HAIRCUT 100 Part 2.: NICK HEYWARD
Electronic, Jazz, Rock
Soft Rock, Synth-pop, Pop Rock, Smooth Jazz
Accordion [Accordian] - Danny Schogger (originally the keyboard player for Wham, www.lbbmusic.co.uk/)
Acoustic Guitar - Nick Heyward , Tim Renwick (http://en.wikipedia.org/wiki/Tim_Renwick) (tracks: 2, 8)
Adapted By - Andrew Powell (http://en.wikipedia.org/wiki/Andrew_Powell) (tracks: 5, 6) Arranged By [Orchestra] - Andrew Powell (tracks: 9)/Conductor - Andrew Powell (tracks: 5, 6, 9)
Arranged By [String Arrangements] - Paul Buckmaster (http://en.wikipedia.org/wiki/Paul_Buckmaster) (tracks: 5, 6)
Backing Vocals - Lenny (tracks: 1, 10) , Ruby (tracks: 1, 10) , Sylvie (tracks: 1, 10)
Bass - Andy Brown (http://www.answers.com/topic/andy-brown) (tracks: 10) , Pino Palladino (http://en.wikipedia.org/wiki/Pino_Palladino)
Bongos - Tony Maronie (Breakrfast Band,Billy Bragg,The Adventures etc.)
Drums - Dave Mattacks (http://www.dmattacks.co.uk/main_fr.htm)
Electric Guitar - Nick Heyward , Tim Renwick (tracks: 1, 5, 10)
Engineer - Geoff Emerick(http://en.wikipedia.org/wiki/Geoff_Emerick)
Engineer [Assistant] - Jon Jacobs
Guitar [Intro And Outro] - Ian Laws (tracks: 8)
Mandolin - Tim Renwick (tracks: 2)
Marimba - Morris Pert (http://www.morrispert.com/)
Organ - Danny Schogger , Steve Nieve (http://en.wikipedia.org/wiki/Steve_Nieve) (tracks: 1, 7)
Other [Management] - David Botterell For Happnin' Productions Ltd.
Percussion - Morris Pert ( http://www.morrispert.com/), Tony Maronie (ex-Breakfast band)
Piano - Brian Gascoigne (http://www.bigozine2.com/MP307/STOMUstock/STOMUstock.pdf) (tracks: 6) , Danny Schogger , Steve Nieve (tracks: 1, 7)
Piano [Intro And Outro] - Bill Lesage (http://en.wikipedia.org/wiki/Bill_Le_Sage) (tracks: 8)
Producer - Geoff Emerick , Nick Heyward
Saxophone [Alto, Tenor, Baritone] - Chris White (http://en.wikipedia.org/wiki/Chris_White_(saxophonist))
Trombone - Pete Beachill (http://profile.myspace.com/index.cfm?fuseaction=user.viewProfile&friendID=160761928)
Trumpet, Flugelhorn - Stuart Brooks (http://www.eclipsetrumpets.com/2005/artists/pages/stuart_brooks.htm)
Written-by, Vocals, Arranged By [Brass Arrangements] - Nick Heyward
Comes with a booklet and an obi strip. Recorded and mixed at Air Studios and Abbey Road Studios, London.
Track 9 is recorded live at Abbey Road Studios, 19 May 1983.
Track 10 is recorded live at Air Studios, 26 July 1983.
Track 18 is from North Of The miracle Japanese version (1998)
Track 21 is B -side of My Pure Lady, Japanese only 7" release (1984)
"Whistle Down the Wind"
01 When It Started To Begin (3:50)
02 Blue Hat For A Blue Day (4:05)
03 Two Make It True (4:17)
04 On A Sunday (4:06)
05 Club Boy At Sea (3:51)
06 Whistle Down The Wind (3:40)
07 Take That Situation (3:19)
08 The Kick Of Love (4:34)
09 The Day It Rained Forever (4:33)
10 Atlantic Monday (5:11)
11 Whistle Down The Wind (12' version) (4:55)
12 Take That Situation (rhythm mix) (3:55)
13 Cafe Canada (2:50)
14 Love At The Door (2:00)
15 Don't Get Me Wrong (3:40)
16 Stolen Tears (3:04)
17 Laura (4:40)
18 Whistle Down the Wind (Instrumental Reprise) (6:20)
19 Blue Hat For A Blue Day (Ultrasound 12 Inch Version) (5:30)
20 Whistle Down The Wind (Acoustic) (3:25)
21 My Pure Lady (3:50)
22 Laura (Japanese Cd version) (3:27)
23 When It Started To Begin (Re-Recorded)(japanese cd version)(3:46)
24 The Kick of Love (Instrumental) (japanese cd version) (4:35)
Links to download
"Haircut 100 went on to make one more record without Heyward before calling it a day. The whole experience left Heyward rattled, yet within months he was back at it, recording his exceptional solo debut, North Of A Miracle, with legendary Beatles engineer and producer Geoff Emerick. "I was definitely a bit mental for a while afterward," he admits. "So being in the studio with Geoff was a real calming influence, because he'd seen it all before."
It did leave him in need of a reality check, however
"Well, I was still just 21, and there I was in AIR Studios with Geoff Emerick. I was spoiled, because I was working with the best--I thought that every studio I worked in and everyone I worked with afterward would be that good and that talented. I was in for a rude awakening."
You split from Haircut 100 and went solo in 1983, how did you find that at the time?
“It was a strange time because it wasn’t planned to go solo. I went solo because we couldn’t communicate, so it was kind of an unplanned happy accident.”
Is Whistle Down The Wind still an important song for you?
“Yes, this song had been around for a while because, as a school band, we’d made an indie single and got it played on John Peel. I remember sitting up for nearly all year waiting for this song and he played it and that was Whistle Down The Wind, without the chorus. The chorus came later.”
Would you ever want to go back to the 80s?
“People have their different times, different views. 1983 was mostly about amazing innocence. For me, that was 1983. If you ask somebody else what their 1983 was, it might have been new romantic. The 80s that I see on TV programmes are not always the 80s I remember.”
"One track already makes Nick Heyward's first solo LP after leaving Haircut 100 a must-hear. The breezy "Whistle Down the Wind" is among Heyward's most moving songs, a story of unrequited love with a "hello, hello, hope you're feeling fine" chorus that is both heartwarming and heartbreaking. Heyward sings the opening lines in a whispery tone, caressing the ears with the sweetness of his voice; when the tempo builds up, the track manages to simultaneously elevate and sadden the listener. "Whistle Down the Wind" is lush, hopelessly romantic pop that may have been too subtle for Top 40 radio in 1983. Although North of a Miracle doesn't strike those highs again, it's still just as charming and catchy as Heyward's finest Haircut 100 work. "When It Started to Begin" sounds a lot like Haircut 100, especially the chirpy horns, but much of North of a Miracle is more mature and introspective. "Blue Hat for a Blue Day" speaks of divorce with a deceptively cheerful beat, while the atmospheric "The Day It Rained Forever" is a wintry ballad with a palpable depth of emotion. Like the Colourfield's Virgins & Philistines, North of a Miracle doesn't seem like a '80s record; its apparent influences -- the Beatles, the Walker Brothers, jazz, R&B -- are as timeless as the album. Anybody expecting a boyish romp like Haircut 100's "Love Plus One" might be a tad startled." ~ Michael Sutton, All Music Guide
"Nick's first solo offering is a gem. After the acrimonious split from Haircut, Nick licked his wounds for a while and then unleashed this! North Of A Miracle is a stunner from start to finish. This version includes a raft of extra tracks from the same era, culled from b-sides, etc. Only "Laura" seems out of place here, released way after this album was out.
