Richard Hawley | ||
| Allmusic Biography : With a melodic baritone anguish that falls somewhere in the neighborhood of Scott Walker, Pulp touring guitarist and former Longpigs member Richard Hawley is a songwriter, guitarist, and producer whose elegant, timeless solo work has often used his native Sheffield, Englands locations as a muse. He has been nominated several times for the Mercury Prize as well as a Brit Award. In addition to his solo recordings and his presence in Pulp, Hawley has worked with a variety of other artists, including collaborations with Lisa Marie Presley, Arctic Monkeys, Manic Street Preachers, Elbow, and Paul Weller, and he has produced recordings by A Girl Called Eddy and Nancy Sinatra. He also scored the award-winning film Funny Cow. The son of a steel worker, Hawley was raised in Sheffield and grew up listening to folks such as Roy Orbison and Elvis Presley. He learned guitar at an early age from his father and uncle. During the 90s he built up a reputation as an ace guitarist and, in addition to his stints in Pulp and Longpigs, did session work for U.K. artists such as Robbie Williams, Beth Orton, and All Saints. He released his self-titled debut in April 2001. Hawleys sophomore effort, Late Night Final, which cloaked his sweet baritone and heart-worn songs in lush arrangements, followed in 2002 on Bar-None Records. Hawley toured behind the album, opening for the likes of Coldplay and Pulp. Also in 2002, Hawley and Pulp leader Jarvis Cocker recorded a track for the tribute album Total Lee! The Songs of Lee Hazlewood. The next year, Hawley returned with the personal Lowedges, which was named for a place just outside Sheffield. In September 2005, Hawley released his first album for Mute, the bittersweet Coles Corner. He followed it in 2007 with Ladys Bridge. Hawley was approached by Mute label boss Daniel Miller, who asked him if he had an album in him that hed always wanted to make regardless of commercial concerns. Hawley responded in the affirmative and underscored his remark with "There wont be any singles on it." Miller told him to go ahead and record it anyway. That album, Trueloves Gutter, was released by the label in 2009. He followed it in 2010 with a four-track EP entitled False Lights from the Land, featuring two originals and two covers. In the spring of 2012, Hawley released Standing at the Skys Edge on Parlophone, an aggressive, two-guitar, bass, drums -- and rocket noises -- rock & roll album, which stood in stark contrast to his previous full-lengths. His catalog was also used as the soundtrack to the documentary film Love Is All. Part of the Crossover Music Archive film project, the doc featured film clips from over 75 different sources set to some 20 of Hawleys compositions. After a couple of short tours, Hawley retreated to Sheffield and suffered a broken leg. During his recuperation, he wrote Hollow Meadows (again named for a location in Sheffield). The album was recorded at the Yellow Arch Studios and co-produced with longtime guitarist Shez Sheridan and Colin Elliot. It featured guest appearances by Martin Simpson, Jarvis Cocker, and Nancy Kerr, and was released on September 11, 2015. After recuperating and playing select dates, Hawley settled back in Sheffield and wrote the score for the film Funny Cow, written by Tony Pitts and directed by Adrian Shergold. The finished score (which also contained additional songs by Ollie Trevers) contained the duet single "I Still Want You," recorded by Hawley and Corinne Bailey Rae. The recording was released as a stand-alone document by Laughing Girl in the spring of 2018, just as the film was widely screened on the U.S. indie circuit. | ||
 | Album: 1 of 15 Title: Richard Hawley Released: 2001-04-23 Tracks: 7 Duration: 22:28 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Coming Home (04:16) 2 Bang to Rights (03:46) 3 Sunlight (02:25) 4 Caravan (02:27) 5 Naked in Pitsmoor (03:24) 6 Time Has Made a Change (03:01) 7 Happy Families (03:07) |
