Michael Weston King was born in Derbyshire in 1961 but brought in the sleepy Lancastrian seaside town of Southport. A grammar school education (he attended the same seat of learning as Marc Almond, although Almond was 4 years his senior),should have resulted in a university place, but firstly the influence of Marc Bolan and then, when he was 16, The Clash and Elvis Costello, led him to get a job and ‘a down payment on a Fender Telecaster. ‘ He cut his musical teeth in various bands on the edge of the late 70′s/early 80′s Liverpool post punk scene, performing at the famed Eric’s club just prior to it’s closure, and leaving two singles and one ‘cassette only album’ gathering dust on the shelves of the legendary Probe Records. ‘When the dream of becoming contemporaries to the likes of Elvis Costello and The Teardrop Explodes vanished, along with numerous managers who tried to steer us in a direction I hated (don’t forget it was the time of Tears For Fears!), along with too many badrecord deals that never bore fruit, I took my acoustic guitar and headed for the folk clubs. ‘
By the mid 80′s, inspired by the latest wave of overseas bands such as REM, Green On Red, The Dream Syndicate and The Triffids, whose influences mirrored his own newly found interest in Gram Parsons, Hank Williams, The Byrds, as well as the new wave of country acts such as Lyle Lovett, Dwight Yoakham and Nanci Griffith, he joined forces with some like minded souls and spent the next four years touring Europe with the country rock band Gary Hall and The Stormkeepers. Releasing two albums and two singles along the way, one for the major label BMG, but eventually tired and disillusioned, and with more than their share of personality clashes, the band split in 1991. However it was at this time that Michael really came of age musically. Hand picking the best musicians out of a clutch of country influenced rock bands that had sprung up in and around the Manchester/Preston area, (including bass player Sean McFetridge from The Stormkeepers, and Phil Abram and Ben Jackson from Mirrors Over Kiev) he formed The Good Sons.
Taking their name from the Nick Cave album, The Good Son, they set about trying to proffer an authentic British alternative to, what for them, was the most exciting form of music currently on offer, and hailing from America, the burgeoning Alt. Country movement.
Beginning life as a five piece, their first shows took place in Ireland and various low key gigs in the north of England as they honed King’s songs around the Robbie Robertson-esque guitar style of Phil Abram, swirling Hammond organ, and driving acoustic guitars. ‘I wanted to combine my love of songwriters such as Elvis Costello, Tom Waits, Springsteen and Townes Van Zandt with the contemporary country rock feel of The Jayhawks and Uncle Tupelo’
In 1995 they signed to the hip German label Glitterhouse (formerly the European arm of Sub Pop), who released their debut album, ‘Singing The Glory Down’ to much critical acclaim, with the band drawing instant and favourable comparisons with their current U.S. counterparts The Jayhawks, Son Volt, Steve Earle and Joe Henry.
A unique acheivement, an album that evokes the late 60′s of The Band yet can take also take on 90′s country rock leaders Wilco.
The Sunday Times‘The Leaving Time’ and ‘Gods Other Son’ are genuinely affecting songs. Neither songs would be out of place in the pomp of God’s chosen son Gram Parsons. There is no higher compliment to pay. ‘
SpinsGreat themes of despair and classic country melancholy
MojoA collection of well-crafted songs that would do Bruce Springsteen proud. Endorsed by the vocal contribution of legendary Texan songwriter Townes Van Zandt. . . . .roots cred or what!
Rolling Stone
As Rolling Stone mentioned, the album also featured a guest appearance by the legendary Townes Van Zandt with whom Michael had toured Europe in 1994 and 1995. The two had become good friends and he didn’t hesitate when asked to duet on the song ‘Riding The Range’, Michael’s side-swipe at British, ‘weekend cowboys. ‘ A few months before his death Townes cut his own version of the song with Nashville bluegrass band The Calvins, this version eventually being released as a 7′ vinyl single in 1999. ‘Undoubtedly one of the biggest thrills of my career, not only to have such a song writing genius, but also such a true gentleman, record one of my songs….a real honour.‘
The band continued to tour, opening for the likes of Joe Ely, Blue Rodeo and Joe Henry, as well as numerous headline shows of their own. In 1996 they released the much more acoustic orientated album, ‘The Kings Highway’, a chilling collection of intimate songs, mostly written during Michael wilderness years in the folk clubs, and then followed it up in 1997 with the bigger, bolder and altogether more rockier, ‘Wines, Lines and Valentines’, their third album in as many year for Glitterhouse. A successful U.K. tour was followed by more shows in Europe and growing interest over in Ireland where the band played a series of shows and appeared on national T.V.
