I was quite pleased with the fact that the Wolf album had little in the way of conventional ‘you and I’ songs, but realised I had a lot of those in my ‘unrecorded’ collection. I decided to put them out in small collections (the idea was to do them quickly but that never works with me!) with the title Romantic Fiction to dissuade anyone from looking for autobiography in them.RF2 was, as the title suggests, a second collection of ‘relationship’ songs, a better collection, I think, than RF1.
I.O.U.
I’d always liked the idea of two simultaneous melodies over the one chord sequence, but found that when I tried to record it it was a bit ploddy. The key came when I realised that that a repeating root-4-5 sequence is typical of much African pop and instead of strumming the chords, picked them with a high capo and a chorus effect. This immediately sounded like Graceland but gave the song the life and energy it needed.
Leaving
One of the ‘relationship’ songs I’d earmarkedfor this CD from the start. I recorded it pretty much in one evening,but with a different bass and a MIDI oboe. The real oboe sounds so much better and Lynsey, stuck at my place after a martial arts class was cancelled, tried a bass part which I thought lifted it nicely. The rhythm track was done in FL Studio and the rest in Cubase. The guy in the song tries to be philosophical, quoting Blake:
He who binds himself to ajoy
Does the winged life destroy;
But he who kisses the joy as it flies
Lives in eternity’s sunrise
By the end of the song, he’s more honest about his situation, begging the lover to come back. That’s more like it!
At the Harbour
A completely straightforward account of a dream a few years ago featuring my wife, Mrs Lamont. I added the lyrics to anarrangement I’d been playing with after listening to John Cale’s Hobo Sapiens album.
If You Had Said
Described by an Out of the Bedroom review as ‘like playing McCartney’s Blackbird in a minor key when you’ve just been dumped’.
Nicole
- The most popular live song in the Lamont repetoire, taking over from Ballad of Bob Dylan. This was done in the Sound Station studio with Lynsey Hutchinson (drums, b vox and bass), Cynthia Roland (brass) and Calais Brown (bass and production)
Crying in the Street
- Simple and sad – this song has worked well over the years in a variety of arrangements.
When I Went to Your House
- Narrative story, sung by Tricia Thom, of the start – and maybe the end – of an affair.
Submarine Girl
- A stomper with no suggestive lyrics at all, no none, not one.
The Water Is Wide
- A haunting traditional song with several guest vocalists.