Bennett Wilson Poole
I Saw A Star Behind Your Eyes, Don’t Let it Die Away
BWP Records/SRD
7 April 2023
“Are you ready to rumble?”
How do you follow up on one of the finest-ever debut albums? If you are Bennett Wilson Poole, the answer is straightforward; you produce a sophomore release that is as exhilaratingly brilliant and accomplished as your first.
Back in 2018, when I reviewed their eponymously-titled release for Fok Radio, here, I described it as “a landmark release in the annals of the genre” and “as pure a slab of joyous Americana as you could wish to hear.” Others agreed, and not only were they named ‘UK Artist of the Year’ at the 2019 UK Americana Awards, but the same organisation has recently given the album ‘Classic Americana Album’ status.
Formed by Robin Bennett (Dreaming Spires, Goldrush, St Etienne), Danny George Wilson (Grand Drive, Danny & The Champions Of The World) and Tony Poole (Starry Eyed & Laughing), the five years that this much-anticipated second album has been in the pipeline has seen both the group and its release beset with hurdles of varying complexities, the pandemic, an enforced cancellation of a Dutch tour, illness and injury, including Covid within the band. Indeed it will be over three years between the delivery of the masters and the release of I Saw A Star Behind Your Eyes, Don’t Let it Die Away.
In the manner of a ‘Compare and contrast’ ‘A’ Level History question, the two albums lend themselves to analysis. Evidence for the similarity brief begins with the basic origin of each album. Their eponymous debut, lest it is forgotten, was only ever envisaged as a one-off collaboration and started with a late-night creative writing session which spawned Hate Won’t Win, a powerful, moving response to the murder of MP Jo Cox. Similarly, Robin and Danny began writing new songs late into the night following shows during the year-long tour spent promoting that first album, which started with a residency at the Betsey Trotwood venue, reported on here in Folk Radio. Enough songs were amassed to begin recording an unintended follow-up.
A further parallel between the albums is the quality of the three-part harmonies and the successful democratic verse-sharing technique, with each member taking turns in many of the songs. Further evidence includes a willingness to confront political/social issues head-on, through thoughtful and sagacious lyrics, with both albums containing songs addressing such matters.
The allusions on both albums to other musical sources, influences and inspirations are slightly more tangential but an important feature. Thus on the debut, there was a visual tribute, the album cover an homage to the Crosby Stills Nash debut. It is the little musical nuggets from Tony Poole that can be heard within many of the tracks on both releases, much in the way of the hidden ‘Easter eggs’ in films and videos, that intrigue most though. This template of references, lovingly referred to by Danny as ‘T.P. Bingo’, is an original idea in itself, and previous gems, inspired by Tony’s favourite tunes, included snippets of Ohio and Roy Orbison’s Pretty Woman, for example. As mentioned below, there are many more on this latest album too.
Other musical affinities exist, but undoubtedly the greatest similarity between the two albums is that the standard of the music and song composition, production and overall quality is second-to-none; masterful work which should be a template for all aspiring bands and musicians as well as a salutary lesson to many of those already established.
What then of the testimony for the ‘contrast’ case? Whilst not throwing the baby out with the bathwater, as outlined briefly above, there are marked differences. The eponymous debut was drenched in a 70s West Coast vibe, very much an Americana feel, with odd flashes of psychedelia. In contrast, I Saw A Star Behind Your Eyes, Don’t Let it Die Away presents much more as a reversal of this, the psychedelia of 1960s Britain infused with Americana. The imprint of The Beatles, in particular the production work of George Martin, permeates the album, although never in derivative, facile or ersatz ways. As Tony told me, “This whole album is kind of adapting ‘All You Need Is Love’ to saying ‘Love may not be ALL you need, but it’s absolutely the basis for everything’”
This shift is also reflected visually in the cover art. For this latest release, the considerable talents of John Hurford, a self-proclaimed psychedelic artist and the only one of his generation to contribute to Oz, International Times and Gandalf’s Garden, has come up with another stunning piece of psychedelia. A further departure is that several tracks on this new record feature F Scott Kenny (drums) and Joe Bennett (bass), the rhythm section for full-band live shows, for the first time on a BWP album.
Each of the ten tracks is a gem in its own right, as witnessed from the opening, I Saw Love, which follows Danny’s best Michael Buffer impression “Are you ready to rumble….”
Danny came up with the idea for the song when his father was seriously ill in hospital, and he saw the interaction between his mum and dad (thankfully, dad is now fully recovered), and the lyrics tell it all.
“It ain’t looking like the golden path
It’s not about the golden rings you wear
It’s all about really being there
And I saw love.”
Tony worked on the basic acoustic guitars and vocals of Danny and Robin recorded here, playing everything else to create an early Beatles sound. His solo is the first recorded on his Fender Telecaster Stringbender in a non-country context, and my TP Bingo (TPB), call #1, his counterpoint vocals in the bridge may have been inspired by the Beach Boys, just like The Fabs were emulating them in the bridge of Back In The USSR and, #2, the ending of the song goes to a 6th harmony like the end of She Loves You.
Waiting For The Wave To Break is one of six songs recorded with Fin and Joe at the latter’s studio in 2019. With birds’ wings flapping (TPB – ‘Free As A Bird’), waves lapping and false endings, the Martin-esque links seem clear, replete with an intriguing last line, “on your raft with Wilson waiting for the waves to break”.
