DUNCAN MAITLAND

Duncan Maitland

Words: Stephen Stone

I get to talk to Duncan Maitland as his second solo record, 'Chamberling' released on November 13th on 'Dimple Discs' is already making (radio) waves. We meet at Dublin's Gresham Hotel, where I've had to dress up just to get in the door. He hasn't. He's wearing a suit jacket, jeans, a Breton sailor's cap and a 'Kraftwerk' tee-shirt. The doorman stops me! "Erm, I'm here to meet Duncan Maitland," I explained.  "Ah", says the Doorman Bloke.  "Mister Maitland is at the bar. He's expecting you..."

You know Duncan Maitland. You might think you don't but you really do. Honest. 'Picture House', 'Pugwash', 'Ger Eaton', 'XTC', 'Jack L' and whatever you're having yourself. He has 'form' is my point. Top form, indeed.

My opener almost scuppers the whole deal. 

"Is that a Liverpool accent?" 

"No," he says, "I'm from Stoke On Trent." 

"Like Robbie Williams?" I venture. 

Maitland says, "You're making  this worse..." 

But then he laughs!  "Robbie is alright, actually! Go on, ask me a question?" 

I ask about the music he listened to as a kid. 

"Where do I start?  My mum  and dad  played a lot of standard “parents” music of the late 60s/early 70s... Burt Bacharach, Johnny Mathis. My mum  also had a real love for soul and disco stuff. We had a compilation album  called “Black Explosion” that got played every Sunday morning. My brothers were into everything from '50s rock ' roll to Peter Gabriel era Genesis and all points in between...plus, of course, the three 'B's'!!!" 

I nod sagely, not having the remotest. 

"Beatles, Bowie and Beach Boys! Of course, punk stuff and then post punk like The Teardrop Explodes, Joy Division and The Bunnymen. This all made a big impression on me.  I'd started to sprout the first buds of my own musical taste at this point, getting into the likes of Gary Numan and Kraftwerk. That's probably down to me playing a keyboard my parents got me, since around the age of 5" 

So no lessons? 

"Oh no – around the age of 8, I had a great teacher at school  for a couple of years called Phil Harrison . He obviously saw something in me and was very encouraging. To be honest, formal piano practice bored me and I was ready to jack it in but Mr.Harrison virtually implored me to carry on!  So I kept it up, for a time at least." 

And then you started writing music  yourself? 

"Well not exactly.  I really wanted to be a film maker initially.  My friend Andy Wilson and I would mess about with a Super 8  camera, trying to be the next John Carpenter...but there's only so much you can do in three minutes of film! At some point, our focus switched to  making music – I think we saw the picture on the inner sleeve of the Bunnymen's “Crocodiles” and thought “THAT looks good!” 

And did you? 

"We did! We formed a band called 'The Flood' . I wrote the songs and, by default, became the singer. But we did alright! We played the usual grind of gigs and recorded a load of demos at a studio called the Gaolhouse with a wonderful guy called Chris Moyden. Eventually,we got some record company interest and it looked like something might happen" 

Did it? 

"Well no it didn't! Sadly, timing is everything and I think ours just ran out. People were of an age to be pulled in different directions. It all collapsed in on itself and I then spent a good period drifting....” 

And then Ireland? 

"Don't rush! I'd been working with producer Ronnie Stone (Pixies, Mansun) and he'd recorded this Irish band  'Picture House' who were with London Records. They were looking for a guitar player and he'd suggested me.... so I thought, 'Why Not?'" 

'Picture House' were one of the best 'pop' outfits Ireland has ever produced and yet, (you have to be so careful) it didn't entirely happen for them? 

"Oh but it did! I mean, I initially came over just to be the guitar player – I was cagey about showing my songwriting hand as I didn't want to upset any apple carts.....I think that lasted about 15 minutes! And so myself, Dave Browne (the singer) and our producer Pete Glenister became  the songwriters for the band in various forms and pairings. I think myself and Dave were quite united in a certain kind of youthful ambition, particularly on the “way up”. But as personalities, we're from quite different planets. And when the success we had seemed to plateau, progress turned to drudgery. I felt myself getting more and more distant from the whole thing and constant touring became quite a lonely experience  So I left. Things were weird for a good while but everyone has kissed and made up now. We're older and a bit wiser!" 

To the wilderness  then, for Mister Maitland? 

"Steady on! I then worked with 'Pugwash', on 'Almond Tea' , 'Almanac' and 'Jollity' which led to 'XTC' and my first solo album, 'Lullabies For The 21st Century' which Colin Moulding then played bass on. He was returning the favour for me playing keys on 'Say It' – one of the last official XTC tracks! By then I was producing too, and working as a guitarist and keyboard player with a load of people. I was busy!" 

Why the gap between 'Lullabies' and The New One? 

"You can't rush good work, I suppose? Elements of 'Chamberling' floated around for a good while. I guess real life was a big factor.  My partner Irene and I had our son Daniel around that time . He turned out to have some serious disabilities so there were a number of years there that were a bit of a rollercoaster so my focus was certainly elsewhere. Things got pretty hairy, some serious hospital time... And some very hit or miss situations. But he's doing great now...in fact he's beautiful". 

Here, (and I'm not joking, I tear up but he doesn't...) I try to put my head back on. (He's so honest a bloke.) Bloody Hell... Back to work. 

So to The New One? 

"Well, 'Chamberling' isn't exactly new as such, it's been around but not recorded for ages. What do you think of it?" 

I answer ever so honestly.  I tell Duncan Maitland that I haven't heard so delightful nor beautiful a 'pop' record since I don't know when.  It cheered me up. 

He laughs! 

"Some of it's actually pretty dark. 'The Diving Bell' is about depression and 'Dummy' is about a ventriloquist who murders his wooden sidekick .But then, “Northward Down” is an excercise in blissed out serenity. You never know how the ideas are going fall out. And you said it's a 'solo' record  - well, it is and it isn't.  John Boyle from 'Picture House' came in to help as did Rory Doyle from 'Hozier' - there's actually about a half dozen amazing drummers!  Ben Castle came in and played a midblowing flute solo. Aside from that, I guess I played  pretty much everything else – I'm available, cheap and I don't need any lengthy explanations!" 

To close, patient reader.  Because I let him get off at that point. He had family stuff to do, bless his rock 'n roll heart. And he refused a third whisky and coke.  "I would but I have things to do..." 

If you're a fan of incredibly beautiful and lyrical melodic 'considered' accessible adult 'pop' music, this might very well be the trip for you.  While 'Chamberling' doesn't 'copy' the likes of Bowie, Beatles, Beach Boys, or even Paul Simon or Cat Stevens or Levon Helm (I'm really serious) I just know that those legends would smile at this offering. ("He did alright...") 

And, and this is personal, (and why not?) the track 'Sparklers And Plastic Stars' is what The La's would have sounded like if Lee Mavers hadn't given up.  Duncan Maitland (despite the yucks) never gave up.  This is his reward and ours.  Listen to this and thank me. (Just for saying you should listen to it...) 

When there is a live show, and there will be, we'll tell you about it. 

Because we're nice like that.