It's a shame that Camden didn't go the way of the Japanese issue and included some extended mixes, but still, can't complain. Pity the Japanese only single "My Pure Lady" wasn't included. Although this track hasn't dated too well, it would have been nice to have it in a digital format at long last.
Some of the tracks on here were originally slated for the second, unreleased Haircut album "Blue Hat For A Blue Day".
There are many stand out tracks on North, not just the classic singles "Whistle Down..." and "Blue Hat". Listen to "When It Started To Begin", "Kick Of Love" and you'll know what I mean. My favourite track has always been "Club Boy At Sea", which is one of those old Haircut tracks. It's one of those songs you want to go on forever. Strings to die for.
I think Nick bettered this album fairly easily with his two late 90's offerings Tangled and The Apple Bed, but this is a great introduction to anyone who wants to get into Nick's magic. Just one tip: keep away from those shoddy Best Ofs."
"A reissue presumably fuelled by Nick's involvement with the 2001 80's revival tour. This UK Top 10 album from 1983 is repackaged here with 7 bonus tracks having been unavailable on CD in Britain for many years except on Japanese import.As well as several hit singles, including 'Blue Hat For A Blue Day', 'Whistle Down The Wind' and 'On A Sunday'(which should have been a much bigger hit) there are several other gems here, not least the glorious bonus track 'Don't Get Me Wrong' - a 12" only harmonica-infused relentless jam which would have graced one of Nick's three sublime albums from the 90's.
The main downside of this release is the poorly reproduced artwork which is grainy and dark and uses some, but not all, of the original sleeve photos. The lyrics are also omitted and there are no sleevenotes or clues as to the origins of the bonus tracks. I suppose this might be expected of a budget release but this is shame because it will predominantly be bought by fans, most of whom I'm sure would have been prepared to purchase at mid price for a better product (newcomers would be best advised to pick up Camden's useful but flawed "Greatest Hits"). The CD could even have been enhanced with original promo videos.
Some of the extras appear on CD for the first time including B sides 'Cafe Canada', 'Love At The Door' and 'Stolen Tears'. 1985 single 'Laura' is here but there is no sign of the superb 'Love All Day' from the previous year. Also featured is the 12" version of 'Whistle Down The Wind' and the Rhythm Mix of 'Take That Situation'(which was also on "Greatest Hits") whereas non album tracks such as 'Love Sublime On Sunday' and the re-recorded 'When It Started To Begin' are nowhere to be found.
Hopefully the disappointments of this CD will be rectified if Nick's following album 'Postcards From Home' also receives a CD issue. If this happens Camden should definitely consider adding the Jap only single 'My Pure Lady' along with all of the relevant B sides from the era, sleevenotes and an interview with Nick.
I'll give this 1 out of 5 for the packaging but 4 out of 5 for the music which set the tone for the brilliant albums that followed."
"The best first and Heyward solo offering (only Tangled comes close in my opinion). You can play this album from start to finish, and quality of tracks like The Kick of Love, and Club Boy at sea, as well as the obvious singles such as Blue Hat etc really shines through.Great instrumentals (Cafe Canada), and energy of the live studio tracks, (Atlantic Monday) show this is Nick at the top of his game"
"Toothy grin, chunky jumpers, winsome photos in front of cricket lawns, Nick in his early Haircut 100 days always had the opportunity to wind me up. Being a Jam fan, their music to these ears, sounded tepid, ineffectual at the time. All these years later, surrounded by boring, pre-packaged boy bands, who couldn't write a good tune if it knocked them on the head, Nick's songs sound fresh, endearing, reflecting a time when pop music still had a touch of naiviete, and eccentricity.'North Of A Miracle' was Mr Heyward's first solo album and was in many ways the flipside to the good times expressed on the Haircuts album. In fact 'Miracle' with its big orchestral sound always seemed to have a parallel for me with Scott Walker's first album, and the similiarities appear obvious; teenage hearthrob leaves successful pop group and goes out on his own to record a more serious, grown-up album revealing the stresses of the previous year and the broken relationships as a result. Even the picture covers are interchangeable, dark and forlorn, heads bowed, the boy lost growing up at last.
Suffice to say the songs accompanied by Paul Buckmaster's string arrangements work the best, in particular the first single 'Whistle Down The Wind', and the song which even outdoes Morrissey in the melancholy stakes, 'Blue Hat For A Blue Day'. If there any downsides to the album, the so-called funkier tracks 'Take That Situation' and 'Atlantic Monday' are pleasant but sound a touch dated.
Glad to see this neglected gem on CD for the first time in the UK, the added instrumental B-sides 'Love At The Door' and 'Cafe Canada' only enhance the overall quality."
POSTCARDS FROM HOME (1986,reissued in 2002)
Keyboards, Saxophone - Richard Cottle (http://www.theavenueonline.info/site1/bios/cottle.htm)
Keyboards,Backing Vocals - Peter Beckett (www.peterbeckett-player.com/)
Bass - Graham Edwards (http://profile.myspace.com/index.cfm?fuseaction=user.viewProfile&friendID=209220191), Issac Guillory (www.isaacguillory.com/), Paul Westward
Drum Programming, Percussion - Steve Everett (Ozric Tentacles)
Engineer - Alan Leeming , John Etchels , John Galon
Drums - Charlie Morgan (http://en.wikipedia.org/wiki/Charlie_Morgan)
Soprano, Saxophone - Philip Smith
Guitar - Keith More (http://www.progressiveworld.net/keithmoreinterv.html)
Bass - Les Nemes
Producer - Graham Sacher & Nick Heyward
Nick Heyward -Guitar, Main Performer, Vocals
J. Neil Sidwell (http://www.smhtpjunior.com/artist/j.-neil-sidwell/?key=P000125041) - Trombone
Steve Sidwell (http://www.stevesidwell.com/) - Trumpet
Paul Spong (http://www.artistdirect.com/nad/music/artist/credits/0,,496203,00.html) - Trumpet (Spong and the two Sidwell were credited on many albums as Kate Bush,George Michael,Wet Wet Wet,Robbie Williams etc. And "you could see Chris White (played on Heyward's North From The Miracle album) quite often in brass section around Steve Sidwell,J. Neil Sidwell and Paul Spong. An especially productive is his collaboration with Danny Schogger (also played on Heyward's North From The Miracle album), Steve Sidwell (they played together in so many albums and concerts." cited from http://www.chriswhite-saxophone.com/bio/abio.html)
Tracks 15 & 16 Live at Wembley Stadium, 28/6/86.
