Simon Murphy Interview

Let It Be (a wink and a nod to The Replacements, as much as the Fabs) is the debut album from Simon Murphy. Packed with deft choruses and smart lyrics, anyone with a yen for the smart, grown-up power pop of Matthew Sweet, Paddy McAloon and yes, Paul Westerberg will lap these songs up.
We asked Simon to give us a run-down of what could be a perfect record to bunker up with during the dark nights.
'ONCE UPON A TIME'
This was always going to be the opening track. Once we had Linley Hamilton layering his trumpet parts for the main riff, there was no question. It’s about gratitude, and holding the ones you love close.
'MEET ME ON THE OTHER SIDE'
I’m not overly religious, and to be honest I’d be doubtful there is any such thing as “the other side”. I wrote the song to fit the opening line “The accidental stranger speaking in a stage whisper”. Those lines sound mysterious to me and are my favourite words in the song. I’m a sucker for cool opening lines that set the scene and draw you in.
'NOT IN MY NAME'
Kaz Hawkins sings on this. I just love her voice. I didn’t want to hector or lecture an audience. But I will tell you how I feel. I wrote this in response to the conscience clause and cuts to arts funding. I felt afraid that people who needed help or who could be marginalised would further suffer if things came to pass.
'LONE STAR HEART'
The first song I ever wrote, not long after my 30th birthday. You can see I wasn’t reinventing the wheel with the subject matter: Boy meets girl. Girl dumps boy. Boy gets mighty sad and writes a song. Nearly didn’t get recorded, but Charlene (backing vox) and Michael (producer) insisted it go on the album. I’m glad they did. Ironically I’ve totally fallen in love again with a song about lost love.
'HERE GOES NOTHING'
I work a full-time job in psychiatry with personality disorder service. We treat people who have trauma and neglect in their background. Suicide and self- harm, dysfunction and substance abuse are always lurking. I was treating a patient who was just so profoundly lonely. Again the opening line sets the
tone “sitting in my kitchen, wishing to God I was someone else”. I think it’s some of my best work lyrically.
'I HAVE A VOICE'
Another one from my job. I’m loathe to be any sort of spokesperson, or claim to speak for anyone but myself. But the personality disorder experience is one of emotional extremes, and I’m trying to express that. Kaz Hawkins sings on this and we just sang it live together at my launch in Belfast. It’s got a cool groove and it always seems to be on people’s top three lists.
'MY BABY'
Flat-out love song. I was listening to the Anfield Wrap podcast at the time, so I used it as a reference point. Again, it’s a little odd and idiosyncratic. ‘You’ll Never Walk Alone’ (Liverpool’s anthem) and the lyric “we go again”, uttered by Steven Gerrard to spur his team on, shouldn’t work in a love song, but do.
'THE LIFE OF BRIAN’S SON'
Love playing this live. I’m ranting – “caught in the middle of a 6 string hipster, hashtag apocalypse”- but not taking myself too seriously. I am having a wee bit of a moan -”don’t hear my songs playing on the radio, I only wanna be relevant”. Linley Hamilton plays great trumpet on it too.
'I SMELL A RAT'
This is a big four-minute ball of anger, sarcasm and attitude. I love 60s doo-wop pop tunes and really enjoyed layering those on the chorus. Anthony Toner plays great slide on it. What’s it about? Not being given a fair crack of the whip, like being passed over in a music competition, or feeling dismissed unfairly in life.
'EVERGREEN'
I originally recorded a live version of this on the Over The Hill CD, with Paul kane from Oh Yeah. I’m trying to capture moments in freeze-frame, wishing loved ones could remain with you, and not grow older.
'THE IDIOT'
In Zero Hour studios, Tre Shepperd and Michael McCluskey have really cool amps and mics. This was done live, third take I think. My heroes are John Prine, Paul Westerberg and Warren Zevon. They can be funny and poignant at the same time.
'2 GHOSTS'
It doesn’t really have a chorus, the structure is kinda loose, and I love it for that. Quite a heavy lyric too.