Chord changes are a luxury made possible by technical competence. 

Back in 1977 when I picked up a guitar the first chord I learnt was E minor. I could’ve stopped there and written this album. All I needed was a capo and some lyrics. But, tethered by notions of song craft and aspirations of virtuosity I learnt to play the instrument with greater complexity. Now middle-aged, I would like to think myself able to transcend such considerations. 

The first song you hear on this record is in E minor. In fact, it is E minor and nothing else. The next song is F minor - made possible by placing the capo on the first fret and forming the same shape with my fingers one fret up. The song after that is F sharp minor. You see a pattern. It’s a series all the way to the 12th fret and full circle back to E minor, except one octave up. It’s high concept, low technique. fleshed out with vocal melodies and added instrumental flourishes from friends and family.

Learning E minor at the same time as me was Pete Aves. We were the guitarists of pre-teen acoustic punk band The Rejects. Subsequently he has worked with Petula Clark, Lee Hazlewood, Jarvis Cocker, the Royal Liverpool Philharmonic Orchestra and the High Llamas. Now he’s back working with me.
Madeleine Hynes was one quarter of the avant primitivist Leather Mole.
Frances McKee is still one half of the legendary Glasgow band The Vaselines. 
Andrew Paine is a Glass Redux recording artiste and bassist for The Flexibles.
Classically trained violinist Jane Sayer has produced techno records as Johann Sebastian Barking.
Sorley Youngs is the singer and guitarist of The Flexibles.

Guest appearances aside, this remains a collection of songs that can be covered by anyone within hours of picking up a guitar. Liberated from dexterity, all that is required is the holding down of two fingers and a steady strum. At the core of each is one chord. The rest is scenery.