| Richard Hawley : Allmusic album Review : Before Richard Hawleys self-titled solo debut mini-album, and the later release of his breakthrough album Late Night Final, he was known primarily, if at all, as the guitar player from the Longpigs, or as the touring guitarist for friend and longtime collaborator Jarvis Cockers Brit-pop hero act Pulp. What nobody but his insider friends could have known, was that in addition to his stellar skills at the guitar, Hawley possessed wonderful crooning vocal chords and considerable songwriting chops. The seven songs on his 2001 debut are every bit as accomplished as the influences they portray. Hawleys artsy slices of noir come across like Scott Walker jamming with Roy Orbison and Nick Drake. His rich voice could come from any era, and indeed, if not for a copyright date, it would hard to pinpoint when the album was released. Hawleys subtle take on chamber pop makes for seven instant classics. But unlike much of Scott Walkers catalog, or that of Walker fanatics like Neil Hannon, Eric Matthews, and Cousteau, there isnt an ounce of cheesiness. Hawleys guitar floats above hushed drums, like Chris Isaak playing in an isolation chamber, as fractured, chiming percussion out of an Angelo Badalamenti film score makes for a dreamy backdrop. Tinged with country and jazz overtones, the music is hard to pin down to one genre, and pairing this fact with Hawleys gorgeous baritone voice makes for a consistently intriguing listen. Hawley would continue to mine this fantastic realm of his own creation, releasing similarly perfect mood explorations, and developing a cult audience in the process. With each new album, Hawleys audience would grow; those who missed this debut shouldnt neglect seeking out its treasures. Its hard to imagine a more superb solo debut. | ||
 | Album: 2 of 15 Title: Late Night Final Released: 2001-10-15 Tracks: 11 Duration: 41:32 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 Something Is...! (03:42) 2 Baby, You’re My Light (02:54) 3 Love of My Life (03:20) 4 The Nights Are Cold (02:46) 5 Can You Hear the Rain, Love (04:55) 6 Lonely Night (02:45) 7 Precious Sight (04:15) 8 No Way Home (04:14) 9 Cry a Tear for The Man in the Moon (03:26) 10 Long Black Train (04:13) 11 The Light at the End of the Tunnel (04:54) |
| Late Night Final : Allmusic album Review : This record is worth listening to for a perfect escape from the worries that one makes of the real world. Touring guitarist for the band Pulp and former member of the Longpigs, Sheffield, Englands Richard Hawley creates an album brooding with creativity and charm. With dreamy and ethereal instrumental works throughout, Hawley paints the town psychedelic with spirit and fervent passion. From beginning to end, this Bar None release is chock-full of reflective lyrical statements and stunning, pristine guitar and percussive statements. Many of the vocal mixes take the listener from a state of pop/rock hysteria to nightclub righteousness. Hawleys lyrics express themes like precious memories of lost loves, moonlit outings, and humorous daylight excursions. "The Light at the End of the Tunnel," a gem of sorts and the final track, promises to be a tearjerker every time. Hawleys stunning and crafty vocals hardly fail to stir the souls and hearts of the active listener. An alternative rock album with a hint of blues done in a psychedelic setting, Late Night Final is a fine album for an English rocker, a fine journey by a singer/songwriter with budding potential. | ||
 | Album: 3 of 15 Title: Lowedges Released: 2003-05-20 Tracks: 11 Duration: 41:00 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Run for Me (04:06) 2 Darlin’ (03:32) 3 Oh My Love (03:45) 4 The Only Road (05:41) 5 On the Ledge (03:19) 6 You Don’t Miss Your Water (Till Your River Runs Dry) (04:56) 7 The Motorcycle Song (02:57) 8 It’s Over Love (02:45) 9 I’m on Nights (03:25) 10 Danny (03:49) 11 The Nights Are Made for Us (02:41) |
| Lowedges : Allmusic album Review : Richard Hawleys second album, Lowedges, retains all the virtues that made his debut long-player, Late Night Final, such an out-of-left-field stunner: the late-night atmosphere, the subtle yet dramatic arrangements, Hawleys deep and expressive vocals, and, above all, the low-key and catchy songs that will have you remembering past loves, glory days, and autumn nights. It is nothing but very sentimental and emotional stuff from beginning to end without any traces of mawkishness. Hawley sings with tender resignation and, unlike most singers these days, absolutely never sings two notes where one will do. The arrangements are even more sophisticated on Lowedges, with loads of subtle strings, standup bass, twangy guitars, and more judicious use of reverb. Throughout, Hawley is fond of using swooping slide and pedal-steel guitars to provide atmosphere: on "Darlin," the slides whisper in the background like star-crossed lovers and on "The Only Road" they hover like specters in the distance. This album