Meanwhile, over in Austin, Texas, Heinz Geissler at Watermelon Records had been given a copy of ‘Singing The Glory Down’, just as he was at his lowest ebb within the music industry. The album, ‘restored my faith in music’ and he immediately signed the band. After lengthy negotiations (the band were managed at the time by Nick Cave’s manager Raynor Jessen, and Watermelon were tied in with Sire) a deal was struck, and ‘Wines, Lines and Valentines’ was both re-packaged, and re-titled, as apparently the American label were rather concerned about the cocaine reference, and, they had plans to release the new title track as a single. ‘Angels In The End’ (the album) was released in America in February 1998 with Michael undertaking a promotional trip to the U.S. in March. A whole round of press interviews and radio sessions, as well as various solo performances, including sharing the stage at the annual SXSW festival with Billy Bragg, Loudain Wainwright and Nick Lowe, set things moving nicely. Many radio stations fell in love with the album, and the song ‘Angels In The End’ was added to many playlists. ‘They couldn’t quite believe we were from England, New England maybe but not Manchester, England!’. When Michael returned home the talk was of a full scale tour of the U.S. with the band later in the year.
But after a promising, opening few months things started to turn sour. During a tour of Italy the previous year, Phil Abram, the band’s mercurial guitarist, had fallen in love and decided he wanted to relocate to Turin. Then, whilst on tour in Germany in June, following a hugely successful performance at the Orange Blossom Special Festival, the band’s tour bus was involved in a 60 mph head-on smash which left Michael in hospital and the band’s equipment, not to say finances, in tatters. They limped back to the U.K. to play a rousing set at Glastonbury, (with borrowed equipment!) and then headed to Norway to appear at the Down On The Farm Festival. However, worse was to come. Autumn ’98 saw thing really nose-dive. Watermelon Records were facing financial ruin that would see them file for bankruptcy before the year was out, the band’s manager had tired of the label not keeping their promises and returned to concentrate on the more financially rewarding affairs of Nick Cave, and on the domestic front, Michael’s first marriage also came to an end.
As he had done some 15 years before, he once again grabbed his acoustic guitar and fled. Not to some dusty folk clubs this time, but firstly to Switzerland for a cathartic spell of writing, and then onto South Wales to record what would become his debut solo album, ‘God Shaped Hole’. Released in October 1999, again on Glitterhouse, it was a sparse, sombre, dark album which echoed his singer songwriter influences. . .the likes of Tim Hardin, Woody Guthrie, Guy Clarke, Dylan, Neil Young, and, most poignantly Van Zandt and Phil Ochs. The album included an Ochs tune ‘No More Songs’, and a tribute to the now late Van Zandt, ‘Lay Me Down’. The critics were unanimous in their praise.
Real ‘Blood on the Tracks’ stuff, King’s voice is superb. Utterly compelling, beautifully wrought, a masterpiece.
Time OutLike Phil Ochs or Townes Van Zandt, King transmutes squalor and self-laceration into pure gold…his craft seems to thrive on adversity. God Shaped Hole never deviates from single-minded brooding intensity, and never once strikes a false note. A classic, but at what cost?
The Times ****4/5
The albums release also saw Michael embark on a series of solo tours around Europe as well as prestigious opening slots with Ron Sexsmith, Steve Forbert and the afore-mentioned Nick Cave.