Track 17 A side of Warning Sign 12"(1984)
Track 18 A side of Goodbye Yesterday 12" (1984)
Track 19 B-side of All Over The Weekend 12" (1986)
01 Move It Up (3:56)
02 Over The Weekend (3:59)
03 Goodbye Yesterday (3:56)
04 Again In My Heart (2:54)
05 We've All Be Kissed (4:05)
06 Pray For A Miracle (4:50)
07 Now You've Gone (3:56)
08 Come On Baby Run (3:55)
09 Teach Till You Reach (3:53)
10 Cry Just A Little Bit (3:56)
11 Love All Day (And Night)(12") (5:31)
12 Warning Sign (12")(5:48)
13 Over The Weekend (And Into The Cornfield, Part Two) (5:28)
14 Goodbye Yesterday (12") (6:29)
15 Fantastic Day (Live) (6:11)
16 Take That Situation (Live) (3:35)
17 Warning Sign (Bullet To The Head) (6:41)
18 Goodbye Yesterday (Extended Version) (6:20)
19 At Home With My Piano Rap/Goodbye Yesterday (5:43)
Links to download:
2002 reissue of the ex-Haircut 100 frontman's 1986 sophomore album includes six bonus tracks, 'Love All Day (And Night)' (12 Inch Version), 'Warning Sign' (12 Inch Version), 'Over The Weekend (And Into The Cornfield Part Two)', 'Goodbye Yesterday' (12 Inch Version), 'Fantastic Day' (Live) & 'Take That Situation' (Live).
"This isn't Nick Heyward's best record. It's not his second or even his third best. So not counting the Haircuit One Hundred LP/CD -- which, c'mon, really is just a Nick Heyward vehicle -- I'd rate this one "fourth."
But Nick Heyward is a very gifted songwriter, with a knack for crafting delicate, beautiful melodies perfectly suited for his voice. And there's only so much in the way of recorded Nick Heyward out there. So after you've bought "North of a Miracle" -- Japanese import with the nine bonus tracks version please -- after you've added the Beatlesque "The Apple Bed" -- and the "Kite"-powered pure pop of "From Monday to Sunday" -- it's time to add "Postcards from Home," if only for the upbeat "Good-bye Yesterday.""
"This release was out of print for a long time - I had it on vinyl and the original CD version was going for over $50 on eBay. Now it's back and sporting 6 bonus tracks.Let me be upfront and honest: Heyward's "North of a Miracle" is not only my favorite Heyward release, it is one of my all-time top ten CD's. "Postcards from Home" is the follow-up release to this classic and, unfortunately, it doesn't quite measure up. That said, there are some excellent songs here among some filler. (saltyka: i wish if i could write such "filler" songs!)
1. Move It Up - A nice upbeat album opener.
2. Over the Weekend - Throwback to Nick's Haircut 100 sound.
3. Goodbye Yesterday - A catchy tune, but unlike any of his previous singles.
4. Again in My Heart - filler
5. We've All Been Kissed - filler
6. Pray for a Miracle - Nick tries to go Motown with limited success
7. Now You've Gone - filler
8. Come On Baby Run - Nick tries to go tropical with limited results
9. Teach Till You Reach - Nice tune with a catchy hook. Just ignore the lyrics.
10. Cry Just a Little Bit - Nick tries to go slow reggae and creates something orginal and worthwhile.
The bonus tracks are mostly 12" versions of the above tunes. The final two are great live versions of "Fantastic Day" and "Take That Situation". These two cuts almost make the CD worth its price.
This a good CD, just not a great CD. Kudos to BMG for reissuing this CD with the bonus tracks. If you are new to Nick Heyward, please check out "North of a Miracle." If you already enjoy Nick and Haircut 100, then you'll enjoy this pop CD"
"In the early 1990's Nick Heyward released the critically aclaimed "From Monday to Sunday" LP.I've been listening to his music ever since and have been looking forward to the re-release of "Postcards From Home". As you would expect from Nick Heyward everything jingles along very nicely with easy-going pop leaning heavily on a certain "fab four". The first three songs are the best with the superb "Goodbye Yesterday" standing out.However you will find "Goodbye Yesterday" and the other stand out track "Over the Weekend" on "The Best of Nick Heyward and Haircut 100". Frankly you might be better investing your hard earned cash on that. The problem is that by track four everything starts to go a bit pear shaped. "Again in my Heart" contains a particualy bad boy-band esq chord change and other songs are needlessly jazzed up with over bearing brass sections. Nick's later CD's are so much stronger especially the "Apple Bed" and the affor mentioned "From Monday to Sunday". Buy them if you can find them!Overall the missing link is also the weekest link."
"If you enjoyed Nick Heyward's first solo album and his stuff with Haircut 100 chances are you will enjoy this album. "Goodbye Yesterday" is a good song and the live versions of "Take That Situation" and "Fantastic Day" are equally enjoyable. I also like "Now That You've Gone" and "Warning Sign." It's a decent album and if you haven't had a chance to check it out pick it up."
"A lovely album, to be sure. But more than that, my favorite song of ALL TIME is featured on this album as a bonus track (if you get the release that features bonus tracks). Track number two is called "Over the Weekend", however there is a bonus track called "Over the Weekend and Into the Cornfield", which is a slow version featuring Nick's voice and piano - that's it. Brilliant, moving, talent just oozing from the stereo speakers. Do look for this song."
"Summer is here, no doubts. Very sunny & cheerful album, pure pop, the only problem is that all tracks are quite similar to each other. Difficult to recommend something."
Thanks God i listened to this album before read these reviews. Frankly, if i had listened to them,i would have missed a very pleasant experience. Never trust the rewievers!!!:)
I LOVE YOU AVENUE (1988)
Artwork By [Design] - SJH / NPH
Backing Vocals - Jackie Rawe (www.jackierawe.com/)
Bass [Additional], Other [Drum Patterns] - Leslie Nemes
Engineer [Additional] - Ian Richardson (works lot with Nick Coler as you can see below) http://home.cogeco.ca/~mansion1/ianrichardson.html), Nick Sykes
Engineer [Assistant] - Noel Rafferty (http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=158385520) , Steve Orchard (http://www.airstudios.com/personnel/engineers/orchard.shtml)
Engineer,Guitar,Programmed By - Richard Bull (from Incognito, http://www.myspace.com/richardbullhigherground)
Guitar, Keyboards, - Nick Heyward
Keyboards - Andy Witmore (www.myspace.com/andywhitmore), Gary Sangtuary (http://en.wikipedia.org/wiki/Gary_Sanctuary), Nick Coler (http://www.bonobo.tv/index.php?option=com_content&view=article&id=51:nick-coler-record-producer--musician--writer--arranger&catid=20:artists&directory=58) ,Peter Beckett
Mastered By - Arun Chakraverty (http://www.artistdirect.com/nad/music/artist/credits/0,,413520,00.html)
Mixed By - John Hudson (http://www.soundonsound.com/sos/may04/articles/classictracks.htm and http://www.mayfair-studios.co.uk/studio3.html) (tracks: 1, 2, 8, 10),Justin Strauss (track 13) Other [North American Representation] - Stephen Prendergast /Photography - Simon Halfon Producer, Written-By - Graham Sacher (tracks: 1, 2, 5, 8, 10, 11) , Nick Heyward
Saxophone [Soprano, Alto Tenor, Baritone] - Philip Smith
Trombone - Pete Thoms (from Landscape, http://www.artistdirect.com/nad/music/artist/credits/0,,501562,00.html)
Trumpet - Paul Spong (see credits of Postcards From Home)
Recorded in London at: Village Recorders - Dagenham Rooster Studios - Olympia PRT - Marble Arch Mayfair - Primrose Hill
This album is for Louise Jones.