features a little more dynamic range than Late Night Final. A couple songs dial the volume up a bit: "Oh My Love" has a power ballad feel with the chorus amped up with distorted guitars and massed backing vocals and "Run From Me" has an epic wall of sound and sounds like the best Bad Seeds song in many a year. A couple tunes (the chiming closer "The Nights Are Made for Us" and "Im on Nights," which has some haunting guitar lines) bop along like weird 50s doo wop ballads. All the tunes are first-rate. Hawley is a compelling mix of the pastoral beauty of English folk rockers like Nick Drake and the urban cool of balladeers like Scott Walker with a dash of the otherworldliness of Julee Cruise. He doesnt make a false step on this album. Most likely it will be overlooked by the masses, but thats OK. They dont deserve to be hip to such a wonderfully intimate and, well, wonderful artist and record. Lets keep it a secret -- a wonderful secret. | ||
 | Album: 4 of 15 Title: Coles Corner Released: 2005-09-05 Tracks: 11 Duration: 46:07 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic Wikipedia AlbumCover | 1 Coles Corner (04:48) 2 Just Like the Rain (03:16) 3 Hotel Room (03:42) 4 Darlin’ Wait for Me (03:53) 5 The Ocean (05:36) 6 Born Under a Bad Sign (03:41) 7 I Sleep Alone (03:45) 8 Tonight (04:32) 9 (Wading Through) The Waters of My Time (03:48) 10 Who’s Gonna Shoe Your Pretty Little Feet? (04:08) 11 Last Orders (04:58) |
| Coles Corner : Allmusic album Review : Coles Corner is Richard Hawleys fourth solo offering. He still tours as a guitarist with Pulp and does session work for a number of artists, but it is clear from his catalog that his true passion lies with making his own records. His production style is simple yet elegant, warm and graceful, with lots of space for the listener to enter into. Hawleys love of Roy Orbison, Elvis, and Scott Walker has left the best possible mark on him as a singer and songwriter: He understands that in writing a song, the most important thing is to make it immediately available to the listener as either a lived or desired experience. He paints his lyrics with melodies to get that across, then records with the intention of creating a world at once familiar and somehow utterly dreamy, timeless. Coles Corner is an intimate collection of love songs (most of them broken), where sadness and melancholy are carefully housed in forms and frames that understand the weight of the emotion communicated without letting the emotion overwhelm the song itself. They are saturated in tenderness and the heart of true romantic, not self pity or bitterness.. Coles Corner is an actual place, a corner in Sheffield, Hawleys hometown, where people have met and encountered one another by chance, to hang out, rendezvous, and commiserate since 1905. This song cycle reflects the hope experienced in some of those chance encounters as it flowers and then withers and dies. Sounds like a downer, but Hawleys melancholy is so rich and empathetic, so devoid of self pity and self assessment, it is anything but. The opening title track is like the beginning of as a suite or a film score. The Colin Elliot arranged strings ease in John Triers piano and Hawleys voice, offering a snapshot from a man who stands alone on that corner, looking, waiting, deciding. His willingness to step out into a world of chance, into the world of people who all know what he feels is stirring. The ballad portays a world seen from outside; the protagonists desire to enter becomes his movement toward something unknown and unexpected. "Just Like the Rain" is its mirror image, a song fueled by thin, shimmering guitars, articulated against restlessness and a desire for return, to find the ghost that has haunted the narrator. Here, echoes of Mickey Newburys and Johnny Cashs stylized country story songs ("Sleep Alone") Charlie Richs and Roy Orbisons balladry ("Darlin Wait for Me") permeate Hawleys delivery; they alternate with traces of Walker, Jacques Brel, and even the Frank Sinatra of "In the Wee Small Hours" ("The Ocean") to incarnate something completely and utterly his own. "Hotel Room," is an old-school rock & roll crooned ballad that iterates the magical nature of a tryst that feels like it exists outside of time and space and the margins of the universe are demarcated by four walls and the bed that is the lovers sanctuary. And so it goes. Reveries, nostalgia, longed-for wishes, regret, sadness, and the bittersweet mark of the beloved left on the heart