In April 2000 The Good Sons decided to re-convene. They had only played one show in 1999, and the first three months of 2000 had again been taken up for Michael with solo shows in Iceland and more European dates with Ron Sexsmith. A short U.K. tour re-kindled the bands desire and also brought them to the attention of the London independent label Floating World. By July, following a tour for Michael with former Byrd/Flying Burrito Brother Chris Hillman, the band were holed up in the idyllic surrounds of Snowdonia recording what would become their fourth album; the perversely titled, Happiness. ‘We had always recorded in Manchester and when we finished for the day we went home. This time I wanted us altogether, all the time. . .no distractions, God knows there have been enough! So we went to Bryn Derwen in the welsh mountains for three weeks and lived and breathed the album. We brought in some extra players; pedal steel, cello, piano, and my future wife, (the singer Lou Dalgleish), we walked through the woods the pub, played football on the lawns of the studio owner’s house, generally had a great old time and, for a while. . .found happiness. ‘
Despite the album featuring Alan Cook on pedal steel it was by far the least country sounding record the band had made, harking back to the more English pop-style of Michael’s first great influence Elvis Costello. ‘It was Elvis who got me into country music, hearing Almost Blue taught me so much, and from there I went on to discover artists like Gram, Merle Haggard, George Jones, Hank Williams’ . The album also has traces of the swampy blues of Daniel Lanois or J.J.Cale, the acoustic singer songwriter style of Neil Young, and the darker cello hued introspection of Tim Hardin.
With the album finished, and scheduled for release in March 2001, Michael went on a 16 date U.K. tour with friends and fellow songwriters Jackie Leven and Andy White. Under the name ‘An Englishman, an Irishman and a Scotsman’ it proved to be a great success, and further tours of Spain, Holland, Germany, Italy and Norway were lined up for 2001.
Happiness, was released to unanimous critical acclaim in Spring 2001, and the band spent the summer on tour across the UK and Europe:
‘Happiness’ is a slice of quality, reflective, laid-back,semi-country class.
The Independent‘Happiness’ exudes a crystalline grace, resonating with Kings bell like vocal pealing and subtly – glazed arrangements.
UnCut **** (4 stars)If you are looking for happiness in the perfectly crafted song, you might just have found it.
Classic Rock **** (5 stars)Their fourth and best album yet. A tenderly wrought and affectingly realised work of honest emotion, once again highlighting Michael Weston Kings classy song craft.
Time OutA terrific selection of songs, their classiest album yet. ‘Tim Hardin ’65′ is a truly lovely song.
Manchester Evening News
Although hailed as their best, it also turned out to be their final album. Sales did not match the critical reaction, a bigger record deal with a major label was not forthcoming, and the cost of keeping the band on the road full time was proving impossible. They went their separate ways in 2002.
So, for MWK, it was back to the acoustic guitar and the solo career. In 2002, and after 200 solo shows across Europe and America, King released Live…In Dinky Town.A collection of live, solo and very intimate performances gathered from these shows and taken from places as far flung as Hamburg, Austin, Amsterdam, Bilbao and his spiritual home of Manchester.
One of Britain’s most eloquent singer songwriters with a live selection of some of his most memorable songs performed in stripped down fashion. Achingly beautiful stuff. MWK’s voice soars and his guitar is loud. . .a front man going it solo, not a laid back folkie.
The Daily Express ***** 5/5The acoustic troubadour route is a road worn and scarred down the long years, but when infused with as much feeling, unabashed honesty (and occasional humor) as this, its’ strength remains undiminished. “Live. . .In Dinky Town” is a living testament to that fact.
Whisperin’ & A Hollerin’
The album also featured contributions from two friends and fellow travelers, Jackie Leven and Andy White with whom Michael formed ‘An Englishman, An Irishman and a Scotsman‘ and which toured the UK, Spain, Germany and Holland in 2000 and 2001.
Following his appearance at The Folk Alliance Conference in Jacksonville, Florida in February 2002 Michael returned to the US in the fall for a 24 date coast to coast American tour as well as numerous radio and tv appearances.
A Decent Man, hailed in many quarters as a masterpeice, was released in May 2003 and the press were unanimous in their praise. Produced by Jackie Leven and featuring a clutch of stunning British guests, including Crazy Horse collaborator, and former Icicle Works front man, Ian McNabb, it was a departure from his previous solo albums, and indeed from his work with The Good Sons. Taking a further step away from Alt. Country, A Decent Man is a big sounding record that combines Michael’s love of Pop, Soul, Folk and Country…
A guitar album of exquisite beauty and fine country-flavoured pop. And the songs. . .well they’ve always been his strong point, every one’s a winner. A great British album that crosses all the boundaries.
The Daily Express ****5/5He’s quietly knocked out another masterpiece. A tantalizingly fine album, his third classic in a row.
