London-based Blues-Rock Quartet Scoundrels Speak to Stereoboard About Their Debut Album
Wednesday, 27 July 2011
Written by Rob Sleigh
Last year, Sire Records founders Seymour Stein and Richard Gottehrer, who were responsible for originally signing the likes of Madonna and The Ramones over 25 years ago, announced that they would be relaunching the British record label Blue Horizon. The label was launched in 1966 by producer Mike Vernon, who has worked with the likes of John Mayall, David Bowie and Eric Clapton during his long career. Throughout its brief existence during the late ‘60s, Blue Horizon helped to establish a number of well-known British blues artists, most notable of which was Fleetwood Mac, who released their first two albums through the label. Last month, London’s Scoundrels released their eponymous debut album – the first to be released through a revived Blue Horizon, 45 years after the label’s inception. The album, which the band recorded in the US with legendary producer Steve Albini, is a blues-inspired indie-rock treat that will undoubtedly prove to be a popular choice for fans of bands like Gomez and The Black Keys. Stereoboard recently caught up with Scoundrels’ frontman Ned Wyndham to find out more about the band and their music.
You released your debut album last month. What has the response to the album been like so far?
The response since releasing the album has been fantastic. Literally everyone has been so complimentary. All our reviews thus far - touch wood - have also been really positive and encouraging. I think we only had one that said that we were possessed of “nondescript looks and a bad name”, but they loved the music. Now that the album is out, how are you feeling about it?
It was such a long process, in terms of getting the album out, that releasing it and letting it go feels very refreshing indeed. We recorded the tunes out in Louisiana almost a year-and-a-half ago now, so we're ready to take it to the next level. Our current live set is in fact a mixture of stuff from the album and stuff that we'd like to record for the second album.
How would you describe the album to anyone that hasn’t yet heard it?
It's very eclectic, a real snapshot of our time out in Louisiana and the effect that had on us. It's essentially a British rock and roll record with Louisianan sensibilities. We like to say we play a kind of cruddy rock’n’soul, but there's the occasional country, folky, funky tilt in there too.
Your experience with the album took you over to the US to work in a couple of legendary recording studios. How did that feel, considering that it was your first album?
To record in the places we did was a real honour. It's inspiring to be in such hallowed places and to hear the names of the bands that have recorded there previously. Electrical Audio in Chicago [Steve Albini's studio] is a veritable recording Mecca, filled to the brim with incredible musical toys and gadgets, whilst Studio in The Country in Bogalusa, Louisiana is an incredible space - purpose-built in the ‘70s and with a control room that looks like it should be commanded by Captain Kirk. Lastly, recording at La Louisianne in Lafayette, Louisiana was like recording at Sun Studios in Memphis. It's remained the same since its recording heyday in the ‘50s and ‘60s when people like Lil Bob & The Lollipops used to record there. Being out in the US was an amazing experience. We literally lived and breathed music for two months. Each and every night going to juke joints, hanging out with and playing with the local musicians and soaking it all up. It was truly an honour and something none of us will ever forget.
Do you have any interesting stories you can share with us from that experience?
Turning up to country Mardi Gras, where the local folks wear extremely colourful, hand-woven outfits with brown bags over our heads was an interesting experience. Understandably, we weren't too well-received by the crowds. Also, every journey we'd take with our Louisianan mother, Hart Fortenberry - a bearded songwriter turned movie star - was sure to have an interesting outcome. Normally involving bayous, alligators, Miller High Life and aged, bedraggled strippers.
What was is like to work with such a legendary musical figure like Steve Albini?
Working with Steve was awesome. He's a real master of the recording form and records only to analogue tape. He's more akin to a surgeon when working with tape - carefully splicing and dicing. He's brilliant at letting a band get on doing what they need to do whilst working out almost telepathically which sound would suit best. He's extremely patient and is brilliant at nudging bands in the direction they need to go. He's also great fun to be around. He's got a great dry wit and is second to none in his mimicry of the cat.
Who else did you work with on the album?
The man we worked with most on the album was swamp pop pioneer CC Adcock. He's the lead guitarist for Louisianan supergroup Lil' Band Of Gold and he was instrumental in establishing our sound whilst out there. He would work with us in our little rehearsal studio and make sure that we were in the groove with regards to the songs before we'd head off to record. CC's enthusiasm was particularly inspiring and, as a great axeman himself, he was hugely well-equipped at getting the most out of our guitar tones etc. In the control room he was always there with us, getting the best out of us and geeing us up for each take. When we returned to the UK, we worked with Charles ‘Chicky’ Reeves - another American who was melodically and musically brilliant. He really helped us so much in finishing the record off.
