I think that The Bevis Frond could be my favourite English band for the past 50 years. So I asked the head Frond - Nick Saloman - some questions about songwriting, studios and sandwiches:
What is that weird pointy guitar you play live? Any other guitars feature heavily on Bevis Frond records past and present?
It’s a Burns Flyte from the mid 70s. Burns were trying to make a comeback and came up with some ‘modern’ designs. The Scorpion, The Flyte and another I think. I used to use an Epiphone 227, which I still have, and also a Fender Jaguar which I had on loan for 22 years until the guy who loaned it to me asked for it back.
Your dual Carlsbro Stingray amp set up is great, why do you use two heads?
I don’t. They are old temperamental amps which sometimes go a bit mad, so I always have a second one ready in case I need to change them over.
What is the delay unit you use live?
It’s an old JHS box. I got it from an electrics shop in Shepherds Bush many years ago.
I saw that you play through a Marshall Guvnor, a wah pedal and a Boss tuner. What extra pedals feature on Bevis Frond recordings?
Not many really. I have a re-issue Univibe, but I don’t use it much.
This is a boring question, but do you ever alternative tunings?
Hardly ever. I dropped the G to an F# on ‘God Speed You To Earth’, but that’s as daring as I’ve ever got!
I believe that the new record features your live line-up. How live are the recordings you do with the band? All live, vocals later, overdubbed separately?
Yes, we recorded the band doing all the backing tracks live, and then overdubbed solos and vocals.
Where did you record Little Eden? kind of reminds me of Ragged Glory for some reason. I love how unfucked-with it sounds...
I recorded it at my mate Dave Palmer’s studio in Bexhill On Sea. He’s got a nice, well equipped live room, and he’s a fantastic engineer. He kind of knows how I like to do things and pretty much just gets the sounds I’m looking for.
For Little Eden, I think you did the drums right? Did you record the drums to a click?
I actually recorded the guide guitar to a click, and then added the drums later.
If you did the drums for Dreams of Flying, how did you know when to start, stop etc?
I did indeed do the drums. Well, like I said, the track was pretty much finished when I did the drums, so it was kind of obvious where to put them. I’m not a very good drummer (as you must realize), so I try to make it as simple as I can for myself.
What are all of the notes that Dave the drummer uses live?
I have no idea. They’re probably his drum charts I guess. He’s very particular.
How many days does it normally take you to record these massive albums?
This album I did on my own, so obviously it took a bit longer than usual because I was playing all the instruments. I’d say that if I record a double epic with the band it usually takes about 6-7 days to lay everything down, and then probably about a week or so to do the mixes. So I’d say roughly a fortnight, but maybe slightly less. However, I’m kind of unusual in that I know exactly what we’re going to do in advance, and there’s no messing around. I mean I’m not a sergeant major, and everyone can have a bit of time for a drink or a sandwich, but I like to plough straight through with as few stops as possible. I usually go in with the rhythm section and record live backing tracks which will take about 2 days. Then I spend a couple more days with just me & Paul Simmons laying down lead guitars and organs etc, and then another couple of days on my own doing the vocals. Hopefully, that should do it. Obviously, if it doesn’t sound right then, I’ll keep working till it does, but it never takes very long. Mixing is usually quite quick. Once I’ve got a good sound going, I’ll tend to use it for the entire album, and then it’s easier to adapt each song to its own needs.
What was your home recording set up in Walthamstow? i.e. How did you record drums at home without pissing off your neighbours?
It was an old 4 track Tascam 1 Portastudio, which took cassettes! Un believable (to me also) that I recorded about 4 albums on it. And I definitely did piss off my neighbours. However, I never recorded drums after about 7pm or on a Sunday.
What has been your favourite studio to record in?
I’m not that bothered really. As long as it’s reasonably comfortable and the results are good (and it’s not too pricey) that’ll do for me. I guess Graffite in Bexhill, where I recorded the last few records, is my studio of choice at the moment. It’s nearby, the results are great, it’s very reasonably priced and Dave Palmer, who runs it, is a brilliant engineer/producer and a thoroughly nice guy. I used to record at Gold Dust in Bromley when I lived in London, and that was great too. Mark Dawson, who runs it, is a great guy and we’re still mates.
Where and when is your favourite location for writing songs?
In my living room with an acoustic guitar.
Is there any reason why you don't really do middle eights other than the songs don't need them?
I’ve never really thought about whether I do middle 8s or not. I have definitely done some, but you know, when you’re writing something it just comes out the way it does. I guess, like you suggest, it’s probably because the song sounds okay to me without one.