"August In The Morning"
01 You're My World (4:16)
02 If That's The Way You Feel (2:58)
03 Traffic In Fleet Street (3:44)
04 Lie With You (3:30)
05 My Kind Of Wonderful (4:30)
06 I Love You Avenue (5:02)
07 Hold On (Money Don't Buy Love) (3:44)
08 Tell Me Why (3:45)
09 Pizza Tears (4:00)
10 This Is Love (4:15)
11 Change Of Heart (4:20)
12 August In The Morning (4:19)
13 Tell Me Why (Extended 1989) (7:10)
YOU'RE MY WORLD (12") (1988)
14 You're My World (12" Remix)
15 You're My World (Remix Edit)
16 Tell Me Why (Dub Mix) (5:35)
Link to download:
"Former frontman for Haircut One Hundred continues down the pop road. Several of the tunes on I Love You Avenue sound George Michael-ish, but Heyward is not as strong vocally as the former Whamster. Most of the tracks are average with a few being downright wimpy, especially the title track. However, there are a few highlights including the opener "You're My World" and acoustic "Traffic in Fleet Street." Not a bad album." ~ Tim Griggs, All Music Guide
"I really love this album. It is good cheesy 80's fun. Some of the songs are just filler, but there are also several good ones. "You're My World", which was the single, is a great piece of danceable pop fluff. There are also some beautiful, emotional ballads, such as "Traffic in Fleet Street," "I Love You Avenue" and "This is Love." "Lie With You" is a very enjoyable country-tinged tune and "Tell Me Why" is very heartfelt and uptempo. The album's closer, "August in The Morning," sounds like someone in a piano bar at 4 a.m., saddened over losing the love of his life. Nick's excellent vocal work and emotional honesty make this a pop pleasure. If you like 80's synth pop, you will like much of this CD."
"Buy this album for "Tell Me Why" alone. It was one of the highlights of 1989. The lyrics, the piano, and the light violin touches make the song one of my all-time favorites. It easily stands up to the other best tracks of that year: "Getting Away with It," "Strange Kind of Love," "Nothing Has Been Proved," "Keep On Movin'" and all the rest."
"Few truly nice songs like 'Tell Me Why', 'You're my World' & 'Traffic in Fleet Street'. But it is getting worse closer to the end."
"Tell me why:Aaah, the eighties. Everyone´s got their memories, i do and you do too. One who soundtracked my youth was haircut one hundreds singer/songwriter Nick Heyward who went onto a not as succesful solocareer but who yielded many pearls of popsongs for those who cared to look. Tell me why from 88s "I love you avenue" has to be my favorite nick track since it encapsules all his qualties best. Regret, melancholia and longing for the mrs and a piano midtempo verse that leads up to a killer chorus. Avalaible in a bargain bin near you."(http://www.musicaltaste.com/search2.php?term=cute)
FROM MONDAY TO SUNDAY (1993)
Cello - Frank Schaefer (recently in Manhattan Attitude with Elliott Randall)(tracks: 01 to 03, 05, 07, 09 to 11) Drums - Graham Ward (http://synchronicity-music.net/) (track 06),Trevor Smith (http://www.artistdirect.com/nad/music/artist/credits/0,,494819,00.html) (track 12)Drum Programming - Ali Thompson (http://en.wikipedia.org/wiki/Ali_Thomson), Ian Shaw , Jim Gardner , J Gordon Hastings* , Les Nemes
Percussion [Brushes] - Jeff Dugmore (http://www.mikedolbear.co.uk/story.asp?StoryID=1673 and http://www.btinternet.com/~europeans/session.htm) (track 02)/Percussion - Andy Duncan (http://www.a7music.com/andy_duncan.php) (tracks 05,09)
Mastered By - Denis Blackham (http://www.skyemastering.com/)
Mixed By - J Gordon Hastings* (tracks: 01 to 05, 07 to 11),Dave Bascombe (http://www.sonyoxford.co.uk/pub/plugins-sony/User-David-Bascombe.htm) (track 06),Ian Shaw (track 12)
Performer, Written-By - Nick Heyward/Producer - Nick Heyward
Recorded By - Ian Shaw (http://www.warmfuzz.com/shaw.htm) (tracks: 1 to 4, 7, 8, 10 to 12) , J Gordon Hastings (from Caravan, http://calyx.club.fr/mus/hastings_pye.html) (tracks: 05, 06, 09) /Recorded By [Additional] - J Gordon Hastings* (tracks: 01 to 04, 07, 08, 10, 11)
Trumpet - Steve Sidwell (check the credits for Postcards From Home album) (tracks: 02, 03, 05, 09)
Clarinet - Julian Stringle (http://www.julianmarcstringle.com/) (track 09)
Trombone - Richard Edwards (http://en.wikipedia.org/wiki/Richard_Edwards_(musician)) (track 09)
Jim Williams (http://www.bimm.co.uk/brighton/guitar-course-tutors.asp) - Mandolin (track 02),Guitar [Wah Wah] (track 06),Guitar [Slide, Lead Solo] (track 08),Vocals [Choir] (track 03)Vocals [Choir] - Blair Booth (http://www.nationmaster.com/encyclopedia/Blair-Booth and http://www.blairbooth.co.uk/), Bob Sargeant (http://www.answers.com/topic/bob-sargeant) (track 03)
Guitar [Lead] - Neil Scott (track 04)
Piano, Organ - Philip Taylor (http://www.satellitesmusic.co.uk/aboutus/philtaylor.php and http://www.tony-hadley.com/band/pt.html) (track 04)/Piano - Philip Taylor (tracks 06,12)/Organ - Philip Taylor (track 11)
Organ [Hammond] - Antony Clark (http://www.londonpianoschool.co.uk/tutors/anthonyclark.htm) (tracks 06,10,11)/ Keyboards - Antony Clark (track 07)/Backing Vocals - Antony Clark (track 08)
Bass - Les Nemes (track 12)
Drums - Geoff Dugmore (http://www.btinternet.com/~europeans/session.htm)
Recorded and mixed in Fulham at Shaw Sound and Lilley Yard.
