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MUTTER SLATER BAND |
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Mutter’s 2015 solo album Absobloodylutely was a modern rock classic while his 2016 solo album The Champ as well as 2018’s Field Of Stone took his solo music to the further heights. Combining the best elements of his songs in Stackridge, all three albums stand as stellar examples of the unique chemistry of the Mutter Slater Band. The 2023 album by Mutter Slater Band, The Masquerade follows in a similar musical fashion as Mutter’s other recent solo albums with a round of ten Stackridge-inspired songs, all stamped with Mutter’s signature blusey, pop-rock vocals and occasional flute playing. On The Masquerade, Mutter is backed by a top band including Clive Ashley (saxophone), Laurie Higgins (bass guitar) and drummer Dan Wheeler (drums, percussion and backing vocals), while keyboard player Tom Hughes produced the album and Chris Cleaver (lead and slide guitar, backing vocals) engineered. Mutter’s vocals and band-leading skills shine in top form on The Masquerade and the 10-track lineup of songs are flowing with memorable pop hooks draped in clever rock-based, and at times neo-prog-rock arrangements. One problem: the album goes by in a flash. Song highlights abound. The lead off track “The Party” is filled with lyrics that roll off the tongue while pointing a finger at the dysfunctional politic of 2023. The lyrically reflective “Troubadour Heaven” will leave even the most cynical rocker misty-eyed, while the CD closer “Keep Me From Fear” is simply one of the most moving songs Mutter has ever written, in and/or out of Stackridge. The single track with the popular YouTube video, “This Is Gold” is truly dance music for the 21st century as Mutter details truth or consequences to today’s Stackridge set. If you like your UK pop and rock in the classic 1970’s Stackridge style, the music of Mutter Slater gives the term classic rock a new meaning, and then some.
mwe3.com presents a new interview with
Mutter Slater: The party politics, which has dominated the U.K. governments over recent decades, has become so entrenched, ridiculous and, if it weren’t so pernicious, laughable. It exasperates and angers me hence the imagery used in "The Party". The lack of care shown by an indifferent host to marginalised guests results in them all trying to erase the hellishness around them by losing their minds to ‘the razzamatazz’. mwe3: Is “Let’s Call It A Draw” a plea for peace and sanity in the crazed world of 2023? A reconciliation perhaps? Mutter Slater: No hidden meanings here. More often than not, if I’m writing a song about an intimate relationship I set it after the honeymoon period, when ardour has cooled and tolerance has been stretched to snapping point. I find it more interesting and a convenient way of avoiding the potential seabed of cliches that come with a traditional love song. mwe3: “Treason” is a pretty harsh word. Did you write the song lyrics about a relationship? Mutter Slater: A bit of a rarity for me. I don’t write autobiographical songs very often. I inexcusably treated a fine lady rather shabbily sometime back. As our feelings grew farther apart, I became to feel further removed from the love scene like a bad actor in a play – hence the metaphor used here. The bridge section hopes that all is well with her now, while I’m under no illusion that there may be forgiveness. mwe3: “Show Me You Care” is a great plea for eternal youth. It's a hopeful song right? Your voice is really strong on that track. Great chord changes. Mutter Slater: The song is built upon a four chord turn around - three chords if you count F7 and F as one chord. A sad old man expresses his desires for a younger woman, his fear of inevitable rejection forces the lyrics to be an unexpressed inner monologue. mwe3: “This Is Gold” sells itself. The big beat is there, a great hook, one of your best vocals. Verdi and Ed Sheeran in the same sentence is unusual. Mutter Slater: Again, no hidden meaning. I do try to have fun writing lyrics for the more straight-forward songs by; injecting a touch of humour, odd imagery, or wordplay. Hence ‘Rigoletto’ and ‘Ed Sheeran’ in the same sentence. mwe3: The song “The Masquerade” starts off grim and builds to a kind of “Hey Jude” closing choruses. How come we can’t seem to stop the strangers that ‘camp round our fires”?
