Gold Sunshine’ it makes the songwriting come into focus and fun.
What else is happening next in Phil Thornalley’s world?
I have another Traveling Philburys album simmering on the back burner. My soul rock alter ego, Astral Drive, has another album taking shape too. Sonically they’re very different adventures. Basically the solo stuff is more about primary guitar chords, E,A,D ( three note chords ) and the Astral Drive sound is denser, a more soulful use of Polychordal tones. (Ahem). Chords that have five or six notes. But at the end of the day, it’s still about me trying to get your attention. Check out my songs. They’re brilliant. No, really!
