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Gatefold 180 gram LP version. Includes free download code. "About a year ago, after almost a decade in self-imposed exile as a would-be folksinger, I developed an itch I wasn't expecting. It seemed that there were aspects to my old life in rock and roll that I missed. Tour buses and product managers, certainly not. But the interacting with musicians, the camaraderie and the joy of hearing one's music enhanced, and elevated by the aesthetic of others, absolutely. Damn. I never wanted to make records alone, but somehow I ended up spending much of the 2000s in a studio with just a bunch of equipment and a computer, or touring with a suitcase and two guitars. Two things made me realize that I needed to rejoin the fray, at least for a little while -- I had written some songs which demanded a beat, and I was having great fun with my new acoustic trio -- The Small Ensemble. Why not make a rock(ing) record, or whatever it is that 49 year-olds make when they try to do that? I emailed my ideal band -- I was making a record, in a studio, old school with tape. Interested? All said yes. I had a studio band: drums, percussion - Fred Maher (Scritti Politti, Lou Reed, Matthew Sweet, my first two solo records), bass, vocals - Rainy Orteca (Joan As Police Woman, Antony And The Johnsons, Brilliantine), guitars, mandolin, vocals - Mark Schwaber (The Small Ensemble, Spouse, Hospital), guitars, banjo - Matt Cullen (The Small Ensemble, The Sighs, Ware River Club), keyboards - Blair Cowan (The Commotions, Paul Quinn, Alisdair Robertson), pedal steel - Bob Hoffnar (Hem, Crash Test Dummies, my Bad Vibes album), piano, violin, guitar, vocals - Joan Wasser (Joan As Police Woman, Antony And The Johnsons, Dambuilders), vocals - Kendall Meade (Mascott, Grammercy Arms), production and vocals - Dave Derby (Dambuilders, The Negatives, Grammercy Arms, Brilliantine), mixing - Mick Glossop, Dave Bates, my man at Fontana way back when, kindly agreed to A&R the record. I played acoustic guitar, banjo and sang. The final lyric was written and then recorded at Mick Glossop's Magazine Studio in West London on April 22nd, leaving us two days to mix the song and fine-tune the rest. The whole experience was, for me, rewarding, perplexing, fabulously enjoyable and heinously stressful. Singing with a rock and roll band in the studio, I felt exactly as I did in 1987, or 1995 and then I would see my reflection in the glass of the gobo and wonder who this old guy was? I'm happy we got these songs finished, because I'm not sure I'll make another record like this again. Having said that, I'm never going back to that room with the computer..." --Lloyd Cole, June 2010, Massachusetts, USA
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