And about £60 PRS too – at this rate I’ll be able to afford to record a new album in 2020.

I’m generally a little sceptical about people giving advice on songwriting as it’s such an individual experience, and of course what’s amazing to me may sound atrocious to you! However, this wasn’t that kind of thing, rather it focussed on how to get yourself into the frame of mind to write, how to get over writer’s block and why it’s a good idea to collaborate. You can watch it here and I’d fully recommend you do if you’re a musician / writer.

There are some really interesting tips on morning writing, setting aside creative time and cheating (liked that bit a lot!) but what resonated most for me was the idea of Songwriter’s lodges – basically a way of getting songwriters together to collaborate / share ideas and write better songs. I’d been thinking about how to set up something like this for a while, here in Leeds, but couldn’t think of a way of getting people interested, but the 20 song game sounds like it might just work!

Anyway, there were only a couple of things that I wasn’t fully in agreement with – firstly the idea that “The key to achievement is persistance” citing Jarvis Cocker’s slow rise to national treasure as an example. The problem with this idea is that I personally know about 10 fantastic songwriters who are still writing great material and there is virtually no chance of them ever succeeding in the way Jarvis has. For every writer that keeps going and going and eventually hits the jackpot are thousands who just keep going cos they love writing.

And this leads in to the second point I’d contest – It’s easier to be successful now than it was 20-40 years ago. I’d say it was just as difficult for different reasons. Sure, bands can record material more professionally than ever before on a tight budget (I know all about this!) and it’s true that some blogs can bring you international attention that previously would have needed a massive and coke fuelled PR team. But: this has just widened the field – now there are hundreds of quality bands with quality recordings doing it themselves and competing for a place on your phone / iPod / 6Music slot. It’s overwhelming for the consumer and the reviewer which means you still need to pay a PR person to get national press, (Q, Uncut, Mojo, The Times etc.) with the contacts to filter out your excellent new song from the 20 excellent new songs out that week.

However, overall this is both a measured and inspiring presentation and seeing as it’s free advice, you’d be a fool to yourself not to give it a look!

Actually C is the main reason. I’m usually wary about spending too much time dissecting a song in case I accidently destroy its magic. Sometimes when I discover the secret of the chord change that gives me goosebumps, it’s like finding out how David Blaine levitates – still cool, but suddenly not otherwordly anymore. Also, once indecipherable lyrics, when googled, suddenly turn out to be more mundane than previously imagined and in some cases throw an entirely unwanted perspective on the song.

Anyway, luckily this hasn’t been the case with ‘Answering Machine’ – I can play it and it’s still a classic to my ears. And following this train of thought I searched for what Paul Westerberg had been up to lately (I thought I’d got his latest album – but it turns out that Folker was released in 2004. Hmmm.) Anyway, turns out he’d written Glen Cammpbell’s new song Ghost on a Canvas’ – which I’ve heard loads recently on the radio and loved. And if you watch the video, the more eagle eyed amongst you will note that the ever cool Glen is wearing the exact same damn cowboy shirt as I often wear at gigs. Synchronicity. Gotta love it.

What’s more Paul also wrote ‘Any Trouble‘, another track for Glen’s album, which is, if anything, an even better song (and rips off a Stone Roses guitar line throughout – sorry, I’m always dissecting!)

Next song to learn – Lana Del Ray’s ubiquitous but nonetheless intoxicating ‘Video Games‘. Hope I’m not pushing my luck…

“CAPTAIN WILBERFORCE: Ghost Written Confessions (Blue Tuxedo)

Sweepingly romantic mini-suites bursting with melody, one of those records that reveals fresh details on each listen. Simon Bristoll, who wrote, sings and performs is ably assisted by cellist Sophie Wright, trumpeter Jon Scully and ‘bonist Rob Paul Chapman. The rest of the ensemble is stellar too, but the unusual instrumentation helps to elevate these songs above the mundane. Imagine a style midway between Fairport Convention and XTC.

“In Hell” contains traces of flamenco guitar and a surging, locomotive-like refrain. Bristoll’s singing is clear and effective. “Your Imaginary Friends” has the crystalline clarity of a Gregorean chant recorded in a cathedral. Acoustic guitar and cello contribute to the 18th century drawing room ambience. “Get Hurt” with its surging beat and gleaming vibraphone recalls the glory of Motown but the melody and lyrics are infused with Brit wit and no one would mistake Bristoll’s almost perfect pop voice with Smokey’s almost perfect pop voice.

“The Day Your Mouth Stood Still” has a surging pop melody reminiscent of a thousand bands none of which I can name. Wilberforce infuses “Baby Girl” with the same swooning melodic beauty, especially on the elegant horn bridge. “Los Angeles” begins as madrigal, picks up speed turning into a sleek low-rider love/hate ode with big air guitar. “Me and Your Mother” snags you with an insidious guitar figure before flowing into the melody on cello strings. As in most of his comps, Captain makes room for delicate chamber music and rock stage bombast. A neat trick. “This Little Miracle,” another unforgettable haunting melody. Each of these songs is densely emotional, none moreso than “She’s My Kryptonite,” the last song on the album, which starts, “You stupid bastard.” He backs into what the song is really about, love, of course, with another exquisitely molded main theme. The song ingeniously incorporates the melody of “Heart and Soul”.

Four and a half stars

www.captainwilberforce.com”

Of course, being the real world, the album hardly got reviewed at the time and I still have a few copies left in the attic. Anyone who wants a copy, or a download version, just get in touch and I’ll post / email you one (until I run out of CDs!). Not sure I’m going to have the guts to cover Ghost, but if you come along and request it at the gig I may just have to…