Track 20: from He Doesn't Love You Like I Do (12") (1993)
01 He Doesn't Love You Like I Do (2:48)
02 Kite (3:06)
03 Into Your Life (3:15)
04 Caravan (3:45)
05 Ordinary People (3:44)
06 How Do You Live Without Sunshine (5:17)
07 January Man (4:02)
08 Mr. Plain (4:28)
09 These Words (3:15)
10 All I Want You To Know (2:51)
11 Diary (4:37)
12 Everytime (4:54)
13 Woman In Love (3:07)
14 Something Inside (2:48)
THE WORLD (12") (1995)
15 Fantastic Day (Acoustic Version) (2:43)
16 Kite (Acoustic) (3:10)
17 Caravan (Acoustic Version) (3:41)
18 Mr Shirt & Tie (2:40)
19 Friday (3:50)
20 Say What You Got To Say (2:20)
Link to download:
"Notably, Nick released ‘From Monday to Sunday’ in 1993, which heralded a change to a more classic rock style. The album yielded an American radio hit with "Kite" which reached 4 on the Magazine Modern Rock Tracks chart."(http://www.myspace.com/sharedevent)
Audio (7/94, p.74) - "...cogently tuneful guitar pop with lots of electric 12-strings, mandolins, Hammond organ, and almost too much British charm..."
"An album from former Haircut One Hundred frontman Nick Heyward is not likely to make many people's "most anticipated" list, but From Monday To Sunday is pure, exuberant power pop with melodies to kill for, chiming, British Invasion-style guitars, and nary a synthesizer in earshot. Depending on the track, the basic rock lineup is augmented by various combinations of real live cello, mandolin, clarinet, horns, piano, and organ. A couple of numbers lapse into the whitewashed sentimentality of old. But for the most part, Heyward delivers crisp, hummable pop songs, disposable but enjoyable." ~ Roch Parisien, All Music Guide
"I suppose it isn't surprising that an album of this caliber went unnoticed in an era where post-grunge, slacker posturing clogs the airwaves and garners all the attention. From Monday to Sunday is a pop masterpiece all the way through. It will make you believe in music again. While "Kite" got some moderate airplay on college radio, some of the greatest gems herein never received any. "January Man" and "Mr. Plain" were instant classics the moment I heard their intoxicating choruses. Nick Heyward is a true unsung pop master."
"The first track, "He Doesn't Love You Like I Do", portends this LP to be one of 1994's best pop treats: a brilliantly catchy melody played out over letter perfect chimey guitars and superb double-tracked harmony vocal that are variously reminiscent of the Everly Brothers or more neo-Country harmonizers such as Rank and File.Heyward has always carried an undeservedly bad repuation as the one-time vocalist of the British pop group, Haircut 100. Undeserved, because their debut LP, "Pelican West" was a tremendous pop LP that whose high-quality music was eclipsed in the public's mind by the band's MTV images. Heyward doesn't move too far afield here, and many of the tracks sound almost as if they were lifted from the Haircut 100 sessions, right down to the Penny Lane-ish trumpet that was used so effectively in Haircut 100's "Fantastic Day."
This solo spin proves that Haircut 100 was anything but an empty haircut band. Heyward's songs and singing are truly extraordinary."
"I liked "Pelican West" by Nick's old band Haircut 100, so after he went solo I decided to try out this album. I guess "floored" was the word for my reaction the first time I heard it. This stuff sounds almost NOTHING like Haircut 100, which surprised me. No, it's a lot more guitar-oriented and poppish, more accomplished-sounding, infinitely catchy and just so much BETTER. I loved "Love Plus One" and the like, but this album is something else. Not a bad song in the bunch. If you like good, intelligent pop, this is it."
"From Monday To Sunday sounds a little like a mixture between Elvis Costello, The Smithereens and Crowded House. This is one of the more melodic albums to come out in the past 20 years. It is right up there with Girlfriend by Matthew Sweet, Teenage Symphonies To God by Velvet Crush, Banjos And Sunshine by Sixty Acres, Isolation Party by Tommy Keene and Songs From Northern Britain by Teenage Fanclub. What these albums have in common are strong, catchy melodies in both the choruses AND the verses on practically every song on the whole album."
"Nick Heyward has largely been dismissed by the U.S. and it doesn't really make any sense. Heyward consistently cranks out pleasant, often upbeat, multi-layered music that can't be pigeon-holed too easily. So maybe that's why the U.S. hasn't really gotten into him. Granted, after a dynamite debut in the early 1980's with his group, Haircut 100, Heyward went off on his own and cranked out a very unremarkable (and to be honest - bubblegum sort of) album. Fast forward to the the early 1990's. Heyward cranks out this little album - From Monday to Sunday - that could blow your socks off! "Kite" was the song that actually got U.S. college and alternative radio play making it into the top 100 and on some lists hitting the top 40. However, good as that song is, it is certainly not alone. "January Man", "How Do you Live without Sunshine", "Caravan", "He Doesn't love you like I Do" and "Ordinary People" are each really multi-layered musically and impressive lyrically. This is NOT bubblegum pop! Have a listen and you'll find that this is one of those albums that you can listen to over and over again without getting tired of it. It may take a few listens to really "get" it, but then I think that is indicative of any really good album."
"Why isn't this album on the top 10 of any "Best albums of all time" lists. This record is brilliant beyond words. It deserves more than five stars. I can't explain this record exactly but I would say this would be the sound version to your Idea of the best day you ever had. Beautiful just like rainy days."
"Kite:This song proves beyond a shadow of a doubt just how talented a songwriter and musician Nicke Heyward is! I can't sing the praises of this enough!Truly inspiring song!"
Geoffrey Richardson (http://calyx.club.fr/mus/richardson_geoff.html) - Clarinet, Violin, Viola, Ukulele
Tony Rivers (http://www.tonyrivers.com/index1.html) - Vocals (Background)
Ian Shaw (http://www.warmfuzz.com/shaw.htm) - Engineer
Donald Ross Skinner (Julian Cope, http://www.soundsxp.com/interviews/home4.html) - Guitar Phil "Philthy Animal" Taylor (Check the credits for From Monday To Sunday album) - Bassoon, Keyboards, Wurlitzer, Mellotron
Graham Ward (Check the credits for From Monday To Sunday album) - Drums
Amelia Fletcher (http://indiepopedia.com/index.php?title=Amelia_Fletcher) - Vocals
A.P. Thompson (http://www.artistdirect.com/nad/music/artist/credits/0,,561547,00.html) - Vocals (Background)
Ben Blakeman (Cocteau Twins, http://www.cocteautwins.com/html/theband/other_members.html) - Guitar
David Bucknall (http://www.artistdirect.com/nad/music/artist/credits/0,,922908,00.html) - Cello
Julian Gordon Hastings (Check the credits for From Monday To Sunday album) - Engineer, Mixing
Jim Kimberley (Check the credits for The Aplle Bed album) - Drums
Doug Cook - Assistant Engineer, Mixing Assistant
Anthony Clark (Check the credits for The Aplle Bed album) - Organ (Hammond), Vocals (Background)
Steve Cook - Assistant Engineer, Mixing Assistant
Nick Heyward - Guitar, Vocals, Keyboards, Main Performer, Harmonica, Piano
Credits for the EP:
Recorded,Mixed by Julian Gordon Hastings /Mixed - Gary Kitchingham (track 15)
Written by George Harrison (track 16), Lennon & McCartney (tracks 17,18)
Produced by Nick Heyward
01 Kill Another Day
04 She Says She Knows
06 Carry On Loving
07 I Love The Things You Know I Don't Know
08 Can't Explain
09 Believe In Me
13 She's Another Girl
A HARD DAY'S NICK (EP) (1996)
16 If I Need Someone
17 Nowhere Man
18 All My Loving
ROLLERBLADE (EP) (1996)
19 The Queen Of Summertime
20 Better Place
21 Famous Man
Linsk to download:
TANGLED was a pretty rocky album. What were you going through when you recorded it and why wasn't it released in the States?
