a man like me.
The diary of a Man like me
The Usual's last album – ‘Born in a Storm' was a watershed with hindsight. I had begun to explore song writing outside the creative enclave of four guys jamming and grooving until songs presented themselves. It's not at all like I don't dig (and miss) the musical hijynx I got up to with Tom, Paul and Yoyo, but at the time I felt that I had something personal to say so I went away to write it. When I returned, I think we all began to notice that something had changed.
When the Usual drifted apart, I decided to get stuck into the songs I had previously not had a ‘reason' to write while still in band.
I also decided to concentrate only on song writing. Other famous and fantastic artists would record my songs and I would be rewarded with bling and worldwide respect beyond my manager's wildest dreams. Who would give a monkey's whether I put on fifteen kilograms, refused to shave for weeks and lived in tracksuit pants? All that would be physically required of me would be to walk down the driveway to collect my royalty cheques from the post box.
Damn good plan.
I started by recording demos of the songs for presentation to the fabulous abovementioned and I'm not quite sure at which stage I realised that I was in fact recording an album. I know I've been at it for around three years and I'm glad it's taken the time it has. There was no deadline. I've loved these songs, hated them and finally given into the fact that sooner or later no one is going to believe me when ‘I promise it's nearly finished' ever again.
Anyway there probably won't be another one?
Along the way I've had the opportunity to work with some incredible people. Trips to New York have afforded me the pleasure of working with accomplished publishers and songwriters in the entertainment capital of the world. It's a familiar cliché, but the place has a buzz and energy all of it's own. If I can make it there I'll make it anywhere. Through Spirit Music Publishing of 5 th Avenue, I've enjoyed a particularly cool long -distance relationship with multi Emmy Award winner AJ Gundell, with whom I co wrote Beautiful lies and Something we lost along the way.
It was also in New York that I connected with Dan Heymann. For those who don't know, Dan is the genius behind the classic South African anthem Weeping and other Bright Blue favorites . He's been living in the upper West Side for about ten years with his wife Gillian and young lad Sasha. Had he not got stuck in the subway on that fateful morning in September of 2001, he would have been at his desk on the 42 floor of the East twin tower. The first plane landed on his desk.
Dan is a kindred spirit – it's all about melody and stories for him. He's not prolific, but every now and then he makes a comeback with gem like Jerusalem , which he asked if I would demo for him. Like, no way. Not. We did a demo in a downtown New York studio. Dan wrote a last verse and we re-recorded it live at Street Level in 2003 Cape Town January day in 2003. We both agree we captured something special - warts and all - on that Cape Town January day. Prodigal Dan.
Tom Fox has been the only guitar player for me. Unique sound, sublime musicality, versatility – in many senses the complete musician. It seems he never stops listening, he continues to grow and expand is musical vocabulary, bringing life to my simple melodies. With the exception of a few tracks, we produced the album together. Before he and his family left our shores for New Zealand, the pair of us had had the opportunity of playing most of the material in at series of unplugged gigs we had arranged. When it was clear that the songs were working in their simplest form on piano, guitar and voice, we felt confident enough to go into Street Level Studios to begin laying down tracks. We decided we were going to keep things really simple. The philosophy is a time tested and old fashioned one. It's a pop record played by jazz musicians.
Richard Black and I started Street Level about twelve years ago with on simple vision in mind – to become a creative home for writers and musicians, to harness their creative energy and to become successful through creating music that will always sound as fresh as the day it was recorded. Keeping the wolf from the door hasn't always been easy, but a quick listen to some of the seminal late night recordings is reminder enough to keep us focussed in a righteous direction. Any day now….
An old friend has a painting on his wall. A bold and abstract visage in primary colour – someone having fun with their talent, I suspected. A South African artist called Paul du Toit painted it . I made a mental note then, thinking how cool it would look as an album cover if I ever got finished with the damn thing.
When that day came I called to see if I could interest Paul in an association with my album. To my relief, he totally got into the idea of breaking with tradition of having the stereotypical airbrushed head & shoulders on the cover – preferring to go for something a little more interesting and personal. I was immediately drawn to a massive canvass called Major Player , which hangs above his fireplace in Hout bay. It was agreed that this was going to be A man like me, which suited my agenda perfectly. Standing in front of a camera trying to look good has never been one of my strong suits or idea of a great afternoon.
Photo's had to be taken nevertheless and I asked Paul if he could recommend anyone. He said, “ Josie Borain ”.
‘Is she good?' I enquired. ‘She's amazing' was Paul's response. Good enough for me.
Josie is probably more widely known as an international model and glossy cover girl. What most people don't know is she's also the mother of three beautiful children as well as an accomplished photographer. Her years spent in fashion capitals of the world, have provided the context for countless intriguing and voyeuristic behind-the-scenes photo ops. We spent a couple of insecure and hilarious afternoons together and have become good friends.
I hope there's something here for you to enjoy.
