TLOBF Interview // Edwyn Collins

Edwyn Collins is nothing short of a living legend; his first band Orange Juice practically invented everything great about what we now begrudgingly call ‘indie’ music, he somehow managed to deal with both Alan McGee and Postcard Records impressario Alan Horne without going batshit insane, and he used the royalties from *megahitsingle* ‘A Girl Like You’ to achieve total musical autonomy by purchasing the luxurious West Heath Yard studios. His seventh solo album, Losing Sleep, is due out next month; loaded with collaborations with musicians like Johnny Marr, Ryan Jarman and The Drums amongst others, it’s his first album of new material written since his near-fatal stroke five years ago. The record follows the stripped-down template adopted by his 2007 masterpiece Home Again, and I was all too happy to throw some questions about the record in Edwyn’s direction in advance of its release.

How long did Losing Sleep take to come together?
It began late 2008. Two songs, ‘Losing Sleep’ and ‘What Is My Role?’. I woke up in the night with a lyric and a tune, the chorus of ‘Losing Sleep’. Until then, apart from a little fragment of a song back in hospital, ‘Searching For The Truth’, nothing would come. I finished it in May 2010. But all in all it was only about six weeks of recording. I’ve been very busy!

Songs like ‘Over the Hill’ and ‘In Your Eyes’ are very much concerned with independence and getting back to basics in life, and in a similar way, the songs themselves are much more pared down. Was the theme of simplicity across the album a conscious decision?
Yes it was. I like to work fast, no fuss, no messing about. The music comes easily now, it flows, but the lyrics are a difficult challenge. So my new style is simple and direct, clear and focused.

Which track on the record are you most satisfied with?
Every day it changes. This is the fastest, most upbeat record since the first Orange Juice record, except for the last two tracks. I’m enjoying it, every track!

The album features an interesting array of collaborations – some more unexpected than others; how did they all come about?
Friends, bumping into people, talking about the record, very casual. Ryan did the first one; he and The Cribs are around my studio all the time, my friends. It was easy and quick, all the tracks. Momentum, you know? And really a lot of fun.

Were any of the younger acts nervous about working with you, and did you have any words of wisdom to calm them down?
The Drums are the youngsters. If they were nervous, it doesn’t last because it’s good fun at my place. We laugh at everything and get on with it and help each other and it works. The Drums track (‘In Your Eyes’) is beautiful.

Are there any other artists – old or new – that you would still like to work with?
I’m a producer, I love working with other musicians. Seb Lewsley, my production partner, and I are on our fifth album’s worth of stuff in the last year. I don’t set my sights on people. What will be, will be.

According to your website, Losing Sleep is somewhat of a family affair, with a cameo appearance from your son Will. What does he do on the record, and has he always taken this much of an interest in your work?
Not really. Around sixteen, he started to listen to my music. He only likes some of it. Some of it, he still doesn’t know. He started playing guitar a couple of years ago and he’s very good. But he doesn’t like to be taught or told what to do, and doesn’t want to do too much with me. He plays drums on one track and wrote the bass line on another.

Is there any more news on the long-awaited Orange Juice box set – a release date or a title, perhaps?
Coming out on Domino in November. I think it’s everything – sessions, outtakes, the lot. Seven CDs in total. Maybe going to be called Coals to Newcastle.

Has putting the boxset together shed new light on your older material? Are there any tracks you previously overlooked that have suddenly become favourites?
I’ve not really listened to it all yet. Kris Gillespie at Domino is the man who has done all the digging. The masters have just arrived, but I need about three days to listen. It’s so busy right now.

Will the boxset lead to a few more revived classics in the setlist?
Probably. I’m working on expanding my setlist. Each song takes a lot of work for me, relearning the words so I don’t mess it up!

Which songs from your back catalogue make you happiest to play?
I do like the early ones, but I love to give the people what they want, in general.

Having rewatched the Home Again documentary recently, the progress you made in the two years after your illness is still astonishing; five years on, what has been your proudest achievement?
First it was getting back on stage; I was so scared, but loved it. And now, it’s this album. I did it – it’s me, my ideas, my music, my words. I can hardly believe it.

On that note, what’s the main thing you’d still like to do?
Really, I love to work, work, work. It’s everything. I almost lost it, you see? It’s very clear to me; work is what I’m all about.

And finally, in true Smash Hits style, what was the last thing that had you losing sleep?
Having to get up at 4.30am last Monday morning to catch a plane to Berlin.

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We have one pair of tickets to give-away for Edwyn Collins’ one-off London show at the 100 Club this Wednesday (11 August). To be in with a chance of winning, simply email competition@thelineofbestfit.com with the subject line EDWYN COLLINS. Please include your name and a contact telephone number. Winner will be contacted via email on Tuesday 10 August. Editors decision is final.