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RICHARD HAWLEY With a melodic baritone anguish that falls somewhere in the neighborhood of Scott Walker, Pulp touring guitarist and former Longpigs member Richard Hawley is a songwriter, guitarist, and producer whose elegant, timeless solo work has often used his native Sheffield, England's locations as a muse. He has been nominated several times for the Mercury Prize as well as a Brit Award. In addition to his solo recordings and his presence in Pulp, Hawley has worked with a variety of other artists, including collaborations with Lisa Marie Presley, Arctic Monkeys, Manic Street Preachers, Elbow, and Paul Weller, and he has produced recordings by A Girl Called Eddy and Nancy Sinatra. "HOLLOW MEADOWS" 2015     2LP    PARLOPHONE RECORDS     0825646056460   2564605646 MADE IN EU for UK and EUROPEAN MARKET    ORIGINAL PRESSING IN STICKERED SHRINK GATEFOLD COVER + INNER SLEEVES Barcode and Other Identifiers Barcode: 0 825646 056460 Label Code: LC 30419 Rights Society: GEMA, MCPS
LABEL: PARLOPHONE - BROWN LABEL w/LOGO on TOP - YELLOW TEXT
Catalog on cover: 0825646056460   2564605646
Catalog on labels: 0825646056460
Matrix / Runout (Side A, Stamped): 0825646056460-A 134554E1/A    (Etched): NS Matrix / Runout (Side B, Stamped): 0825646056460-B 134554E2/A1 Matrix / Runout (Side C, Stamped): 0825646056460-C 134554E3/A1  Matrix / Runout (Side D, Stamped): 0825646056460-D 134554E4/A1 
On labels: rim text reads "Record Made By The Parlophone Co Ltd London" Trade £ Mark GEMA/MCPS
On Back Cover: Tracklist + Credits ℗ and © 2015 Parlophone........Made in the EU.  LC 30419. 0825646056460.  2564605646 tracklisting Side A: I STILL WANT YOU - THE WORLD LOOKS DOWN - WHICH WAY Side B: SERENADE OF BLUE - LONG TIME DOWN Side C: NOTHING LIKE A FRIEND - SOMETIMES I FEEL - TUESDAY PM Side D: WELCOME THE SUN - HEART OF OAK - WHAT LOVE MEANS grading RECORDS NEAR MINT but (please, read above description) SLEEVE NEAR MINT but (please, see pictures and read above description) In 2012, songwriter Richard Hawley released Standing at the Sky's Edge, an album that proved a stark contrast to his earlier recordings, making a hard-rocking turn at psychedelia. In Great Britain it struck a collective chord and reached number three on the charts. Hollow Meadows, co-produced with guitarist Shez Sheridan and Colin Elliot, doesn't follow suit so much as integrate some of those sounds with those explored on his earliest records, in particular Late Night Final and Lowedges. Hawley wrote most of these songs at home in Sheffield while recuperating from a broken leg and a slipped disc. As is his penchant, this is titled for a local destination: his ancestral home, "Auley Meadows," is where his ancestors resided between the 14th and 17th centuries. These 11 songs are direct, intimate, and more often than not delivered in first person singular no matter the topic, be it romance, disillusionment, aging, relationships, or vulnerability -- or a daughter leaving home. Arrangements are widely varied but always precisely -- often sparsely -- applied. They can offset brooding lyrics with bright textures and simple backdrops. The album's most romantic track is opener "I Still Want You." The lilting, classic pop melody ever so gently rocks, and is shaded by tasteful strings and dreamy, reverb-laden guitars. Hawley's vocal comes from his demo (as do several other tracks here), and actually cracks his silvery baritone: "...We can move our bodies like a twist of smoke/Come let us shake like the flame…" This flaw conveys the simmering passion in the words and music with restraint. Elsewhere, the spacious, gauzy "The World Looks Down," the crooning pop of "Serenade of Blue," the cello- and piano-based "Tuesday," and the classy, mellow "Nothing Like a Friend" (with a Rhee Kee super bass played by Jarvis Cocker), revisit the early rock melodies and harmonies Hawley showcased on those early solo records and developed later -- albeit with more adventurous instrumentation, airier textures, and more poignant lyrics. Folk legend Martin Simpson paints "Long Time Down" with a resonator slide guitar and bright banjo amid a chorus of female backing vocals. Despite its sunny delivery, the narrative depicts a dangerous co-dependent relationship. While "Which Way" recalls Standing at the Sky's Edge, the gospel-style backing chorus lends the fuzzy, distorted rocker a spiritual heft. The other uptempo cut here is "Mighty Oak," a catchy tribute to folksinger Norma Waterson, with a singalong chorus. Commencing as a shuffle it builds and turns into a screaming guitar frenzy -- without sacrificing its hook. Hawley doesn't showcase particular themes on Hollow Meadows as he has in the past. Instead, he turns his light squarely on the craft of writing and delivering great songs. For those who made his acquaintance on the Mute albums -- Cole's Corner, Lady's Bridge, Truelove's Gutter -- or even Standing at the Sky's Edge, this loose-knit set just might be revelatory...(AllMusic)