of the left and lost. Early rock & roll and rockabilly, country, traces of the vintage-40s pop, jazz, and blues, fall together on a dimly lit, intimate streetcorner that has witnessed it all. Hawleys guitar sound rings like a voice from another era; it underscores both emotion and story in his voice. There isnt a moment on Coles Corner that doesnt stand up, doesnt fall into the next, giving them all uncommon, even singular depth and dimension. And the singers voice conjures shadows, glimmers of soft light, street lamps, tears, and the sound of lonely steps on a rainy midnight street. Coles Corner is expertly assembled and executed. It is magical and utterly lovely. | ||
 | Album: 5 of 15 Title: Lady’s Bridge Released: 2007-08-20 Tracks: 11 Duration: 48:29 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic Wikipedia AlbumCover | 1 Valentine (04:27) 2 Roll River Roll (05:10) 3 Serious (03:24) 4 Tonight the Streets Are Ours (03:39) 5 Lady Solitude (05:32) 6 Dark Road (03:58) 7 The Sea Calls (05:54) 8 Lady’s Bridge (03:59) 9 I’m Looking for Someone to Find Me (03:18) 10 Our Darkness (04:07) 11 The Sun Refused to Shine (04:56) |
| Lady’s Bridge : Allmusic album Review : Richard Hawleys Coles Corner was nominated and shortlisted for the Mercury Prize (the British equivalent of the Pulitzer). He may not have won it (the Arctic Monkeys did), but it did bring his name and music to a far greater audience than he had ever been exposed to before. Coles Corner, named for a geographical location in Sheffield where Hawley lives, was an elaborate meditation on friendship, memory, and love, inhabited by the ghosts of that little piece of real estate -- the concrete corner outside a now bulldozed department store -- were idealized as hidden history in the chambers of the human heart. Ladys Bridge -- named for another locale in Sheffield -- is as moving, tender, and literate as its predecessor, without the least bit of formula or pretension applied. The location is Sheffields oldest bridge, a place that divided the working-class part of the city from its upper-crust denizens. Hawley grew up on the poor side of it. According to what he has said in interviews, Ladys Bridge is also a metaphor for the crossing of a bridge in his own life -- and that doesnt necessarily mean his career. Hawleys father, Dave, a lifelong Teddy Boy from the first generation of the Edwardian youth subculture in the 50, was a gone rockabilly cat who worshipped Gene Vincent (smart man) and played music his entire life. He worked all day and played at night with everyone from the likes of Muddy Waters to the local wannabes; he was a real working musician, and a profound influence on his son. Dave Hawley died after a yearlong battle with lung cancer as Richard was in the process of making this record. His presence is deeply felt on the punchy little rockabilly number "Serious," with its jaunty rhythm, doo wop harmonies, and Hawleys warm, silvery guitar lines strumming and playing those beautiful Paul Burlison lines in the background. His suave baritone has the phrasing of the era down, but he sings in his own voice, and when the reverb-laden guitar break inevitably happens, he doesnt make a big deal of it. Its a timeless pop song that could have been written in 1956, but this is no Stray Cats romp; it comes via a much more literate approach to writing in general. Hawley leaves the crap on the cutting-room floor and gets the tune itself out and doesnt worry about the rest. This is followed by the albums first single, the brilliant "Tonight the Streets Are Ours." This track is simply gloriously written and performed. There are acoustic and electric guitars, a string orchestra, a backing chorus, a tinkling piano, and even perhaps a glockenspiel. That said, its tight melody and Hawleys relaxed delivery create a multi-textured realm of hopes and dreams that usually exists nowhere but the movies. Truth be told, this cut is one of the only songs in this young century thats as good or better than the movies. Its actually a textbook example of what makes a great song: catchy melody, tight bridge, and a sendoff thats out of this world with its short ramp of instruments. In addition, the listener knows what the tune is about just by the title, but is still uplifted when the full measure comes booming over the box. There are also astonishingly sad ballads here, such as the album opener, "Valentine" (it took cojones to open a record with a song so sad). Its about a pair of lovers