"I know -- I really wanted it to be released. It was just totally out of my control. It was political. I think Epic in America -- the guy in Epic, at the time didn't particularly like my A & R man. Sometimes your life is ran by little idiosincricies like that. They're enigmas that you just can't understand. The whole business side of the music world is an enigma to me. I don't know how things get released and why they don't. But it wasn't at all a decision based on the fact that it wasn't a very good album. It's probably the best one I've done for a long time, but it was just decided on pure politics and grown men bickering. It's sad, but true."
It's probably my favorite album you've done...
"Yeah, and funny enough, I was not having a great time of it at the time, so it was kind of reflective of that. And that's why it was called TANGLED. Without sounding conceited, that's my particular favorite album."
"Welcome to under-rated songwriters of our time part 4.
The songs on this album are catchy, well written, well produced and the musician ship is excellent. All the ingredients are there for a great `Pop Rock' album and it delivers throughout. There really isn't a bad song on it. The songs can pull a punch and be mellow in equal successful measure. Singles released from it were `Roller blade' and `The World' but these are not the best tracks here. `Can't Explain', 'I Love The Things You Know I Don't Know', `Backdated', `Blinded' and `Kill another day' are all fantastic songs in their own right. It says something about the quality of this album when I have to get to track 13 from 14 tracks to say the album runs out of steam. I can't remember the last time I could say that about anything I bought in the last ten years by anyone.
This album deserved to be a big hit, especially when I hear some of the singer songwriter warbled dross that gets plugged to death on daytime radio compared to this, the mind boggles. My guess at a reason for a lack of success at the time of its release, we (or the media) were in a Brit Pop frenzy, and an album (no matter how good) by an ex 80's pop band front man just didn't fit in.
One must never confuse popularity with quality, and this album is an example of this. If an album of this musical quality had been released by somebody more `cool' it would have been a number one and all over the radio playlists. Originally released in 1995 the songs have not dated at all, and perhaps fit in with the current music scene better now, than when it was released. Great album, wrong time, but I love it."
Review for the EP:
"With a sleeve which parodies the Beatles album with a similar title this is actually very clever to call it "A Hard Day's Nick",the same as a Scot would pronounce "A hard day's night". There is however only 3 Beatles songs here "If I needed someone"."All my loving" and "Nowhere man" along with Nick's own "Rollerblade" The former frontman for Haircut 100 has himself been parodied,as a name for hairdressing salons!!"
THE GREATEST HITS OF NICK HEYWARD & HAIRCUT ONE HUNDREED (1997)
Haircut 100 (tracks 01-05,14)
Nick Heyward (tracks 06-13,15,16)
"On A Sunday"
01 Favourite Shirt (Boy Meets Girl)
02 Love Plus One
03 Fantastic Day
04 Nobody's Fool
05 Calling Captain Autumn
06 Whistle Down The Wind
07 Take That Situation
08 Blue Hat For A Blue Day
09 On A Sunday
10 Love All Day (And Night)
11 Warning Sign
12 Over The Weekend
14 Kick Of Love
15 Goodbye Yesterday
16 Day It Rained Forever
Link to download:
16 track 1996 comp featuring four U.K. top 10 hits, nine of Nick's best solo tunes. Many of the hits & solo cuts are live or the original 12' remix versions, most of which are appearing on CD for the first time! Includes: 'Love Plus One', 'Take That Situation' (Rhythm Mix), 'Whistle Down The Wind', 'Nobody's Fool' (12' Version), 'Fantastic Day' (Live), 'Blue Hat For A Blue Day' and 'Favourite Shirts (BoyMeets Girl)' (12' Version).
"Haircut 100 wasn't given the respect the band deserved in the early '80s. The group was -- and unfortunately still is -- often lumped in with the one-hit wonders from that period. It's not their fault that U.S. radio stations only concentrated on one track, the cuddly single "Love Plus One." They were far better than people give them credit for. This compilation mixes the band's U.K. chart favorites with the highlights of vocalist Nick Heyward's solo career. Although many best-of albums usually aren't comprehensive enough when reflecting the finest moments of an artist's discography, this is a welcome exception, the perfect introduction to Heyward and Haircut 100. It's hard to argue with the selections. "Favourite Shirts" should've been the smash that "Love Plus One" became. Recalling a young Aztec Camera with its infectiously jangling riff and positive vibes, "Favourite Shirts" has a sense of innocence that alternative rock in the '90s sadly lost. The summer-soaked gaiety of "Favourite Shirts" and "Fantastic Day" is exhilarating; listening to them is like inhaling fresh air. Although Haircut 100 wasn't the same without him, Heyward actually improved as a songwriter when he left the group. Solo cuts such as "Blue Hat for a Blue Day" and "Whistle Down the Wind" display his maturity, but his ear for toe-tapping melodies hasn't aged. "On a Sunday" and "Love All Day (And Night)" resurrect Haircut 100's untainted pop. The CD ends with a downer -- the pretty three-a.m. ballad "The Day It Rained Forever" -- but the party has to end sometime." ~ Michael Sutton, All Music Guide
"If you're thinking of buying this record because you, like me were 14 when you first smitten with Nick, you will not be disappointed.To me, it brings back memories of a pounding heart listening to his quite lightweight voice which is perfect for his some what obscure lyrics. It's a collection of upbeat, summery songs which can't be taken too seriously.
Conga rhythums, guitars strumming, whistles blowing - all part of a non-synthetic album made in a very manufactured era.
If you only ever heard one Nick Heyward song and liked it, you are sure to like this collection of his and the bands finest work."
"Top 3 underrated songwriters (in terms of enduring mass appeal): Paddy McAloon, Andy Partridge, Nick Heyward. And you can stick "criminally" in front of that last one, for the contempt he unfairly attracts. He lacks the gravitas or cognoscenti-cool of the first two, but buckets of melodic flair and genuine human touches abound in his work, transcending the teenybop roots of his first success. (Look to January Man, or How Do You Live Without Sunshine).
A teen band that could play - Blair Cunningham went on to tour with McCartney (OK, so did Ringo, but y'know what I mean) and the sax player was tremendous. That intro to Love + 1 remains one of the best in pop. Stop trying to look cool, open yer ears and allow yourself to enjoy quality pop!"
"This is a good album that gives an introduction to Nick Heyward's career through the 80's and some of the 90's. But about just over half of the tracks are 12 inch versions and in the case of Fantastic Day, a live version, so if you are after the single or album versions, look elsewhere."