Whisperin & Hollerin*********9/10Tales of small town importance and big city loneliness, self-delusion and riveting honesty. A resonant and vivid album.
LogoPacked with good songs…romantic, a touch jaded, convincing.
Mojo ****4/5A hugely accomplished album. His strongest work to date.
www.americana-uk.com ****4/5
Michael played 150 shows all over the world following the album’s release. Many were solo but some where with the newly formed The Decent Men, a band that was made up of the fine players who had recorded the album (Jackie Leven, Mike Cosgrave, Kevin Foster, Steve Jackson, Lou Dalgleish, and Alan Cook, who has become Michaels long term colloborator over the past few years) This line-up toured the UK aswell as appearing at a number of european festvals including Glastonbury and The Orange Blossom Special in summer 2004.
A Decent Man found it’s way onto countless playlists across Europe, America and Canadia, and confirmed Michael as: ‘One of the greatest songwriters at present‘ – Feedback10/10
Sept. 2004 saw the release of Cosmic Fireworks – The Best of The Good Sons (1994-2001), a beautifully packaged double cd that gathered together his finest songs from his time as front man with the band, and it immediately renewed interest in one of Britain’s finest and must underrated bands…
“This ‘countryfied’ body of work might be the most precious rediscovery of the year!”.
Rolling Stone ****(4 stars)An awesome collection that can only make you want to search out the full original albums.
Maverick *****(5 stars)A celebration of one of our finest bands.
UnCut ****(4 stars)The British band that played alt. country before anyone knew what the hell it was. Had the Good Sons done this same thing across the Atlantic, they would surely have been acclaimed trailblazers.
********8 out of 10 www.americana-uk.com
Also released in the Autumn of 2004 was King’s first release on his own MurderedWithKindness label. Absent Friends was an eclectic mix of live band performances recorded in Rome, Paris, Hamburg, Barcelona, London and Glastonbury with friends, colleagues and musical acquaintances during the previous 2 years. It also included what would be The Good Sons final song together, a rousing country rock version of the classic Teenage Kicks.
From Sept. to Dec. 2004 MWK was yet again on the road. 50 shows across Europe with the end result being something of a breakdown as the miles took their toll. January and February 2005 saw King again convalescing, this time after breaking his arm falling off stage after a show in January. Fortunately, it was healed in time for a 5 week trek across N. America and Canada, starting in the icy chill of Toronto and ending in the warmth of Texas. As an exhausted King sat in the plane back from Austin to New York he struck up a conversation with the person to his left, who turned out to be Kenneth Higney, head of ARC/Chess Publishing in New York. A month later King was signed to them and his songs have begun reaching a whole host of new people, with a number already lined up for use in upcoming films and TV shows.
In Summer 2005 work began on Kings new album, ‘A New Kind Of Loneliness’ in Manchester at The Charlatans, and Johnny Marr’s studio’s. Produced by MWK and his first time working with the engineer Jim Spencer (New Order, Primal Scream, Johnny Marr, The Charlatans) at the controls. Breaking off midway, King found himself back on tour with Chris Hillman and Herb Pedersen across the UK and Ireland, with Chris and Herb calling by the studio to add some harmonies and mandolin to one of the new songs. Other guests who came by to make appearances on the album were Jackie Leven, and Ron Sexsmith.
Autumn 2005 meanwhile saw another Phantasmagoria release, this time a retrospective album focusing on King’s solo work from 1999-2005, called The Tender Place. The album contained 19 tracks, all selected by Michael, and taken from his albums ‘God Shaped Hole’, ‘A Decent Man’ and ‘Absent Friends’. It also includes two new recordings, a brand new song, ‘From Out Of The Blue’, co-written with Danish songwriter Michael Hamilton, along with a cover version of ‘A Simple Twist of Fate’, a track recorded for Mojo magazine’s ‘Dylan Covered’ cover mount cd. As with all King’s releases, the album is beautifully packaged, this time in a triple fold-out, digi-pack format, and features extensive liner notes written by Jackie Leven.
To promote the album, MWK joined forces with two of America’s finest singer songwriters, John Doe and Peter Case for a European tour throughout November 2005.