mwe3: "Heading For A Fall" sounds like Elvis or Carl Perkins style Rockabilly. Did you have early rocker favorites when you were younger, during pre-Beatles era music. Mutter Slater: I’ve written 2 or 3 songs with this kind of groove. I’m not really sure what that groove may be though – somewhere in the vast expanse that lay between Rock and Western Swing? The nature of the lyrics is a nod towards truly great rock lyricists like Chuck Berry and Eddie Cochran. mwe3: “Troubadour Heaven” is one of the best songs on the album. It sounds like a plea to return to earlier times? Mutter Slater: This was inspired by a documentary on BBC television about ‘The Troubadour’ in Los Angeles, especially around the turn of the 1960s into the ‘70s, when the likes of Joni Mitchell, Neil Young, Elton John and James Taylor first played there. In an interview for the program, David Crosby talked of the wonderful things to be had and enjoyed at the club then added ‘It was too good to be true’. Hence the line in the song. mwe3: “Keep Me From Fear” sounds like a Stackridge song, especially with your flute into. The chord changes are brilliantly executed. There are lots of blessings spoken about. Bless my only son, is that a religious lyric or are you speaking about your son?
mwe3: Tell us about working with Proper and also is Thoroughbred your label? Mutter Slater: Adrian Collis, of Thoroughbred Music, was a mate of long standing, so we decided to join forces again for the release of The Masquerade. Adrian had all the dealings with Proper, so I have no insight as far as that is concerned. Sadly, Adrian passed away a few weeks ago so these ties have been severed. mwe3: Does the music industry still exist in your opinion? How many solo albums have you done so far? Mutter Slater: If there is a music industry it only really serves the global brands, the likes of MSB and countless artists of any age are out of the loop. We exist as a sort of cottage industry, making our wares at home and trying to flog enough to recoup the cost. I only do it because I can’t help myself – I have to write and I’m lucky enough to have a band of very talented friends who share my enthusiasm. I have released 6 solo albums so far and I can honestly say that not one of them was conceived as a way to make money, which is just as well because none of them succeeded financially. Writing songs, performing and recording them is a vital part of me and I can’t see me stopping any time soon.
Mutter Slater: Angel Air Records is now part of Cherry Red. They have recently remastered and re-released the Stackridge back catalogue. I understand that these are rather well done, but I’m yet to collect my copies from Mike Tobin. I speak to and see Andy occasionally, but he is the only one who I remain in touch with. I don’t look back with any sense of longing. I’m more than contented with my life now in every respect.
The Masquerade – Song Lyrics THE PARTY Welcome my friend this is the party, There’s plenty to eat, if you’re not fussy, There’s blood on the couch and teeth in the corner,
LET’S CALL IT A DRAW We are unbroken, believe it or not, True love? You're jokin’, don’t even exist, Our hearts were forged in fire, plunged into ice, True love don’t even last when life is a ball,
TREASON Bring down the final curtain, open the doors, First night – the nervous fumble, with giggling off, I hope that everything has turned out well, Treason etc.
SHOW ME YOU CARE Oh, look at you now, ain’t you the sweetest thing, I, I have a heart, it has a mile or two, You’ve got my drift, I’ve got your number, If this body ain’t the sort you’re after, THIS IS GOLD This ain’t no magnum opus, don’t ya know? Rigoletto, this it ain’t,
THE MASQUERADE Someone tell me how we came upon such times? How come the wheels grind on and on, on and on? When darkness falls; The lights will twinkle (just like starlight),
HEADING FOR A FALL You're bombing down the highway like a bullet from a gun, You’re leaning in The Standard with a smile on your face, Everything is riding on the turn of one more card, When everything feels so good, it’s because it’s misunderstood.
TROUBADOUR HEAVEN The word was unbroken, forever they’d reign, Time had its moment, time had its say, Golden-eyed angels singing so sweet,
KEEP ME FROM FEAR The meadows hum below the morning sun, The bells are still, the church is resting now,
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Mutter Slater arrived on the music scene since he debuted as a founding member of the UK rock legend Stackridge at the end of the 1960s. Playing flute and mellotron as well as singing and writing songs, Mutter fit right in with Stackridge for decades. Following the band’s final studio album from 2009, Mutter has moved on to a successful solo career.
mwe3: Does “The Party” make a social statement? Seemingly, it’s about a party but maybe there’s something deeper being critiqued? 
Mutter Slater: This is a global view of the same predicament explored in "The Party". Children are dying, ‘strangers’ (governments, media etc) are spinning us lies in our own homes (‘round our fires’) yet all we do is ‘hit the town’ and let ourselves go, but never mind ‘the lights will keep us warm’. 
Mutter Slater: My childhood was spent in the countryside, and this is a very pastoral piece of music. The two verses contrast the difference in village life between the old days and now. In the first verse the church still has an influence on the community even if it’s just the sound of the tolling bells. But these bells are still in the second verse and the church gates are shut, whilst the ‘windows whisper’ as people watch their televisions. But human fears and hopes remain the same in both scenarios – ‘bless the life we have, and the life to come’ etc… 