I wrote Pickpockets sat on the little patch of grass behind Barclays on Highbury Corner. I’d been in London about 9 months and was riled by the difference between York and here, and sad at how materialistic everything here seemed. I was also exhausted by meetings with labels and publishers and how fast they seemed to shout about and then almost immediately move on from who was the next big thing. I was getting some interest (believe it or not) and couldn’t really square with myself trying to get on with and like someone at a label who I knew at best was going to take 80% of everything I made for them and get Addison Lee cabs to wait outside The Notting Hill Arts Club on my artist account, while they bought £12.50 shots of Jack Daniels and did coke in the toilets.
It didn’t help that my encounters with the old London records and a couple of folks from Warners and EMI were like this when I already had that preconception. (Obviously lots has changed now, and you realise there are some really beautiful human souls helping artists down here, and everywhere in the industry, but I was 22, feeling very out of place and missing York, as I still do.)
Around this time, I used to make a habit of writing all my lyrics on the back of the white envelopes with green stripes that I’d get from the Housing Benefit team, who would be writing to say “We’ve calculated that you need £x to survive, so we’ve given you that, minus £150 so that you can’t” before writing again to say: “That money we said you were entitled to, you actually weren’t, and we made a mistake, so you must pay us £2,400 immediately even though we know you can’t because you paid your rent for 3 months, and then once we have it, we’ll give it you back again, almost, maybe ps no we won’t” etc. It seemed like a karma sandworm I could hitch my Muad’dib’s hooks into and ride all the way to a record deal and world domination. Occasionally, it’d be the brown jobseekers/new deal envelopes. It was around this time that I became slightly more politically active, when I was sat in an internet cafe on Caledonian Road with 5 other people panicking in very different ways about the same housing benefit error. Most were writing rants and avowed to burn any more letters they got, but having seen this approach cause immense grief for a family member over the years, I wrote an email to Chris Smith, the then culture secretary to tell him my situation, and that of everyone in the cafe. To my surprise – especially as it was about 1:30pm already – I received a letter on House of Commons paper the next morning, reassuring me I’d be receiving an apology from Islington Council, that my case was already resolved, and that he was looking into the cases of the others in the cafe I had mentioned. he congratulated me for contacting him and asked if I’d like to join the labour party. And that, is how you’d hope all MP’s would be.
Anyway, back to the song and that long white envlope: I think there’s lines that still resonate with me today about what we’ve ended up as, as a society, so it feels good putting it out. Maybe someone will like it. A lot of fun recording it with Mike Rowe, Tim Weller, Chris Farrell, Devin Workman and of course my dear friend David Anderson (who finished the album and fled to France to be a world class architect… sorry Dave! )
The photo is from the album inlay, which is from the collection of my favourite photographer, the great Howard Barlow who has the best collection of street photography, music photos and political pictures, mainly around Manchester from the 70’s to the present day. His pics are one of my favourite things about the whole album. Thanks for everything Howard, such a support all the way through it, and the person who got me into Neil Young! The sleeve is from Howard’s photo ‘Table Legs’ – and was artworked up the Drew Lorimer who at the time was working for EMI as the director, and for Olivia Harrison, having just done the extraordinary artwork for the Beatles Love album. A wonderful guy who I lost touch with, sadly. A brilliant art director.
Most of all, the first of a good many thank you’s to James Davies who invested in a little label so we could make it in the first place, and then gave me the rights when he needed to move on from it all. Was good at his word from start to finish, and I owe my whole journey to doing what I do now to his generosity both with my music and the beginnings of what became my studio.