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	Interview with Richard Hawley by Chris Bartley for the LiNK magazine R
	Don't know how familiar people are with Richard's work so I'll give a brief overview. In the 1980's he played with Peelie faves, The Treebound Story. In the 1990's he played with the Longpigs and Pulp in addition to some eclectic session work. (He played on the All Saints no 1 single Under the Bridge as well as the brilliant sound track to Romeo and Juliet.) He then released one mini album and two albums (Late Night Final, Low Edges) for the Setanta label between 2001 and 2003. In 2005, he signed to Mute Records and released the beautiful Mercury prize nominated Coles Corner (just pipped at the post by Arctic Monkeys, prompting Alex Turner to say 'Call the police, Hawley's bin robbed') and in 2007 he released the masterful Lady's Bridge. And I'd recommend getting every single one of them because they're all fantastic. Richard very kindly took time out between the end of his sell out British tour and the start of his European tour to answer the following questions: Chris: When you released first mini album for Setanta in 2001, did you think it would be something to show the grandkids before you returned to your day job as Pulp guitarist? Richard: I never thought I would be answering questions about it seven years later that's for sure. I just wanted to get some of my ideas down in a tangible form before I got too old or it got too late for me to be interested as well. I was and still would be happy playing guitar with Pulp and Jarvis, which I did on his album recently, There was never a doubt in my mind I would be doing anything different but I am glad I am doing what I am doing. It was a good way to develop without pressure looking back. I had the support of Pulp and that was a good thing. I couldn't have done it in the Longpigs because there would have been petty rivalry issues. Chris: You often mention the significance of that call from Jarvis in 1997 after the messy demise of the Longpigs. Do you ever wonder what might have happened if you never got that call? Richard: Well actually the "messy demise" didn't happen till the end of 1999. I was juggling two full on bands and was pretty busy plus doing sessions and raising a family too. I knew the Longpigs hadn't got long to go for various reasons but was determined to see it through. I am a fiercely loyal person even at my own expense and wouldn't leave the band until the end. It was a bit savage though for my family and for me. I was fried at the end of 1999. I don't think about "what if"?... there's no point. Jarvis and co were and are old friends so it seemed obvious really to all involved that they would call me first. Looking back I am from Sheffield I had known them all my life and they needed a good guitar player........from Sheffield. I will however be eternally grateful as it did without them knowing save my life. I was pretty messed up on various substances and I really really don't know how I did all that work. It would destroy me now. Chris: I love all those Setanta albums as much as Coles Corner and Lady's Bridge and it was great to hear so many of those songs at Sheffield City Hall last year. What do you think of those albums now? Richard: To be honest............I still like them. They are a product of their time in a way even though I was trying to do something "Timeless". I had virtually no money but a lot of friends who must have loved me very much to trust me and give me their time and of course they must have believed in the music. Most of it was a very solitary experience but when I needed them the lads were there. I think the music and songwriting stands up. I hope that doesn't sound arrogant as I would hate to give that impression. Chris: I think the band sound incredible on Lady's Bridge eg. John Trier's piano on Roll River Roll, Colin's double bass on Serious. After playing with them for so long now, have you found that they know exactly what you want from certain songs? A kind of telepathic understanding maybe. Richard: Colin didn't play double bass on Serious it was Johnny Wood, John's Playing on Roll river roll is really amazing. He did it all in one take. They have all blossomed as players even though they were brilliant before. Working with one musician with a specific vision may have been a factor, it may not at focussing that brilliance into a definite channel do you know what I mean? Me and Shez (Shez Sheridan Richard's guitarist) have developed this"weaving"guitar style where we always leave room for the other player. That's rare these days and only comes with time. There is a vibe when we play together. I sometimes start playing something none of them has ever heard and they join with the right notes.........or lack of them........at just the right time. A great example of this is a B-side called Water boy (extra track on current Serious single). Its a fragment of an old Paul Robeson song I heard as a very young child. I just kicked it off when we were recording something totally different and the guys just jumped, boom........one take and we had a new song. Really great to be able to do that. Chris: The notion of movement and moving on seems to re occur in so much of Lady's Bridge. Was it a conscious thing or did you realise after completing the album that your Dad dying and reaching 40 impacted so heavily on the nature of the songs? Richard: I realised fully after the fact, I knew in the back of my mind I was being in a way forced to move on. Death has a way of making this happen. It all happened so easily. The music I mean. I would go and see Dad in the morning help him get to sleep as he was almost totally nocturnal by this point. I would sing to him or play some music, then go to work in the studio, write a song and away we go...........finish late in the evening and go back and see dad with ale and fags.........it was his last wish to go out having as much fun as he could. Reaching 40 was a major relief for me. I never thought I'd make it at times. On my 30th, my Dad sent me a birthday card which is the only one I have ever kept, In it he said............30.............I never thought you'd make it to Thursday........so to reach 40 at a time when he was leaving us was pretty prophetic for me. Lady's Bridge is a symbol or metaphor for leaving things behind on one side of the river bank. Most of them I didn't want to but we have to move on. I am looking forward to the other side of the river and all it will bring. Good or bad. it's life and I am lucky enough to be still living it. Chris: Is Mute like a dream label for someone who has an absolute determination to do things on their own terms. It sounds like they let you get on with the process of recording and give you maximum support ie the way they believed in Coles Corner in releasing all those singles. I've been fans of bands over the years eg Shack who have released great albums that seem to have disappeared because their respective label hasn't shown the necessary self belief in them. Richard: Well they're not a nightmare put it like that. No that's unfair they are really supportive and like pit bulls when it comes to protecting and promoting their artists. They really back you, not just all talk and no trousers. They are out of the nine labels I have been signed to by a country mile the best I have been with. Daniel Miller (head of Mute records) is a gent, I asked him to make two basic promises to me and he has stuck rigidly to them which is if he backs me I work like a dog...........hold on (Richard realises his working like a dog metaphor has gone a bit too far!) Chris:You have a cameo role in the new Flick movie. I was an extra last year and I thought it was bloody great to get paid for hanging around, eating and dressing up as a soldier. Did you enjoy the process and are you going to embark on a Sting-like parallel acting career? Richard: It was an interesting experience but I am not about to turn into a "Luvvie". Actors are an interesting breed.......they should do well at Crufts. Chris: I've read that you recently got an allotment. Can we expect the next album to be a nature concept album or are you going to leave all the hard work to your wife and kids? Richard: Its something we have talked about for years, My Mrs has actually had her name down for one for five years, so after five years waiting they gave us a plot the size of a small garden that looks like the darkest jungles of Borneo. It'll be a lot of hard work but the kids will grow up seeing seeds grow into plants and food. I used to go to my Dads allotment. I discovered many things there but I don't think I will be writing songs to appeal to the "Gardeners question time" audience just yet. Chris: This magazine goes out in North Yorkshire. As a South Yorkshireman, do you have a favourite place in North Yorkshire? Richard: I love all of Yorkshire. I actually think it's one of the best places in England. I love Whitby and Robin Hoods Bay and a lot of the National trust places are always great for the family. It's the people I like the most. Friendly and when you get to know them, they have in general a good heart and a great sense of humour. Many thanks to Richard for forsaking valuable allotment time to do this interview. Richard has had loads of critical praise heaped upon himself and he's deserved it all if you ask me. So buy the albums and get on his website www.richardhawley.co.uk where you can pitch questions at Richard and have a healthy bit of craic with kindred spirits who seem to share his love of rockabilly, Fred Neil, Elvis and Guinness. Chris Bartley Richard's My Space site: here Official site: here
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