In the same year MWK appeared on the new album of his close friend Jackie Leven, the stunning ‘Elegy for Johnny Cash’, and he also wrote the liner notes for the album, ‘Townes Van Zandt Live at Union Chapel, London 1994′. This was the first show he ever opened for Townes, and also the first time he ever saw the great man live…an evening that was to become something of a ‘road to Damascus moment’ in Kings career.
The early part of 2006 was taken up with lengthy tours of America and Europe and various on-off negotiations with numerous labels over the release of ‘A New Kind Of Loneliness’
While all this was going on MWK still found time to edit a career retrospective DVD, Michael Weston King – The Crowning Story – ‘From A Good Son to A Decent Man, 1993 – 2005′. A visual look back over King’s 12 year career as leader of The Good Sons and his work as a solo artist. Featuring promo videos, live footage, TV appearances & interview, the DVD was released in Summer 2007 by Borderdreams
He also went back into the studio to record some more songs for what had been a long held desire to make a covers album. Using some songs previously recorded for earlier albums, along with some songs recorded for cover mount cd’s and other tribute albums, he recorded a further 7 songs to end up with a collection of 15 of MWK’s favourite songs by some of his most admired writers (includes Big Louise/Scott Walker, She’s Leaving/Ronnie Lane, Alone Again Naturally/Gilbert O’ Sullivan, No More Songs/Phil Ochs, Someday Never Comes/John Fogherty, A Song For/Townes Van Zandt, Blue Red and Grey/Pete Townshend, and many more)
Released in October 2006 Love’s a Cover was extremely well received in the press:
A beautifully packaged and lovingly annotated 15 track compilation of cover versions. An enjoyably diverse and thoughtful collection which pays unique tribute to a clutch of maverick talents who have all conspired to influence our hero along the way. It’s diverting stuff.
Whisperin’ and Hollerin’ ********** 8/10A collection of beautiful, off kilter material, all brought together by MWK’s elegant, subtle performances. Wonderful, in a way that makes the hairs on the back of your neck stand up.
Maverick **** 4/5What King does so well here is make a whole of disparate elements; it’s quite an achievement to make seamless transitions from ‘Alone Again Naturally’ to ‘Simple Twist Of Fate’ to ‘Love In Mind’.
Bucketful of BrainsWhat makes this work, apart from King ‘s taste, is that he’s as phenomenal as a performer, as he is as a songwriter.
3rd Coast Music, Texas **** 4/5
King was also to be found at that time working on his first play with the Irish writer Brian Richmond. Entitled *Happy Infidels, it features 12 MWK songs and is based around the lives, loves, hopes, fears and personal disasters of a young aspiring English musician and a road weary, alcoholic American musician touring across Europe. (*as of July 2010 this still remains to be staged, as sadly Brian Richmond died in Sept 2008)
Also underway during 2007 was the album, *“From Lovers Lane to Liverpool – The Songs of Michael Weston King” – an album of MWK songs as covered by various artists including Townes van Zandt, Jackie Leven, John Howard, Terry Lee Hale, Vinny Peculiar, Duane Jarvis, The Watchman, Captain Tractor, The Reveres, The Rizdales, Dean Owens, Lou Dalgleish and others. (*as of July 2010 this still remains unreleased, though it is slated for 2011)
What many considered to be his finest album to date, A New Kind of Loneliness came out in 2007 Poptown Records in the US, released the album in N America and Canada in January 2007, and Floating World Records in the UK released the album in Europe in April 2007. The reaction was one of incredible praise;
A powerful work of unblinking emotional seriousness. Entombed in gorgeously sepulchral tunes, the effect is quite magnificent. King is a special and under celebrated talent.
The WordMWK has entered the rarefied field of classic singer songwriters.
USA Entertainment NewsListen to A New Kind of Loneliness and you’ll hear a musician who’s risen above pigeonholing genres to produce an album categorised only by its sheer class.
NetRhythms 5/5 *****The Daily Express 4/5 ****Another stunning record from Britain’s leading rocking singer/songwriter
Maverick 5/5 *****The Sun 4/5 ****‘It Will End In Tears’ could be one of the songs of the year so far, and the album that spawned it no less dignified or impressive.
Scotland On Sunday 4/5 *****A New Kind of Loneliness may prove to be King’s breakthrough in America. Amply stocked with instantly embracing originals and it garners additional credibility in cameos from Chris Hillman and fellow songsmith Ron Sexsmith.