Can you write songs with other people around?
No, not easily. I usually write when I’m on my own. It never takes very long though. Usually no more than an hour to get a song finished. Occasionally it’ll take a bit longer, but after the songs are finished I always spend ages changing the odd word here and there.
How do you demo your songs if at all?
If a new song sounds okay when it’s completed, I’ll record it on my i-phone, bearing in mind that most songs get chucked in the bin as soon as I’ve finished them. I can always tell when a song isn’t very good, and that’s a blessing otherwise I’d have about 1000 crap songs every year instead of just about 40.
Are your albums usually made up of all new songs or are the songs taken from all over the place?
Mostly new songs, but occasionally I’ll find an old one that I never used and give it another try.
I love your twiddly solos, especially the frilly bits like in Madrigal and the intro of New River Head. Did anyone influence you in this kind of playing?
No, not really. I don’t use a pick and I’m quite into UK folk, so it might be combination of those two things. But I’m quite a melodic player, it’s not all blues licks, so that would be another contributory factor.
If Polymer Records offered £10 million for you to curate a 10-track Bevis Frond Best Of, what songs would be on it?
Blimey, so basically, what are my 10 fave Bevis songs? Well, I guess’ He’d Be a Diamond’ and ‘Lights Are Changing’ would have to be in there, as they’ve been so successful for me. I’d maybe have ‘Stay At Home Girl’, ‘Dreams Of Flying’, ‘Stoned Train Driver’, ‘Day One’, ‘Stars Burn Out’, ‘That’s Why You Need Us’, ‘Stain On The Sun’ & ‘LEB Off’ (which is going to be on the new album). But ask me tomorrow and it’ll be a different ten!
He Had You is one of the best five songs of all-time. I love the interplay between the three people in the song, kind of like She Loves You but better. How did you write this song?
I wrote it the same way as I always write. I sit down with an acoustic, strum aimlessly while singing gibberish, and if I’m lucky, I start getting a tune that I like and a few words that seem to fit. Then it’s just a case of trying to get a song out of it. Mostly, nothing happens, or I might write something that I don’t think is very good, but once in a while a song will crop up that works well. I reckon I go through this process almost every day. But I’m very fortunate to really enjoy having the ‘dreaded’ blank sheet of paper in front of me. I find it relaxing and quite exciting at the same time.
I can almost smell the characters in songs like To The Lighthouse, how fictional are they?
They’re entirely fictional, with the exception of ‘Jesus’ who was a freak who was always at gigs and festivals in the late 60s/early 70s idiot dancing frantically at the front.
House of Mountains melts my mind. How did you make that unholy guitar sound?
Cranked up the Stingray, whacked the guitar through a few pedals turned everything up to 11, and just went for it.
What percentage of all of the songs on Bevis Frond records could you play from start to finish without making (too many) mistakes?
If I had time to run through them before, probably most of them. If I had to do it without a listen beforehand, probably about 5%. The biggest problem is remembering the lyrics, and I’m quite wordy, so there are a lot remember.
Is there a kind of song you would like to write but haven’t managed yet?
No, I don’t think so.
What is minsmere sphagnum?
Sphagnum is a rare plant, which can be found in Suffolk by a lake called Minsmere.
Who did the illustrations on the first few albums?
They were by a very talented mate of mine called Cyke Bancroft. A great artist and also a pretty hot musician. We lost contact some years back, but he actually turned up at a Bevis gig in London last year.
What has been your most diva-esque moment of your long and illustrious career?
I don’t think I’ve ever had a proper diva-esque moment. I walked out of an interview in Germany once, when the guy started saying that I sang out of tune. That’s not really very diva-ish though is it?
Would you have rather been in Status Quo or Genesis?
Status Quo without a doubt. They did some great psych stuff in the late 60s.
What is your favourite chord?
Chords are all basically the same, aren’t they? As for keys, I like playing in D for the melodic stuff, and E for the more rocking stuff. But, hey, I’ve done songs in G and A too.
What is your take on rave music?
It’s not really my thing, but people seem to like it, so that’s okay with me.
What is your favourite Neil Young album?
It’s either ‘On The Beach’ or ‘After The Gold Rush’. But I really like Neil Young so now I’m thinking the first two, Harvest & Zuma should be there too.
When you are on ‘the road’ what is your preferred service station sandwich?
I would try and avoid service station food, but if pushed I’d probably go for egg and tomato.