who have been together for a long time, and one of them is leaving the world, and is afraid of what that means. The tough realization here, put in an original way, is that most relationships -- especially the successful ones -- end in this way. "Dont need no valentines, no no/Dont need no roses/They just take me back in time, no no/Not youre not here/Anymore/Not anymore." Acoustic guitars strum, strings swell, and drums, heavy on the tom-toms, plod along and underscore every line as Hawley allows his voice to emote just enough to break the listeners heart into bits. Truth be told, though this is a contemporary song, Jack Nitszche would have killed to produce it, and Roy Orbison and Elvis would have paid loads to record it. Hawleys not Chris Isaak; hes in his body, he is the song, hes not a persona -- the song is. Thats what matters on Ladys Bridge, as it has on all of his records. A listen to the forlorn and hauntingly beautiful "Roll River Roll," written about the great Sheffield Flood that claimed dozens of lives, reveals not some dramatic tragedy, but the act of surrender to this force of nature that allows the victim to forget everything but the journey "home." Its waltz tempo is kept by Dean Beresfords kit, a double bassline by Colin Elliot (who co-produced with Hawley), a pair of guitars by Hawley and Shez Sheridan, and John Triers timeless and elegant but in-the-groove piano, supported by strings that never overwhelm the lighter-than-air melody and harmony in the tune. Another fine tune in waltz tempo is "The Sea Calls." Framed by piano, harmonium, high-strung guitars, vibes, accordion, theremin, Spanish guitar, banjo, lyre, and a drum kit with brushes, its full of the seas stormy nature while gliding its way home atop lulling waves. Its perhaps the first "goodbye, dear" sea shanty written in the 21st century disguised as a sophisticated pop song. The bona fide cut time "Im Looking for Someone to Find Me" evokes "Dont Be Cruel" in its refrain, but its got more going on. There are backing voices like the Anita Kerr Singers with the Jordanaires, strings, and that rumbling, popping snare and bass drum work of Beresford. Hawleys melody could have been written in the 40s, 50s, 60s -- or now! Its got a big reverbed Duane Eddy-sounding guitar in the middle and gorgeous harmony singing by the band. Hawleys sad song is so upbeat its impossible to be depressed by it, but it expresses longing in such a pure and direct way that its nearly profound. Its followed by the utterly sad "Our Darkness." Again, the title needs no explanation and its such a complex tune, adorned by the Stocksbridge Brass Band, Triers Fender Rhodes, a ton of drama, and Elliot playing timpani! The real question is, why isnt it schmaltzy? Because it all feels real, as if its happening right in front of you. Hawley displaces the surroundings and makes them all part of his voice. There isnt anything but the scene in the tune playing out in front of the listener. Its almost as if this man was born out of time because his work is so utterly rooted in the past, but it feels completely contemporary. He would have been a monster talent to contend with in Doc Pomus era. It comes to an end on "The Sun Refused to Shine," another atmosphere-drenched ballad that offers the revelation by a trusted friend that the subject was in such a state of self-deception and denial that no one and nothing could cut through it -- it had to play itself out. The wall of sound here is thick and dreamy with electric guitars, echo-chambered feedback (thats easy on the ears), Rhodes piano, vibes, a lap steel snarling in the backdrop, and just layers of it all floating through the tune. Hawley just delivers the words as fact. Its a devastating closer and it couldnt go anywhere else. Ultimately, Ladys Bridge is a sad kind of record that doesnt leave one depressed. In the great rock & roll tradition, it leaves the listener feeling alive, full of a dreamy kind of awe at what has just transpired and the plain-fact realization is that this is an absolutely brilliant record by a middle-aged man who is just beginning to hit his stride, though everything hes done is relegated to the realm of an accessible kind of art. Listeners may have heard sounds like this before, but never assembled in this way -- and played, not sampled. Ladys Bridge proves that Coles Corner was no one-off, and dare it be said, this surpasses the previous album in diversity, depth, and elegance without ever sounding false. Anyone who hears this set should be righteously and rightfully floored. | ||
