"Neil Lockwood, formerly with ELO Part II, the Alan Parsons Project, and now a member of the Bev Bevan Band, is pleased to announce the release of his new solo album, "You Can't Get There From Here."

Written, produced, mixed and arranged by Lockwood, the CD features eight tracks that he describes as "quite dark and atmospheric." A glance at the credits reveals that this is a true solo effort, right down to the artwork and photography. All instruments, including Grand and Wurlitzer piano, synthesizers, guitars and percussion, were played by Lockwood, who also provides all vocals and backing vocal harmonies. He even swept the floor and made the tea!

Lovely, haunting keyboards pervade murky texture and desolate lyrics throughout. Lockwood's dynamic vocals blend despair with intangible hope, resulting in an almost ethereal quality.

Quoting the Alan Parsons "Avenue" website:
"The album is not your run of the mill pop album, and is a daring effort with hints of Lennon, Parsons and Pink Floyd in it. It's the kind of album where you may not get into it after one play, but after each play the details become more clear and the pieces of the album really begin to shine."

To purchase "You Can't Get There From Here" go to Neil Lockwood's official website at http://www.neillockwood.com . Click on the CD cover on the SHOP page to order via PayPal. MP3 samples can be found on the MUSIC page.

(If you'd like your CD autographed, just include a note for Neil letting him know who to make it out to.)

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Neil Lockwood talks about his new album, "You Can't Get There From Here":


HOW IS THIS COLLECTION OF SONGS DIFFERENT FROM YOUR PREVIOUS WORKS?

Completely different. Ostensibly this is my 'debut' album. I like to think that everything begins here. In the past, with my eighties band The Shine for example, there was invariably record company intervention. One would be persuaded to move in a more commercial direction than where ones heart lay.

This album is completely me, straight from the heart. Commercialism never entered the equation. It is uncompromising lyrically and musically; and I'm proud of that.

HAS THIS ALBUM BEEN A LONG TIME IN THE MAKING?

It has. Over seven months in fact. There was a learning curve in dealing with a new digital studio and many new toys! Also agonising decisions had to be made in solitary, this being a one-man show. There were many moments when I felt like I was losing it completely. To have this kind of freedom is a wonderful, emancipating thing. But it is also a double edged sword waiting to stab you in the back. There was never any one there to ask, "Does that sound OK?" The buck stops with you...

I could spend days pondering over arrangements. Every part was 'played' apart from some drum loops, no computers. I became obsesses with getting textures just so. Yes it did take a long time but I hope the end result is worth it. Different aspects will reveal themselves with each repeated listening.

Now I've got to grips with the new studio, I think the next album will materialise a bit quicker!

"YOU CAN'T GET THERE FROM HERE" HAS SOME INTERESTING SONG TITLES, NOT TO MENTION PROVOCATIVE (AND SOMETIMES DISTURBING) LYRICS. IS THERE A CENTRAL THEME, OR DOES EACH SONG TELL A UNIQUE STORY?

The overall mood is rather dark. There is a very loose theme running throughout the album and that is one of alienation, frustration and fear of a madness that lies just below the surface. One that will hopefully be kept at bay! The other theme is travel by train, plane, car or whatever; it all comes down to trying to run away. It is pretty doomy. But it was cathartic. Sometimes it is important to be totally honest, not to guild the lily so to speak. I think there is a little hope at the end of the album with The Edge of Forever..." The spirit cannot be destroyed it can go anywhere..." Some people have taken this song in very different ways. One listener was horrified and said it sounded like a very elaborate suicide note. But that's the beauty of music left open to interpretation.

WHAT IS THE MEANING BEHIND THE TITLE TRACK?

It's probably about seeing the glass as half empty rather than half full! Ha ha. Anybody who ever had dreams or aspirations will be able to relate to this song. And anybody who experienced any kind of failure will be able to relate. I have had many artistic disappointments in my career to date. It can be crushing but one of course rises above it for the most part and tries again. I will leave most of the lyrics to interpretation as I would all the songs. But I will say that a big part of it is about anger and frustration at growing older with unfulfilled dreams. And trying to run away from the fear. You can hear the trains on this one. But no train is going to take you away from that, is it?

I find the paradoxical title You Can't Get There From Here both amusing and nightmarish in a Catch 22 kind of way. It says it all for me. You have to wallow in self pity now and again don't you? And vent that anger!

HOW FAR HAVE YOU COME SINCE YOUR DAYS WITH ELO PART II? DO YOU MISS YOUR BANDMATES?

I'm happy to report that I think I've come a long way! I continue to develop and always look forward. I write music, novels and have returned to my art school roots with photography and painting. Yes, everything is pretty cool despite not being able to get there from here!

ELO Part 2 was a massive part of my life. It was a happy and exciting period. They were a great bunch of guys. Yes I do miss them. Especially the humour.

But I'm back together with ELO main man Bev Bevan. We have always got on like a house on fire and do enjoy a laugh, so it's great to be working with him again in the Bev Bevan Band. Also the man who replaced me and Pete Haycock in ELO Part 2 is involved Mr. Phil Bates. He's a great guy and a great talent. We are having a blast.

ACCORDING TO YOUR WEBSITE IT'S BEEN QUITE A FEW YEARS SINCE YOUR LAST SOLO PROJECT. WHAT MADE YOU WANT TO PUT OUT AN ALBUM NOW?

Two reasons. One: technology had reached a point where I could afford to make the kind of album I always wanted to, independently. A few years ago automated mixing consuls would have been prohibitively expensive. Now they are not and I could not have made this production without the wonder that is automated mixing!

And two: the Internet. At least the artist has an opportunity to bypass unimaginative, philistine record companies and reach the people who count (the record buying public), directly. They will decide if this album is a hit, not some A&R muppet who wouldn't recognise artistic integrity if it grabbed him by the throat.

DID YOU ENJOY WORKING ON THIS ALBUM, AND ARE YOU HAPPY WITH HOW IT TURNED OUT?

Yes, I did enjoy working on it and by turns almost went completely crazy. For better or for worse this is my labour of love. As I mentioned earlier it was a cathartic and liberating experience.

Yes, I'm pleased with the way it turned out. I think Sting once said, "You never really finish an album, you just have to let it go." It's true. You've got to stop at some point, or implode upon yourself...as I almost did.

But as suicide notes go, you got to admit it's melodic..."
 

Interview courtesy of Lynn Hoskins (c) 2004