"awesome cd. brings back lots of great memories. about the only cd i can listen to over and over"
THE APPLE BED (1998)
Acoustic Guitar, Electric Guitar, Bass, Written-By - Nick Heyward
Arranged By [Vocals And Strings] - Michael Newman
Baglama [Saz] - Zu Edmonds
Cello - Naomi Zoob (http://ariellastrings.co.uk/about.html)
Drums - Jim Kimberley (http://www.williamtopley.com/bio/jim_kimberly.php)
Bass - David Konig (tracks 08,10)
Mastered By - Dennis Blackham (http://www.skyemastering.com/)
Mellotron - Philip Taylor (http://www.tony-hadley.com/band/pt.html)
Mixed By - Chris Sheldon (http://en.wikipedia.org/wiki/Chris_Sheldon) (tracks: 01 to 05, 07 to 15),Ian Shaw (track 06)
Percussion - Noel Joyce (http://www.asouljazzcollective.co.uk/biog.htm)
Piano, Organ - Anthony Clark (http://www.londonpianoschool.co.uk/tutors/anthonyclark.htm)Recorded By, Programmed By - Ian Shaw (http://www.warmfuzz.com/shaw.htm)
Saxophone - Phil Smith
Trumpet - John Thirkle (worked with Fish,The The,Level 42,Jimmy Sommerville etc.)
Violin - Godfrey Salmon (worked lot with Emerson,Lake & Palmer) , Peter Poole
Producer - Nick Heyward
01 Stars In Her Eyes (3:28)
02 In Every Place (3:37)
03 My Heavy Head (3:38)
04 The Chelsea Sky (3:14)
05 Just Like Sorrow (3:22)
06 Closer (2:30)
07 The Goodbye Man (3:47)
08 Reach Out For The Sun (2:57)
09 Today (3:21)
10 I Don't Really Know (3:44)
11 Dear Miss Finland (3:07)
12 The Man You Used To Be (6:50)
13 3 Colors (2:24)
14 The Brightest Pearl (3:45)
15 A Beautiful Place (4:22)
STARS IN HER EYES (12") (1997)
17 Going Somewhere
THE MAN YOU USED TO BE (12") (1997)
19 Another Stupid Tuesday
Link to download:
"When I made this record I lived right in the King's Road," explains Heyward, who has never been one to hide his English accent when he sings, nor his affinity for the British lifestyle. "I lived there a long time ago, and had just moved back. But it wasn't the same. So I was being a bit nostalgic. I only stayed there for six months, but I wrote most of the album during that time, so it's kind of a snapshot of that period in my life."
Heyward wrote all of the songs on an acoustic guitar and recorded the album in just three weeks. In one of his frequent references to the Beatles, he insists he doesn't write songs down "because, as Lennon and McCartney always said, 'If you can't remember it, it's not good enough.'" The same doesn't hold true for lyrics, however. "Well, there's only so much you can keep in your conscious mind," he points out. "There's a lot of things going in there already, like paying the bills, filling the car up with petrol, ex-wives--that takes up a large chunk!"
As the lyrics--and the title--reflect, it was an uneasy period for Heyward relationship-wise. You see, an "apple pie bed" is the sort of fake bed you'd find in a shop window, as opposed to one you can actually sleep in, and so The Apple Bed means "sort of the opposite of 'you've made your bed, now you have to lie in it'--it was a metaphor for my situation, because getting into this girl [I was living with]'s bed was not a situation I could live with any longer."
Can you tell me about the songwriting process that went into this record? Seems like there's a lot more up front guitar on this one?
"It took me two weeks to record this album. And those two weeks were quite a long time ago. There was loud guitar music everywhere and one thing wrong with being a songwriter is that at any particular time, you're influenced by anything that's going on. I recorded it and I did it that way, and a lot of songs I regretted quite soon after. It was like a photograph of the two weeks during that time. And I've never had to do an album in two weeks before, but that's the Creation thing. When I did it, I said to them that I sort of have to fiddle with it, but they said 'No, that's it. It's finished. We'll put it out next year.' That album reminds me of a Polaroid taken at that particular time. So some of them got the overdubbed guitars and some of them didn't. And I think the ones that benefit definitely are the ones that didn't."
So how have the singles and the album done over here?
"Commercially...terribly. They didn't get played by any radio stations at all. And I'm not just saying one or two, I mean (absolutely) none. It was just amazingly ignored...completely. Which I found slightly, ironically warming. I thought 'Well if it had come out and not done very well, it would have been okay.' But this came out and didn't do anything. And that had a lot to do with being on Creation. It was such a wrong place for me, that it became very apparent when it was put out because nobody knew, or would listen to the record for its own merit."
Did you do the arrangements for this record?
"Yeah, I just get the musicians in and sing it to them. I'm not musically trained and I never want to know. I know enough to get by and not get intimidated in the studio. I've always thought that when people get too musically trained, they don't experiment enough. So I'm very wary of that. I want to stay enthusiastic about music the whole time. It's almost like shutting your eyes and letting it travel through you. You're doing something that's creative. You're not doing something that's been done before. I really don't think all the best has gone before. I do see stunning stuff, but I want to be inspired by the past. Up until now I hadn't really seen that and I'd just taken from the past." (http://www.westnet.com/consumable/1998/09.11/intheywa.html)
Compare the moods you were in when recording THE APPLE BED with TANGLED.
"They're quite similiar. It's nothing to do with the mood I'm in now. I must admit they were a long time ago and I've seemed to have been hit by the crystal clear clarity of a shooting star in about the last six months. It's wonderful. I can't wait to do a new album. Because the records were quite clogged up in those times emotionally. I was going through a seperation at the time of TANGLED, which was probably reflected on the record. So now all that's past and behind me and it's nice. "(http://members.tripod.com/kmon666/index-2.html)
Remember Haircut 100? In the early '80s, when nearly every U.K. band was gloom & doom, Haircut 100 played cheerful, shiny pop that was loved by some, reviled by others (too happy?). Whatever you thought about them--if you're of age to remember them--you can set it aside. THE APPLE BED is head Haircut Nick Heyward's pop masterpiece, a tribute to the tuneful verities of the mid-'60s Beatles, Small Faces and Searchers,early-'70s bands like Big Star and the Raspberries and early-'80s "power-pop" bands like let's Active and the Plimsouls.Beatles references abound: a tinge of the chorus of "She's Leaving Home" in the slightly grungy "Stars in Her Eyes"and the "Penny Lane"-style horn in "My Heavy Head". "The Chelsea Skies" and Just Like Sorrow" have killer choruses that'll stick in your head like anything from REVOLVER. Heyward's voice is clear and assertive, and his lyrics capture the innocence of youth as it slips away. The production is sumptuous, with real (not synthesized) strings and horns. THE APPLE BED is no nostalgic walk down memory lane--Heyward's songsrock with contempory crackle, without compromising memorable melodies. Fans of Teenage Fanclub and Gin Blossoms should check this out.
