Thrilled to announce that Hothouse Flowers will be headlining The Acoustic Stage, Glastonbury 2017, on Saturday 24th June. Details with the full line up on Glastonbury’s website : www.glastonburyfestivals.co.uk/line-up/
Cruinniú na Cásca, a Creative Ireland initiative presented by RTÉ is a free public event which will take place in towns and cities across Ireland, on Easter Monday 17th April with a special large-scale event in Dublin.
As part of Cruinniú na Cásca, RTÉ Arena will be broadcast live from the St Stephen’s Green stage. From 11am to 1pm. The Hothouse Flowers will join Seán Rocks and the RTÉ Concert Orchestra with conductor Gearóid Grant. The concert will also include Lisa Lambe, Fiachna Ó Braonáin, Martin Brunsden, Seán Keane, Chris Meehan and his Redneck Friends, and lots more.
Thanks to everyone for your support on our New Album Let’s Do This Thing and making I Can See Clearly Now the number 1 on the iTunes charts.
I Can See Clearly is from our 1990 album Home, which is available online via iTunes, Spotify, Google Play, Amazon and other online music services. It also features in our live album Goodnight Sun recorded live at the Kansas City Irish Festival in 2009.
Fiachna discusses with RTÉ Radio One’s Ray D’arcy how it came about that Hothouse Flowers soundtracked the opening scene for Jeremy Clarkson, James May and Richard Hammond’s new show, the Grand Tour and the coincidental release of the new album Let’s Do This Thing.
In September 2015, we went into Windmill Lane Studio in Dublin for a week of recording. We were on a journey and discovery of new music and of ourselves as musicians and a band.
We started with a blank page. No baggage, no agenda, no direction – just a desire to create together a new conversation that binds us together and forges a new path for us moving forward.
What came seemed to drop from the sky and into all of our subconscious and out and meld into the new music.
When we listened back to the takes of the work, we were taken by surprise by something from deep inside of our souls as people and musicians that came out through the speakers and into the studio.
It still surprises us all at different times when we listen back now after many listens.
“LET’S DO THIS THING” became our mantra in the studio. It is a line from one of the new songs and seemed very apt for the title of this new work.
So, with that, we hope you all enjoy this new music as much as we did creating it.
Liam , Fiachna, Martin, Peter, Dave
LET’S DO THIS THING…. is out now and available for download exclusively from hothouseflowers.com Click Here.
1. You Can Love Me Now 4:15
2. Turn Up The Reverb 4:10
3. Forever More 4:09
4. Born 3:51
5. Pop Song 3:32
6. Used To Call It Love 4:22
7. At Last 5:23
8. Find The Time 4:42
9. I Believe 4:23
10. Learning To Walk 4:17
11. It’s A Man’s Man’s World*
12. Love Don’t Walk This Way ’98*
*Bonus tracks on Japan CD release only. Also available on ‘You Can Love Me Now’ single.
Written by O’Maonlai, O’Braonain, O’Toole
Additional Musicians Rob Malone – Bass Wayne Sheehy – Drums
Produced by Hothouse Flowers/Townshend Engineered by Cenzo Townshend
Recorded at September Sound Studios Jake Davies – Assistant Engineer Pete Lewis – Engineer James Dimmock – Photography Jody Roberts – Assistant Engineer Dave Bascombe – Mixing
The new members
Wayne Sheehy is known for having played with 1990 and Cactus world News. He now plays with a groove band called The Sofas. He has toured with Ronnie Wood a number of times for his sins. Wayne plays drums with the Flowers on ‘Born’. Together with the band they have done 2 years worth of gigs. The Olympia Theatre Dublin. Leisureland Galway. The Limelight Belfast. The Opera House Cork. Connolys of Leap West Cork. Olympic Stadium Munich. Supporting the Rolling Stones in Malaya, Barcelona, and Gelsen Kirchen.
Robert Malone plays bass with Hothouse Flowers. He and Wayne play in The Sofas together. Rob gained huge experience playing with Lir. With Rob playing bass Peter is free to play Bouzouki, guitar, keyboards, or programme at will. Rob and Wayne provide a new dimension.
