In 2011, Glasgow’s Raymond Meade gave a songwriting masterclass when he released his debut album Fables and Follies.
Returning with the follow-up WHYDOLISE, Meade surpasses all expectations, offering what is easily one of the best albums of the year.
From start to finish, WHYDOLISE is a masterpiece – individually, each track would make a strong lead single; collectively, the effect is tremendous.
The record bursts with the confidence of a songwriter who really knows his craft; contributions from the Cairn String Quartet and Glasgow School of Art Choir add another dimension to Meade’s distinctive sound.
Speaking to Meade himself about the record, I find him understandably pleased: “I’m proud of it. It’s a good record. The playing’s good, the guests are great.”
How does it compare to previous records, be it Fables…, or his first record Motel, recorded with former band the Ronelles?
“It’s night and day… I can’t listen to most of the stuff from Motel, mostly because of the guy who produced it, who only understood white funk music and should never have been near our band, but WHYDOLISE I would listen to.”
Produced by the formidable Owen Morris, whose CV includes the likes of Oasis and The Verve, I ask Meade how the two ended up working together.
“I sent him a song of mine [album finale ‘Shine A Light On Me’] because I thought it would be great for him to do it.
“He came to see us at Tut’s and liked it, liked the band; we all got on and had a great time recording, which I think comes across on the record.”
“He’s the best producer I’ve ever worked with, he just knows how to craft and build a song; it feels like everything has just been a journey towards this.”
He pauses, “without sounding like a prick”.
Where does the concept for the album originate?
“The whole thing about WHYDOLISE is modern celebrity culture – I just don’t understand it. I don’t know why the people modern kids look up to are where they are; they’re just famous for being famous, and I don’t understand that.
“As a songwriter, my job is to leave music that’s going to be remembered and listened to when I’m not here.”
Much like the previous album, WHYDOLISE is not short of impressive guests.
‘Come Undone’, what could be labelled as the ‘ballad’ of the album, features Justin Currie, lead vocalist of Del Amitri.
Reflecting on his contribution, Meade says it could never have been anyone else: “I’m a big fan of his songwriting and his voice, as soon as I wrote ‘Come Undone’ I just thought it had to be him… It doesn’t even feel like one of mine anymore – it feels like one of Justin’s”.
On any other contemporary album, ‘Come Undone’ would unquestionably be the centrepiece; a beautiful string arrangement from the Cairn String Quartet elevates the soaring melodies and Currie’s fantastic vocal performance.
Yet it is testament to the strength of writing on WHYDOLISE that whilst exceptional, it doesn’t overshadow the thundering rock ‘n’ roll roar of ‘Sadhana’, which follows.
The mesmerising guitar work of Steve Cradock from Ocean Colour Scene, and snarling vocals from Meade, offer a brutal contrast to the delicacy of the preceding track.
Having toured with Cradock earlier in the year, Meade explains how his appearance came about.
“We did the tour and instantly got on and swapped numbers at the end of the tour; he spent an hour with us and played a guitar solo that took my breath away.
“It was unbelievable, he tore my 335 to pieces; it’s given me a real headache for playing it live!”.
The final guest appearance on the album is that of the late Rolling Stones saxophonist Bobby Keys; stunning vocals, a sing-along chorus and breath-taking solo courtesy of Keys, combine on the infectious ‘Why Don’t We Do It Again?’.
To attempt to select a favourite track on WHYDOLISE would be foolish given the spread of quality songwriting, but ‘Why Don’t We Do It Again?’ is a very strong contender indeed.
‘Shine A Light On Me’ completes this stellar album as no other track could; long-time fan favourite, it is a quintessential Meade classic and features both the Cairn String Quartet and Glasgow School of Art Choir.
In spite of being the longest track on the album, the listener is left wanting more; it epitomises the essence of Meade’s songwriting – melodic, catchy rock ‘n’ roll; songs of this calibre are something most modern artists could only dream of.
How unsigned artist Raymond Meade could attract talent the likes of Keys, Cradock, Currie and Morris may seem puzzling for those who are not familiar with his music; for an answer, my advice is simple – listen to WHYDOLISE.
Words: David Graham