 | Album: 6 of 15 Title: iTunes live from London Released: 2007-11-29 Tracks: 6 Duration: 27:14 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Just Like the Rain (03:41) 2 Tonight the Streets Are Ours (04:16) 3 Born Under a Bad Sign (03:50) 4 Roving Gambler (05:03) 5 Lonesome Town (03:17) 6 I’m So Lonesome I Could Cry (07:07) |
 | Album: 7 of 15 Title: Ladys Bridge EP Released: 2008-05-23 Tracks: 4 Duration: 18:01 Scroll: Up Down Top Bottom 25% 50% 75% Spotify AlbumCover | 1 Lady’s Bridge (03:59) 2 The Sea Calls (Live In Sheffield) (05:51) 3 Roll River Roll (Live In Sheffield) (05:00) 4 Rockabilly Radio (From The Film Flick) (03:11) |
 | Album: 8 of 15 Title: Live at the Devil’s Arse Released: 2009-01-26 Tracks: 13 Duration: 1:03:14 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Darlin’ (05:03) 2 I’m on Nights (04:33) 3 The Sea Calls (06:07) 4 Serious (04:15) 5 Lady’s Bridge (05:05) 6 I Wonder If I Care as Much (05:30) 7 Ashes on the Fire (05:01) 8 Just Like the Rain (03:58) 9 (Wading Through) The Waters of My Time (04:41) 10 Lady Solitude (04:51) 11 Devil in Disguise (03:35) 12 Run for Me (06:38) 13 Silent Night (03:57) |
 | Album: 9 of 15 Title: Truelove’s Gutter Released: 2009-09-18 Tracks: 8 Duration: 51:08 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 As the Dawn Breaks (04:36) 2 Open Up Your Door (04:43) 3 Ashes on the Fire (04:25) 4 Remorse Code (09:51) 5 Don’t Get Hung Up in Your Soul (04:17) 6 Soldier On (06:51) 7 For Your Lover Give Some Time (05:38) 8 Don’t You Cry (10:42) |
| Truelove’s Gutter : Allmusic album Review : Richard Hawley has always shown a penchant for writing deeply evocative and emotional songs about people and situations in his hometown of Sheffield. His early recordings, especially Lowedges, reflected his obsession with lushly orchestrated pop songs and a production style that extended a song far beyond its margins and into the listeners world with a near visual sensibility. This was even more true on the brilliant, near cinematic recordings Coles Corner (2005) and Ladys Bridge (2007), where he took production skills and hometown images to a level that almost -- but not quite -- overtook the glorious melodies in his songs. Hawley created emotional atmospheres as well as sonic ones; nostalgia was a poetic device that evoked the ghosts of history, but were clearly present for the listener. On Trueloves Gutter (another Sheffield-inspired title), Hawley has dug the well much deeper and brought forth a spring of new ideas in his singing, writing, and production, but paradoxically, has done so with less. The album is more sparse than anything hes released. Its eight songs have a decidedly late-night feel. The grand sweeping orchestral strings of his last two albums have been replaced by a chamber section and odd instrumentation -- like megabass waterphones and crystal baschets -- that add real intimacy to the proceedings. These songs reflect his own experiences, or the trials and tribulations of friends. His gorgeous melodies shine through brighter in songs that are naked and unflinching, yet musically more sophisticated, adding depth of field. "Open Up Your Door" would be just a pop song were it not for lyrical concerns underscored by the only chamber arrangement: its a plea for reconciliation by a husband who confesses and owns his shortcomings, while professing an all-consuming love for his spouse as strings swell and punctuate the bridge. The melody is infectious, and Hawleys soaring baritone evokes the power of Roy Orbisons tenor. It is followed by the country-ish "Ashes on the Fire," whose melody is as revealing as its lyric; its a devastating tale of someone who wrote -- and delivered -- a letter confessing an passionate love, only to discover its burnt remains in the dustbin. Hawley conveys his protagonists complex emotions without judgment. His beautiful guitars support the storyteller line by line. "Remorse Code," at nearly ten minutes, melds acoustic and electric guitars with a drum kit played with Dean Beresfords bare hands. Its an observation tale of a friend who likens his life to a shipwreck. The lyric and melody are elementary; there isnt an extra note. Hawleys extended guitar solo underscores its powerful subject matter as a device and illustrates what a terrific storyteller he is. "For Your Lover Give Some Time," perhaps the albums most beautiful -- and wryly humorous -- track, confessionally reflects on his relationship with his wife; Hawley promises to deal with his failings but also points out hers. Its a complex meditation of committment detailing the worthy effort involved in maintaining its bond. "Dont You Cry," at nearly 11 minutes, utilizes Tibetan bowls, glass harmonicas, and a fishermans lyre in an empathic reflection on getting stuck in the expectation of a moment that never arrives. Trueloves Gutter is a singular moment in Hawleys catalog that displays the maturity of all his gifts. It is quietly passionate yet graceful and elegant. Hes realized an ambition here that is artful and singular. | ||