We had hoped to include this information on the sleeve of the disc, however, this, for reasons best known to others, did not happen. We won’t allow it to happen again.
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Having been away for a while it became clear that what we needed was some recording equipment of our own so we could experiment at our own pace without the huge expense of rehearsal rooms and demo studios. The time had come.
New ways of doing things with new angles and new interpretations. Peter and Fiachna having spent over a year on and off with Michelle Shocked, touring and recording, decided that there was no point putting any more unnecessary pressure on Liam. This was the beginning of a mending process zand a new relationship. Each had to confront the possibility of an ending before there was vision for the future. So with the studio on the go, songs were being written on a daily basis. Liam would come in and sing his version of the melody and so on.
With all the knowledge we had gained over the years we recorded a demo of the new songs and a man called Cenzo Townsend was to co-produce. Peter went to see a studio called September Sound, near Richmond, in London. It had a windowed live room looking onto the River Thames and a good size midi room for any of the sequenced stuff that had to be done.
Through obvious ups and downs the album began to take shape with Cenzo making everything sound tough and raw, an indication of the general mood. It was all mixed in Whittle Street in London by Cenzo, Dave Bascombe and helped by Max of Ocean Colour Scene fame.
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HFLIVE: Peter wrote a lot for that album, then?
LIAM: Yeah, he kind of held the fort. He had these songs. We thought ‘these are good, these will do!’ ‘Born’ is mainly Peter’s album. (Speaking to HFLIVE in 2002).
PETER: The songs were written with no time-pressure involved,” says Peter. “It was a big open-ended journey that we were on, so therefore we explored various different types of sounds and we ended up with a selection of one’s which we felt worked best. We spend a lot of time working with loops and things, so you’re automatically going to go somewhere else with it. (Speaking to Hot Press in 1998).
LIAM: We resisted that through the 80’s, going for the full electric sound, because it was so commonplace with production. But now that time, that period is over, and we’ve also gained experience. We’re all a bit wiser now. I think there’s a lot more definitive work on this album than there was on the other ones, in terms of the way the whole thing is executed. The album has been brought home according to a definitive idea and vision. There’s a very strong determination going through it. Peter really held the responsibility for taking the album through the various stages, mainly because he wrote most of the songs but he also had most of the vision for how the sound could go. Fiachna and I just did our bits and circles around the situation. (Speaking to Hot Press in 1998). FOREVER MORE
FIACHNA: A young man who wrongly believed in hope over experience. A young fool! Ha! Ha! Ha! (Speaking to HFLIVE in 2002).
PETER: I remember when it was just finished, it wasn’t even mixed. I was in London and I went walking around Oxford Street listening to it. It was just perfect, walking with the headphones on. There is something bright about it and the song ‘Pop Song For The Universe’ was on and I just felt that this song can burrow into somebody’s heart.” (Speaking in 1998).
LIAM (Liam messed around with weird sounds on the synth to a loop): …and then I just wrote down words really quickly, non-judgementally, a series of images and the idea of being free, getting funky with words. (Speaking to Hot Press in 1998
This song uses Pachelbel’s Canon in D Major.
IT’S A MAN’S MAN’S WORLD
LIAM: It’s a song I always really liked. I think we tried jamming it once, even though I didn’t have a clue of the words, during a soundcheck, and we got a great atmosphere going. Usually, if I don’t know the words, I make them up. We went to John Reynolds’ house in London and just lashed it down in a day. John actually had the record so I was able to refer to it. I was feeling really unworthy during the recording, which is probably the best way to feel. I just felt that I just couldn’t do this justice at all. I went down and listened to the original version, the performance, the dynamic and the whole gut going into the song, and then I come along with my namby-pamby version of it. But listening to it now, with distance, I feel much happier. (Speaking in 1998)
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‘Born’ was released in Europe, Australia, Japan and Canada and is available on import in the US.
‘Born’ Promo Sampler CD:
01. Don’t Go
02. I Can See Clearly Now
03. Give It Up
04. Love Don’t Work This Way
05. Learning To Walk*
06. You Can Love Me Now*
07. Forever More*
(Note states: *Taken from the new album ‘Born’)