USA Entertainment News & Views ****4/5A superb album, and yet another album of the year contender from MWK.
Americana-UK ********8/10‘It Will End In Tears’, which – with its’ stung and bitten off guitar and tormented lyrics (“And there was nothing I wouldn’t do/ I was totally consumed by you/ it will end in tears”) may well come to be viewed as Michael’s very own ‘I Want You’ in years to come.
Whisperin’ and Hollerin’ 10/10 **************Nowhere is his skill as a storyteller more evident than in the stunning ‘Let The Waves Break Around Your Face’. It would be unfair to give away much about it but if he never wrote another tune, this incredible fable of loss would still make him a songwriter with a capital ‘S’.
Rock N Reel 4/5 ****Given King was playing Alt Country in the UK before anyone knew what it was, it makes sense he’d be sharp enough to leave a sinking ship. With ANKOL he delivers classic orch/pop, singer songwriter and soul inspired songs of the highest order.
Now Toronto ****4/5
Tours of the UK, Germany, Holland and Scandinavia, including a short UK summer tour with Jackie Leven and Robert Fisher under the collective name of FisherKingLeven, followed the release of A New Kind of Loneliness, before King went back to N. America in Spring 2008. That tour resulted in the live album Crawling Through The USA, released later in the year by the German label Valve Records.
The sound of a man who remains at the pinnacle of his powers.R2 ****4/5A troubadour’s master class. Whisperinandhollerin’ ********* 9/10A 5 star performer going on 6 – this is simply wonderful. music-news.com ***** 5/5Less a live album, more a blog, but all the better for it. Includes his poignant cover of Townes Van Zand’s “Marie’ Mojo King’s take on Townes van Zandt’s “Marie” shows a real feel for the hopelessness and despair of the story - a far superior reading to Steve Earle’s recent attempt. americanauk.com ****4/5
More touring followed the albums release, including numerous festivals over the summer of 2008, and a show at The Round House in London with Ron Sexsmith. It was at this show that he met the producer Neil Brockbank and put the wheels in motion for an album he had been planning for the past 4 years, an album of pure country duets, My Darling Clementine, to be recorded with his wife Lou Dalgleish.
Assembling a crack team of some of London’s finest musicians, including Geraint Watkins on piano, Martin Belmont on guitar, and Kevin Foster on bass, rehearsals began in late summer, with recording getting underway at Gold Top studios in Chalk Farm in September. The result was an album of 12 stunning original songs inspired by and paying tribute to , the classic country duets records of the likes of Dolly Parton and Porter Wagoner, George Jones and Tammy Wynette, and June Carter and Johnny Cash.
With recording complete MWK set off on a 20 date Uk tour in November with fellow singer-songwriters Jeb Loy Nichols and Peter Bruntnell, before returning to mix the album with Neil in December and Janaury 2009.
The first half of 2009 proved a frustrating time as he set about trying to secure a deal for the duets album. The terrible state of the economy was not helping, nor perhaps were the ears of the A&R guys running the labels that were approached.
In March he toured the UK concert halls opening for the band America, and then followed this with another solo UK tour, continuing to promote the Crawling Through the USA album. He also made a stark and moving video for one of the album tracks, his cover of the Townes Van Zandt song Marie.
After numerous festival appearances, including the Down on the Farm festival in Norway, that summer, he then undertook another European tour, with his long standing musical partner Alan Cook, ….but all the while no more progress was being made in securing a release for the My Darling Clementine album.
It was during this tour that he started to showcase material that had a stronger political message, both his own new songs, and also performing older songs of protest . Having been told of a small, remote studio in Wales by Jeb Loy Nichols, he set off to Bos studios in November and December to record an entire album of protest songs. That album was to be called I Didn’t Raise My Boy To Be A Soldier, and will be jointly released by the Valve Records label and Jump-Up Records in August 2010.
The songs from this new album have been the mainstay of King’s live shows for most of 2010, including workshops on the history of the protest movement at a number of festivals already this year. He will be appearing a number of Protest festivals and up-coming political events in the near future, and a European tour in the Autumn, which will include a multi media show featuring back projection and old news reels footage
As for the My Darling Clementine album? Watch this space……