 | Album: 10 of 15 Title: Open Up Your Door Released: 2009-11-29 Tracks: 3 Duration: 13:55 Scroll: Up Down Top Bottom 25% 50% 75% Spotify AlbumCover | 1 Open Up Your Door (04:43) 2 Dont Get Hung Up In Your Soul (Janice Long BBC Radio 2 Session) (03:38) 3 Run For Me (Marc Riley BBC 6 Music Session) (05:34) |
 | Album: 11 of 15 Title: False Lights From the Land EP Released: 2010-06-07 Tracks: 4 Duration: 21:56 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Remorse Code (09:51) 2 Shallow Brown (feat. Smoke Fairies) (03:02) 3 The Ellan Vannin Tragedy (feat. Smoke Fairies) (04:50) 4 Theres a Storm a Comin (04:13) |
 | Album: 12 of 15 Title: Standing at the Sky’s Edge Released: 2012-05-07 Tracks: 9 Duration: 50:33 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 She Brings the Sunlight (07:23) 2 Standing at the Sky’s Edge (06:39) 3 Time Will Bring You Winter (05:26) 4 Down in the Woods (05:23) 5 Seek It (05:11) 6 Don’t Stare at the Sun (05:46) 7 The Wood Colliers Grave (03:07) 8 Leave Your Body Behind You (05:19) 9 Before (06:13) |
| Standing at the Sky’s Edge : Allmusic album Review : The cover of Richard Hawleys Standing at the Skys Edge reveals that something very different is afoot. Given the string-laden, heart-wrenching balladry of Trueloves Gutter, and the orchestrated, tender cibachrome glimpses of a simpler life in and around his native Sheffield on Ladysbridge and Coles Corner, this is a kick in the head. Hawley has brought his guitar and a basic rock band setup back to the fore here, and his references come from the late 60s. Its production is highly textured, expansive, and aggressive. Opener "She Brings the Sunshine" begins slowly with a tamboura, a bluesy, distant guitar solo, a sitar, and even a violin. But a thudding bassline and the drum kit come crashing in less than a minute later and it becomes a cacophonous throb. Its pure psychedelia with all manner of sonics blurring in the mix (he calls them "rocket sounds"). Hawley offers a squalling guitar break in the middle (one of many fine ones).The title cut commences with an organ, acoustic resonator guitar, a simple bassline, and hypnotic tom-toms. As the track builds, Hawley adds a lilting hook in the refrain of a simple melody. His gorgeous baritone is right up front; his poignant lyrics offer three narratives about biblically named characters -- Joseph, Mary, and Jacob -- who respond to insurmountable difficulties) are made more so by the forceful, dramatic accompaniment -- Dr. Johns "I Walk On Gilded Splinters" is referenced in the last third. Hawley uses psychedelia in much the same way Paul Weller did on Heavy Soul: as an extension of his songwriting, pushing his basic rock & roll chops to create songs with a sense of urgency. He gets downright raw on "Down in the Woods," openly copping the riff from the Stooges "1969" with guitars and bass blazing, surrounded by washed sonics and frenetic drums. But there are other moments here: "Seek It," a love song, carries more familiar Hawley melodic touchstones and an infectious chorus. "The Wood Colliers Grave" is an allegorical folk ballad about individual isolation as a consequence of catharsis. The scorching closer "Leave Your Body Behind You" addresses the necessity of finding a way through crisis and dissolution while in the midst of it. Truth is, SATSE is a political album, albeit one free of clichéd sloganeering and/or self-righteousness. Hawleys protagonists are downtrodden, broken, or near despair; theyre very human. As a songwriter, he never sacrifices the voices of his subjects for the sake of sound. By employing hard-rocking, often spacey psychedelia to express the anger he feels at watching hard-won gains of history being damaged and destroyed, Hawley delivers an essential listen. His aesthetic is certainly apropos of the current era; possibly even a brilliant summation of it. [The American version of the album contains the bonus track "You Haunt Me."] | ||