"With his transformation from pop pinup to accomplished adult songsmith complete by the mid-'90s, former Haircut 100 frontman Nick Heyward was free to relax and crank up the amps. And while the crunching chords that open The Apple Bed may have thrown some fans of Heyward's gentler days, this is in many ways his best solo outing -- one that, guitar muscle aside, doesn't really stray far from the tuneful pop he's always had a gift for creating. Credit the newfound aggression with Heyward's signing to Creation; it certainly sounds as though he spent some time listening to the beefed-up Beatleisms of that label's mainstays, Oasis. But his own take on the Fab Four ends up being more faithful without having to resort to swiping riffs outright. The leadoff cut, "Stars In Her Eyes," bursts into a soaring chorus vaguely reminiscent of "She's Leaving Home," while the irresistible "Heavy Head" decorates a classic British descending chord progression with "Penny Lane"-style piccolo trumpet. Meanwhile, a trio of rockers -- "The Goodbye Man," "Dear Miss Finland," and the bonus cut, "3 Colours" -- rock more convincingly than you'd ever have imagined from a chap who once wore his sweater tied around his neck. It end up being the sort of album everyone wished McCartney would make in the '90s, but didn't quite. Luckily, Heyward took care of it." ~ Dan LeRoy, All Music Guide
"For someone who fronted one of the most unbecomingly gooey of early MTV-era British bands, Haircut 100, Nick Heyward has made some appealingly unassuming moves since. The Apple Bed carries on the Britishisms of 1993's From Monday to Sunday in a slightly harder-rocking package that speaks to Heyward's obvious admiration of both the Beatles--whose "She's Leaving Home" is cannily reshaped in the chorus of "Stars in Her Eyes"--and newer followers like Oasis. Thoroughly lightweight, this is also a believably personal tip of the hat from a man who still cares a lot about this music." --Rickey Wright
"Quality pop song LP, with cheery melody oozing from every track. The Beatles influence throughout is obvious (I think!), but then most top quality records have that kind of feel. This is the sort of record that should nhave re-launched old nick, but unfortunately it's not hip is it to tell your friends that you've been listening to an 80's has been. There's no point in looking for deep meanings here, but if you just want a great noise & a bit of feel good, wack it on & you can't be disappointed."
"...Initial impressions were catchy and breezy but without being lightweight. The album definately grows on you with its string arrangements for Cello and dynamic un-squashed sound, unlike much top 40 albums since the early 90'sA mature effort from the Haircut 100 frontman."
"Please See Me"
01 Pure & Simple Love
02 Indian Summer
04 Secret Garden
05 Please See Me
06 The Other Side
07 Lay The Blanket Down
08 Talk To Me
10 The Truth Is Love
Link to download:
A very nice and uplifting album. Brightness, sunshine and happiness...yeah just Lay The Blanket Down with a bottle of wine, and enjoy the rippling sea and the birds as they flying around and sing :The Truth Is Love, Pure&Simple Love... Welcome to Nick's Secret Garden, welcome to the Paradise!
Great album indeed just wonder why nobody else reviewed it??
My favourite is "Indian Summer".If you are fan of The Silencers,then this is you song! (saltyka)
Nick Heyward (born Nicholas Heyward 20 May 1961, Beckenham, Kent) is an English singer and guitarist, best known for his work in the New Wave band Haircut 100.
Heyward formed Haircut 100 in 1980. Haircut 100 released just one album with Heyward, Pelican West (1982), which spawned a string of hit singles. He then quit to pursue a solo career in 1983. Haircut 100 recorded a second album without him in 1984, but broke up when it failed to repeat the success of their debut.
Solo careerLikewise, in comparison with Haircut 100, Heyward's solo career has been modestly successful commercially, although several of his albums received positive reviews.Heyward's solo debut album from 1983, North of a Miracle, produced by Geoff Emerick gave him his first solo hit, "Whistle Down the Wind". "Warning Sign" was released in 1984 as a stand-alone single, and reached #25 in the UK Singles Chart. This was followed by Postcards from Home (1986) and I Love You Avenue (1988).Heyward released From Monday to Sunday in 1993, which heralded a change to a more classic rock style. The album yielded an American radio hit with "Kite" which reached #4 on the Magazine Modern Rock Tracks chart.In 1995 Heyward released Tangled on the Epic label, which chimed with the Britpop zeitgeist and provided him with his first UK Top 40 single in twelve years when "Rollerblade" reached #37 on the UK Singles Chart. After being 'discovered' by Alan McGee performing at an Ed Ball gig, The Apple Bed was released in 1998 on Creation Records.Heyward has released new music less frequently in recent years. Open Sesame Seed (2001), a collaboration with British actor/musician Greg Ellis, featured Ellis reading Heyward's poetry to the accompaniment of Heyward's musical backing. An album of songs recorded with singer/actress India Dupre, The Mermaid and the Lighthouse Keeper, was released in 2006.Heyward's MySpace page regularly showcases his current songs and an official website is under construction.(http://en.wikipedia.org/wiki/Nick_Heyward)
How would you like your music to be remembered 20 years from now?
"I'd like people to connect with you in the fact that they thought you had a good heart really -- and that they were inspired by it. Cause that's all you could really hope for because I'm inspired by things. To be able to inspire somebody else is inspiring in itself. So I'd like to inspire somebody musically in some way."
Are you currently married (1998) and do you have any children?
"I've got two children but I'm not married. Two absolute sweethearts. Oliver (http://profile.myspace.com/index.cfm?fuseaction=user.viewProfile&friendID=159260494) is 10 and Katie is 8. Oliver plays the trumpet and it was Paul McCartney's first instrument so that's cool. They're called Oliver and Katie and they've got a band called "O-kay." I said to Katie, "So what are your songs?" And she said, "Well, I've got a song at the moment." I said, "What's it like?" and she said, "Well, I haven't got the tune yet.""
any messages for your fans?
"I'd like to say that I can't believe how patient everyone has been because I've not exactly been in a recording status due to politics. I really do love the positivity of America generally. I'd love to live there, but that's a bit of a loaded one because I have children. Maybe when they're older I can come over. But America is positive and Britain is generally mawkish. When you come back from America, and the first thing you do is go into a bar here -- and you're use to people saying "Hi! How ya goin'!" -- and when you walk in here and it's like (in a grumbly-type voice) "Uhmm, whatdoya want?" -- that's generally Britain. It's not easy for me because I'm not particularly negative. It's difficult living in a country full of people wanting to put themselves down. And that's why I like America." (http://members.tripod.com/kmon666/index-2.html)
Nick Heyward (vocals, guitar) left his band Haircut 100 just when they were cruising through the pop charts in the U.K. Instead of destroying his career, the move actually provided him with more artistic credibility.
North of a Miracle (1983)
Postcards From Home (1986)
I Love You Avenue (1988)
Words and Music (1988)
From Monday to Sunday (1993)
The Greatest Hits of Nick Heyward & Haircut 100 (1996)
The Apple Bed (1998)
Open Sesame Seed" (with Greg Ellis) (2001)
The Very Best Of (2003)
The Mermaid and the Lighthouse Keeper (with India Dupre)(2006)
Some source mention that Nick (with George Michael) guested as voacalist on Boogie Box High's song "Jive Talkin"1987).
You can read more about it in the following pages (and download it):