Recently released as the third single, I Wanna Love You (But I Can’t Right Now), a song described in the group’s publicity as “a meditation on a lost vision of America”, is one of those written during the touring of the previous album, and indeed has featured live on said tour. With Tony again playing everything, Robin and Danny’s guitars notwithstanding, this song first saw the light of day when Danny sang the first verse to Tony in the back of the latter’s car at The Black Deer Festival in 2018. Unashamedly referencing US politics of the time, written with name-checks to icons such as Andy Warhol, Kerouac, Grateful Dead, Aretha Franklin and Walt Whitman, the song puts all of the things they love about the country into the context of Trump-era MAGA, the final line of each stanza “but I can’t right now” an optimistic nod to a future post-Trump.
“Doctor King on the march to Selma
Said we were all created equal
Bobby Dylan and Bobby Kennedy
You know why they meant so much to me
Though I’m on the other side of the ocean
I wanna believe in that constitution
I wanna love you but I can’t right now.”
Musically, this is a magnificently constructed track, layer upon layer of activity, heavy on the psychedelics, reverse tapes etc. Tony confides, “Robin got me to sing the verse about Dr. King and the two Bobs (Kennedy and Dylan) because he said I was the one actually alive at the time, those two being mere twinkles”. TPB snippets? Robin references Simon & Garfunkel’s America in his verse, and there are also musical nods to Helter Skelter and Jimi Hendrix’s Star Spangled Banner at Woodstock in ’69.
Fin and Joe feature on three more cuts. Help Me See My Way, the first single released with a video two years ago, with its acoustic guitar opening and faint, swirling keys in the background, then more psychedelic, ethereal sounds, gossamer-like vocals from Robin and trippy guitar-noodlings, it is difficult to believe that this is a 21st Century composition. Possible TPBs? Joni Mitchell-like “Help Me…oohs” in the backing vocals, the ending of Help, and a final guitar solo inspired by Wooden Ships. Secondly, Cry At The Movies, another song known to those who have attended recent live shows, with its nostalgic nod to the cinema of yesteryear, this time features Tony playing his Stringbender in full country mode, very much in the mould of Clarence White, whilst out of respect for all concerned, I will draw a veil over the Susan Howard/Susan Hayward lyrical issue.
Their final contribution is to Tie Dye T-Shirt, a majestic, upbeat, sunny and summery song containing the line “there is more we share than divides us”, another reference to Jo Cox with her now famous “More in common than that which divides us”, in which Danny chides reality television and phone-in radio shows. Originally envisaged by Robin and Danny as a Gram Parsons-type country song when they first laid down the basic voice and acoustic guitar track, amazingly (TPB alerts), the finished article, including Fin playing some amazing Keith Moon-like drum fills, channels The Who’s Won’t Get Fooled Again, with the “make-over” lyrics inspiring the So You Want To Be A Rock’n’Roll Star solo at the end, and then “Open up your eyes” and descending chord changes also referencing Everlasting Love by The Love Affair.
The only song in the collection not credited solely to Robin and Danny is Tony’s Yvonne. A true story, it was originally entitled I Know We Were Lovers, on Danny’s recommendation; however, a name was used – not the lady’s real name. Gentle keyboards and slow tempo enhance this glance back to the past, Tony playing all instruments and singing lead vocals, with Danny and Robin providing lush harmonies in the chorus of this song of shimmering beauty.
Two more Beatles-infused offerings are, firstly, Ready To Serve, reminiscent of Revolver; Danny and Robin’s song is enhanced by the riff, inspired by George Harrison, whilst three lines of the song echo and exemplify the earlier sentiments relating to the theme of “love.”
“We’re just ordinary people living ordinary lives with love
we’re just looking for a reason, a reason to rely on love
and that’s enough for us.”
Heartsongs is the other. Initially, the basic vocal and guitar were recorded by Robin at home, and the track was finished both at Joe’s studio and at Tony’s own Milestone Studio. The final result, with its compelling song structure and the swirling organ underpinning a floating, atmospheric ambience, has created another absolute jewel. In Tony’s words, “The whole production of this was kind of White Album, suggested by Robin’s original recording.” TPB may reveal Hey Jude-like backing vocal at the end section and Dear Prudence in the mix too.
The Sea And The Shore, written by Robin, and featuring his piano and lead vocals recorded again at home, has, on the final version, everything else played by Tony, with Danny providing some harmony on the verses too, Tony here undertaking a role akin to that of Jeff Lynne working on John Lennon’s home recordings to create Free As A Bird. As the gentle opening gives way and drums kick in, the volume and tempo gradually increase, and almost celestial background harmonies display just how talented these three musicians are. Final TPB? The extended last chord is similar to that found on Day In The Life.
In a world of oft-used superlatives, the value of words can often be debased. I am happy to risk approbation and state that I Saw A Star Behind Your Eyes, Don’t Let it Die Away is a prime example of high-class, polished, rewarding and entertaining music that one can have the privilege of hearing.
I am equally happy for you to ignore your eyes, i.e. these words, and utilise your ears by listening to the album; I can guarantee that you won’t be disappointed.
In pulling together this review, I offer my grateful thanks to Tony Poole, who gave generously of his time and thoughts to help inform this review.
Pre-Order I Saw A Star Behind Your Eyes, Don’t Let it Die Away via https://bennettwilsonpoole.bandcamp.com/album/i-saw-a-star-behind-your-eyes-dont-let-it-die-away