 | Album: 13 of 15 Title: Hollow Meadows Released: 2015-09-11 Tracks: 11 Duration: 49:10 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic AlbumCover | 1 I Still Want You (04:07) 2 The World Looks Down (03:43) 3 Which Way (02:58) 4 Serenade of Blue (04:07) 5 Long Time Down (05:38) 1 Nothing Like a Friend (05:04) 2 Sometimes I Feel (05:35) 3 Tuesday PM (03:30) 4 Welcome the Sun (06:17) 5 Heart of Oak (04:26) 6 What Love Means (03:40) |
| Hollow Meadows : Allmusic album Review : In 2012, songwriter Richard Hawley released Standing at the Skys Edge, an album that proved a stark contrast to his earlier recordings, making a hard-rocking turn at psychedelia. In Great Britain it struck a collective chord and reached number three on the charts. Hollow Meadows, co-produced with guitarist Shez Sheridan and Colin Elliot, doesnt follow suit so much as integrate some of those sounds with those explored on his earliest records, in particular Late Night Final and Lowedges. Hawley wrote most of these songs at home in Sheffield while recuperating from a broken leg and a slipped disc. As is his penchant, this is titled for a local destination: his ancestral home, "Auley Meadows," is where his ancestors resided between the 14th and 17th centuries. These 11 songs are direct, intimate, and more often than not delivered in first person singular no matter the topic, be it romance, disillusionment, aging, relationships, or vulnerability -- or a daughter leaving home. Arrangements are widely varied but always precisely -- often sparsely -- applied. They can offset brooding lyrics with bright textures and simple backdrops. The albums most romantic track is opener "I Still Want You." The lilting, classic pop melody ever so gently rocks, and is shaded by tasteful strings and dreamy, reverb-laden guitars. Hawleys vocal comes from his demo (as do several other tracks here), and actually cracks his silvery baritone: "...We can move our bodies like a twist of smoke/Come let us shake like the flame…" This flaw conveys the simmering passion in the words and music with restraint. Elsewhere, the spacious, gauzy "The World Looks Down," the crooning pop of "Serenade of Blue," the cello- and piano-based "Tuesday," and the classy, mellow "Nothing Like a Friend" (with a Rhee Kee super bass played by Jarvis Cocker), revisit the early rock melodies and harmonies Hawley showcased on those early solo records and developed later -- albeit with more adventurous instrumentation, airier textures, and more poignant lyrics. Folk legend Martin Simpson paints "Long Time Down" with a resonator slide guitar and bright banjo amid a chorus of female backing vocals. Despite its sunny delivery, the narrative depicts a dangerous co-dependent relationship. While "Which Way" recalls Standing at the Skys Edge, the gospel-style backing chorus lends the fuzzy, distorted rocker a spiritual heft. The other uptempo cut here is "Mighty Oak," a catchy tribute to folksinger Norma Waterson, with a singalong chorus. Commencing as a shuffle it builds and turns into a screaming guitar frenzy -- without sacrificing its hook. Hawley doesnt showcase particular themes on Hollow Meadows as he has in the past. Instead, he turns his light squarely on the craft of writing and delivering great songs. For those who made his acquaintance on the Mute albums -- Coles Corner, Ladys Bridge, Trueloves Gutter -- or even Standing at the Skys Edge, this loose-knit set just might be revelatory. | ||
 | Album: 14 of 15 Title: Live at the Devils Arse 28th April 2017 Released: 2018-08-10 Tracks: 14 Duration: 1:16:26 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 As the Dawn Breaks (03:48) 2 Ashes on the Fire (04:45) 3 Tonight the Streets Are Ours (04:21) 4 Standing at the Skys Edge (06:02) 5 Nothing Like a Friend (05:35) 6 Tuesday PM (03:50) 7 Remorse Code (07:20) 8 Leave Your Body Behind You (07:51) 9 Just Like the Rain (03:35) 10 For Your Lover Give Some Time (05:17) 11 The Nights Are Cold (05:53) 12 Heart of Oak (05:17) 13 What Love Means (03:45) 14 Son of a Gun (09:07) |
 | Album: 15 of 15 Title: Further Released: 2019-06-07 Tracks: 11 Duration: 12:15 Scroll: Up Down Top Bottom 25% 50% 75% Spotify AlbumCover | 1 Off My Mind (02:40) 2 Alone (02:47) 3 My Little Treasures (03:25) 4 Further (?) 5 Emilina Says (?) 6 Is There a Pill? (03:20) 7 Galley Girl (?) 8 Not Lonely (?) 9 Time Is (?) 10 Midnight Train (?) 11 Doors (?) |