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01. Bill Pritchard - Iolanda
02. Bill Pritchard - Lullaby
03. Bill Pritchard - The Last Temptation Of Brussels
04. Bill Pritchard - Thanks
05. Bill Pritchard - Tricksey
06. Bill Pritchard - Lanterns
07. Bill Pritchard - Piano Sunstrokes (Interlude)
08. Bill Pritchard - Garibaldi
09. Bill Pritchard - Grow
10. Bill Pritchard - Tuesday Morning
11. Bill Pritchard - Mother Town
12. Bill Pritchard - Forever
13. Bill Pritchard - Piano Sunstrokes (Outro)
ARTIST
TITLE
Midland Lullabies
FORMAT
CD

LABEL
CATALOG #
TR 427CD TR 427CD
GENRE
RELEASE DATE
3/15/2019

Some time ago... "The J.D. Salinger of pop" was how Rolling Stone France described Bill Pritchard after the release of Mother Town Hall in 2016 (TR 320CD/LP), while the editor of Rolling Stone Germany made Mother Town Hall his "Album of The Week" -- just a few of the many accolades heaped on Pritchard's last record. Then there was the reissue of the now legendary album Parce Que, originally released in 1988, which Pritchard recorded with the much-missed Daniel Darc. It too was feted by -- among others -- Le Monde, Le Nouvel Obs, Télérama, Les Inrockuptibles, and Libération. And now... Midland Lullabies. This is the album Pritchard always wanted to make. Why?: Because he always wanted to make a mark as a "shabby suited crooner". Midland Lullabies is songs from the Midlands about continental issues bathed in a crooning, piano drenched style that Pritchard has been perfecting over two years. Complete with sumptuous, at times almost Brechtian strings. You'll visit "Iolanda", a tragic Parisian heroine who you could meet in the newsagents in Wednesbury or in a cemetery in Montmartre. "Hey Iolanda, eat your curly fries and celebrate!" On "Forever" you may ask yourself: "Are you in Shibuya, Hamburg or Birmingham or just inside Pritchard's head?" "The Last Temptation of Brussels"! Well, there is a plaque about the fight between two symbolist scribblers in Brussels. Is Pritchard recounting French poetic history or his own? Or is it all just '60s swagger? Whether Pritchard is riding "a scooter bathed in pink" or watching life changed by thoughtless intent, even if he listens as "Lucifer sings on an out of tune piano", he always keeps his dream of writing the perfect pop song alive. On "Thanks" Bill tells you about "photo shutters in black and white, an image of the door to the moon". Has he been staying in the Beat Hotel? Or rather The Waggon and Horses? Whatever! What a beautiful, plaintive, almost mystical song "Thanks" is. Produced again beautifully by Tim Bradshaw, Pritchard says that from the very outset he insisted on a stripped-down sound, utilizing Tim's brilliant, subtle and sympathetic piano interpretations of his songs. They know each other so well! All in all a case of less is more!