A man like me
This one seemed to write itself in about fifteen or twenty minutes between a doodling on guitar and a walk by the river with two dogs. As an attempt at some Country, I quite liked the idea of having a legitimate excuse to wear my heart on my sleeve. A man like me is a complicated simpleton's devotion – placed with gratitude at the altar of love and understanding.
Shine
I have never tried to be anything other than a pop musician in the sense that I want people to ‘get' my music and I realised that a part of me had been apologising for it.
I wrote Shine first and sonically it kicked off as a tribute to two big influences – The Police and U2. They created accessible music with intensity and layers of meaning. It used to be ‘mainstream'. I'd like to make pop, which is enjoyed for years – not as long as the marketing campaign.
So with abandon, I flung the demo together - a schizophrenic paradox of Pride and Walking on the moon. The album version is spiced with a little more Cape Town flavour, drawing on Goema and a bit of Abdullah Ibrahim if you listen closely. The pleasure of Freshly Ground's Zolani Mahlodi on backing vocals can be enjoyed - both here and on A man like me. She's a natural – as anyone who has heard her will tell you.
She's so misunderstood
I was invited to produce five tracks for a Justin Berg album a while ago. We needed a fifth song. I'd had a chorus kicking around for a while and the project provided the catalyst to knuckle down and finish the lyrics, which were giving me a hard time. I was trying to tell the story of a girl we all recognise. I remember very clearly typing line after frustrated line on the morning we were due to record. It was also the morning of a routine check up with our baby doctor as Lauren was eight and half months pregnant at the time. Somewhat earlier than expected, I became the father of a beautiful boy that day. I cancelled the recording session and survived the most and mind-altering priority-shifting weekend of my life.
Justin's version is in your face and urgent. I also ‘heard it' another way. We cobbled this together very in a few hours at Street Level Studios – I played a sketch bass part for Eddie Jooste to polish a few days later by which time he had died tragically in a car accident on the way home from a gig. I had the pleasure of playing with Eddie in concert only once and knew him for short time. I'll remember him always as an amazing guy, a gentleman and a musician of the highest order. I am fortunate to have his easy going smile captured on this album forever.
Gravity
I wrote the chorus in New York while waiting for a bus. I always seem to write choruses quickly only to labour endlessly with the verses. I presented the idea to various collaborators, but quickly realised that it was a song I had to figure through on my own.
This probably the most personal lyric on the album and is my homage to the natural and ancient way I am loved by a very special woman.
live.
James Stewart LiveCape Town music veteran and song-writer James Stewart has just released his first ever live recorded album - a killer greatest hits collection of classics, new material and personal favourites simply entitled, “Live”.
Recorded at Ignite in Camps Bay at the end of 2006, the album features all the best tunes from The Usual days as well as the new solo material of James Stewart. It also captures the trademark laid back friendliness of the man in action and the equally trademark enthusiasm of the crowd for this, one of the best loved and long lasting musical products of the Western Cape .
For the recording, James flew guitarist Tom Fox (The Usual and Bright Blue), bass journey-man Yoyo Buys (The Usual and many new pasty faced English bands) and drummer Preston Heymann (Eric Clapton, Kate Bush and many others) out from the UK and New Zealand for the gig. Capturing the perfect sound and vibe of the songs was central to the project and James knew exactly who he needed.
“I have played with many guys over the years,” he remarked on the choice of players, “But for me, this is my dream team, the guys I would want to have with me if I were playing Central Park or The Royal Albert hall. They are consummate professionals, who sound incredible even when they're having a bad night. What more could I ask for?” he asks with a smile.
In many ways a unique project, the recording of the album was funded by Moore Stephens Chartered Accountants and produced by Richard Black of Street Level Records. As such it's a totally independent release that is only available via mail order or digital download, from James Stewart's website www.jamesonline.co.za.
“We decided that it was time to explore alternative ways of getting my music to the fans and to new customers,” says James of the distribution plans of the album, “So much has been said about the power of the web and the internet to put control back in the hands of the artists – not to mention fans. Who wants to sit in traffic, pay for parking and deal with out-of-stock hassles when you can have the album of your choice sent to your door – signed by the artist?”
At sixteen tracks, it is also excellent value for money. This means that, whether you are in Cape Town or Canada , Llandudno or London , you can get the new James Stewart album at www.jamesonline.co.za and not have to worry about stock availability or price differences. It's there, waiting for you. What are you waiting for?
Track Listing:
When I look into your eyes
Shine
Gravity
The Meaning Of Goodbye
Beautiful Mistake
All I Want Is You
Don't Stop Turning Me On
Pretend
I Could Say Nothing
Ain't Nobody Here But Us
hickens
The Kind OF Love I need
Choo Choo Ch'boogie
A Man Like Me
Something We Lost Along The Way
Like a Vision
The Shape That I'm In
Available exclusively at www.jamesonline.co.za