When did Scoundrels first get together and how did you all meet?
Josh [Martens, drums], Billy [Hill, bass] and I went to school together and all made a conscious decision after college [London Centre of Contemporary Music] to start the band properly. After a year, our then guitarist Adam left. We'd heard about George [Elliot] from friends that ran the blues jams at Ain't Nothin' But The Blues Bar. We got him into the studio for a jam and that was it.
What factors made you decide to want to form a band?
I think all of us since puberty have been in bands. It's kind of all we've ever wanted to do. After school, it made sense as we were all such good mates and I think we sensed that it'd work well, musically.
Obviously, you’re quite a blues-inspired group. Which artists have had an impact on your sound?
I think that one of our strong points is the eclectic nature of all of our musical tastes. George is big into anything that comes out of New Orleans. His heroes are Huey ‘Piano’ Smith and Fats Domino. Billy loves the tougher, more rocky sound - bands like AC/DC and Pantera - whilst loving a bit of Marcus Miller-style bass theatrics. Josh is big into loads of stuff - White Denim, Tool, Ernest Ranglin, John Cleary and Bernard Purdie. My hero is Peter Green, but I love hip-hop, Thin Lizzy, old Stax soul - anything that grooves well and has a great melody or riff. We never try consciously to incorporate other people’s sounds into our own - it just happens naturally. I guess it's ripping people off without thinking about it.
Are there any other genres or artists that have influenced Scoundrels?
Again, we all love so much stuff out there. I love Django Reindhart. That gypsy jazz is brilliant and raw. We used to play the occasional gypsy jazz interlude during our set a few years ago, as a kind of crowd pumper. My little brother is big into Norwegian Black Metal and some of the heavier stuff. I'd love to be in one of those bands and get to wear some of the shit they do. The idea of being able to develop some mental alter-ego. I think mine would be Crow Man or The Nose. As Crow Man, I'd wear an enormous crow outfit, complete with beak and crow feet. I'd peck out my solos atop a perch. As The Nose, I'd create a huge nose, with huge nostrils from which my arms would extend and the guitar itself could be hairy, like a moustache. That'd freak a crowd out.
Scoundrels are the first UK band to be signed to the newly-revived Blue Horizon records. How does it feel to be part of such a well-known British institution?
It's such an honour. When I was 15, my then girlfriend bought me The Complete Blue Horizon Sessions by Fleetwood Mac. It's one of my favoured possessions. To think that we're on a label that Peter Green used to call home amongst a huge plethora of others is totally inspiring. I think it raises our standards level too. It's a good pressure to have. We all know of the history and are desperate to maintain that legacy.
You’re already about to start work on your next album. How are you feeling about that?
We're chomping at the bit and raring to go in terms of recording album number two. We've got some really great tunes ready, and we're sure that it'll be another step up from the first album.
Why have you decided to do things so soon after completing your debut?
Because it took such a long time to release the first record, it would've felt unnatural to continue just playing the same songs for a year-and-a-half without coming up with others. We're always writing and trying to mix up the set to keep it interesting for ourselves and, as such, we've got a large number of songs in the bag ready to be recorded. I think that maintaining the momentum we've built up is paramount, so to record fairly soon seems like the right thing to do. The second record won't be out till next year, so this record still has a while to run.
What did you learn from the first album that will affect your work this time around?
I think the main thing we learnt whilst recording the record is not to waste time. I think you can also overdo tracks hugely. Too much overdubbing overcomplicates a song and it loses its immediacy and personality. We've also decided that the best way to transmit what we do and how we are as a band is to record in a very "no frills" sort of way. Rehearse up well beforehand, get into the studio, record it live to retain that vibe and you’re done. That way, you keep hold of the feel and atmosphere of a record, keeping it from seeming stale.
Scoundrels live dates
Tuesday 16th August – Ronnie Scott’s, Soho
Saturday 17th September – Hemstock Festival, Dorset
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Obviously, you’re quite a blues-inspired group. Which artists have had an impact on your sound? 
