Following successful appearances at Latitude and Dartford festivals over the weekend and with Fuji Rocks coming up a week later, things are pretty hectic for Stone Foundation at the moment in the run-up to the release of “A Life Unlimited” in early August. The album looks set to be their biggest to date and the fanbase seems to be growing by the minute, so it was great to be able to have a quick chat with bass player and co-songwriter Neil Sheasby about the band’s roots and the events of the last year or so.
Allan – So Neil, tell us a bit about the origins of the band.
Neil – It started around the friendship between me and Neil Jones (Stone Foundation singer and co-writer). He was in a band previously that supported a band I was in and I was immediately impressed with his voice and when the band I was in broke up, the first thing I wanted to do was to get a proper vocalist, so we started writing songs together, fifteen years ago probably. But it took so long because we knew we always wanted it to be a heavy-hitting band with the horns and Hammond and it took a long, long time for us to be able to get the right line-up together. We had the vision and the thoughts and the ideas but it took ages to get that line-up and for it to come to fruition.
Allan – The fact that it’s taken a long time, does that keep you grounded about the whole thing?
Neil – Absolutely, we would be anyway, because first and foremost we’re music fans. Both of us have got big record collections and we create for the buzz of it. We’d be doing it anyway whether people were paying attention or not. So we’ll always be grounded really; it doesn’t matter how much media attention we get or how many people come through the door at gigs and buy records, there’s no reason for us not to stay grounded.
Allan – Over the last couple of years in particular, a lot’s been happening for you and it’s gone crazy over the last six months, so how does that feel after all the time you’ve spent grafting at it?
Neil – It’s heartening and humbling and encouraging for us because you know you’re making a connection: you know you’re not fooling yourself really. We try and do the best we can and we try and make records that we really believe in; fundamentally we’ve got to like them. It’s a cliché that you make music for yourself and if someone else likes it, it’s a bonus, but you do want people to like the records and you do want people to make that connection. Fortunately, the last couple of records, especially “To Find the Spirit” found us a really wide audience and I hope the new record “A Life Unlimited” will broaden it; I think it’s our best work to date. I’d be lying if I said we didn’t care if anyone liked it or not; we do. We want as many people as possible to like it. It’s humbling and encouraging and it means we can carry on. If no-one was interested and no-one bought the records there would be no point in us staying together; this keeps us working, keeps us together and keeps us moving forward.
Allan – I think it’s interesting that your fans are a lot like Dexys fans, for example, they seem to be a very loyal bunch and they really buy in to the whole package.
Neil – Yeah, I think that’s absolutely true. When I was younger I used to follow bands like Dexys and The Jam around; you wouldn’t just go and see one gig, you’d go and follow the tour around, but there’s hardly anyone that does that now and I think we are that sort of band. You never know what you’re going to get from night to night; I think people see that in us and maybe we remind them of things that they’ve grown up with and that’s a good thing; we’re really lucky to have that fanbase that are loyal and just get what we do.
Allan – I think it says a lot about the respect that you have from other musicians that you can pull in such great guest artists on the albums as well.
Neil – Definitely, but that’s not something that we do just for the sake of it. We’ve been fortunate to work with people like Nolan Porter who came over from America and we were his backing band, but while he was over we did some things in collaboration. People like Carleen Anderson and Graham Parker, they don’t do just anything; they have to like what’s in front of them, what they’re hearing, otherwise they wouldn’t do it.
The Carleen Anderson thing “When You’re In My World” was written with that Marvin Gaye duet kind of vibe; that’s how we heard it and we approached Carleen on a whim really. It’s beyond our expectations to be working with people like that, but it’s a massive compliment to what we’re doing that they say yes and get right behind it as well. They believe in what we’re doing as well and they say some very nice complimentary things about our thing and it’s as much of a surprise to us as it is to everyone else; it’s a lovely thing to happen.
Allan – So how did you manage to land Graham Parker?
Neil – Funnily enough, I was at a book launch. I’m really good friends with Paolo Hewitt and I went to the launch of his last book and Graham was there. I just approached him as a fan because I‘m a big fan of Graham Parker and the Rumour and I’ve got all their records. We got chatting and we just hit it off, really. We just started talking, and we never stopped talking so we exchanged emails and numbers. I had a song called “The Night Teller” and it was a bit of a late night phone-in thing like the cover of “The Nightfly” by Donald Fagen, which you mentioned in your review, didn’t you?
Allan – Yeah, I did…
Neil – You got that exactly, nailed on, which really surprised me; it was exactly that, it was a late-night helpline with two people phoning in having a conversation so we needed another voice and I thought Graham’s voice would be absolutely bang-on for it really, so I put the suggestion to him, sent the track and sure enough he went for it. It was one of the bonding things with me and Neil when we started Stone Foundation, we had a few jumping-off points and Graham Parker and the Rumour was certainly one so to have him on our record was fairly incredible really.
Allan – And it sounds great, it really works well for the song.
Neil – As I say, it’s not just for the sake of it. It’s because you can hear it happening.
Allan – One thing that always fascinates me, and I always try to ask songwriters about this, is do you and Neil have a particular creative process, do you always work in the same way?
Neil – No, not really; we collaborated a lot more on this last record. We write separately and sometimes it’s like finishing off each other’s sentences. Neil will have an idea and I’ll think ‘I’ve got this bit that’ll probably work with that’ or I’ll have a song that I haven’t got a bridge for and he’ll have something that just fits hand-in glove, so there’s no real process; we don’t sit down in a room together or anything, there’s various ways it can happen. It can start from a little groove or we can come in with the lyrics first or even the title, as in the case of “Beverley”. We’d had that little hook for a while and we wrote the song around that, so there’s many different ways we work. Also, the band play a part in the arrangements as well. Phil, the drummer, has a great ear for arrangements but there’s no set ways. Sometimes it just happens, when we share the vision and the ideas. It’s sometimes difficult for me and Neil to get the sound out of our head that we want, but the musicians that we’ve got around us now know us well enough to have an understanding and they grasp it really quickly and we get the ideas in our head out and on to the record. We’re very fortunate in that respect.
Allan – The horn section’s sounding really good on this record, although I kind of miss the trombone live, but I guess that’s one of those things about having a big band.
Neil – Well we didn’t want to hide behind the last record, “To Find the Spirit”, so we wanted to make subtle changes. Spencer (Hague, trombone player) played on the last record, but he’s taking a break from the band; he’s having a family and he’s got work commitments. The more the band’s successful, the more the demands of gigging, the more the band’s going through the gears, the more pressure there is on people to give up time to do it because they’re all working guys as well. Spen’s taken a back seat but who knows, never say never, he might be back, but I think it’s nice to have a change with the horns as well and have a different dynamic. We’ve brought in a baritone sax (Adam) and Gareth on trumpet; it’s nice to have a change in dynamic and it’s healthy to keep changing from record to record and I’m sure it’ll change again because it’s inevitable with big line-ups.
Allan – Thanks very much for your time, Neil and good luck in Japan next week.
“A Life Unlimited” is released on August 7.