![]() ![]() ‘I played cross harp on everything‘, he explained. I asked Steve about his recording with Wilko. Honey how can you ever want another man’s loving The new project took shape at Yellow Fish Studio in Uckfield in November 2013 and the recording process was rapidly executed. Steve Weston went in later to overdub his contribution on four album tracks, with Wilko and Norman Watt-Roy present in the studio. Wilko had often attended Steve’s gigs at the Railway Hotel in Southend, and they’d become firm friends. At that point he pledged to help Wilko with one last album ‘ even if it meant singing Three Blind Mice‘. Unfortunately, tour commitments eclipsed their efforts and the project was abandoned until Roger subsequently learned of Wilko’s terminal cancer. Johnson and Daltrey discovered their common interest during a music award ceremony in 2010 and a recording project ensued. A name many will recognise from the heyday of the 70s-80s New Musical Express, and as author of the John Lee Hooker biography, Boogie Man.ĭon’t wanna get turned down, don’t wanna push nobody round now The original release also featured mouth harp, laden with reverb and free of crunch, but no less effective. On that occasion it was ladled out by the king of counter-culture himself, and erstwhile front man of Blast Furnace, Charles Shaar Murray. ![]() I Keep It To Myself first surfaced in 1995 on Wilko’s Barbed Wire Blues album and is, for want of a better description, a Canvey Island take on Wild One with a hint of Johnny Cash. Well wait a minute baby, what you gonna do? You can listen to our chat and find the answer to Neil’s question on SoundCloud the end of this post. So instead, let’s cut to the chase and call West Weston for the answer. In any case, divulging the secret could quite possibly make me redundant. Now, in response to the original email, I could slide into a friendly discourse about how to identify song keys and pick the right harp for yourself, but I’ll save that pleasure for a rainy day. ![]()
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