The Bedsit Poets Talk New Album, ‘London Town’ Single And More

Your third album ‘All Roads Lead Me Back’ is out now. How did you want to approach the making of the record?

Edward Rogers:

The actual making of the record took a long time. Because Amanda lives in London and I live in New York, we started casually writing songs again, while remembering we had completed a number of songs for a third Bedsit Poets album that never got released.

As time went on, the newer material felt fresh, and the album took on a slightly more pushy and electronica type of vibe. We didn’t want to revisit our past but create new ideas with music. More in line with what is going on today. The challenging part was the transatlantic transfer of songs and keeping a schedule that would result in completing this album.

Amanda Thorpe:

When the band separated in 2008 we have a slew of songs and demos that were shelved. It was serendipitous that both Edward and I were both reviewing our back catalogue of songs at the same time (him in NY and me in LON) and we had a “no way, me too” moment on a phone call. We both wanted to give the songs an airing and as we started dusting them off, it didn’t take long before we were back to passing new tidbits back and forth… what do you think of this, what could you do with that, what about….and suddenly we had 30 songs that were flying around. We whittled them down to our favourite 16, then rang Don!

 Where did you record it and who produced it?

ER: Don Piper, who produced Bedsit Poets’ second album, Rendezvous, was invited back to produce All Roads Lead Me Back. He has a special way of dealing with artists creatively, while keeping them well grounded, probably because he is also a songwriter and guitarist. He’s someone we both trust and accept his advice.

AT: There was a lot of transatlantic bouncing back and forth of ideas and arrangement finessing, then we called in Don Piper– engineer/producer of our second Bedsit’s album, as well as various other individual projects of ours. We both love and trust Don’s musical sensibility and rely on him to call a spade a spade when we are down the rabbit hole! Parts of this album were recorded in London and others in New York. For the full band studio sessions, we headed out to Maplewood New Jersey to Scott Anthony’s lovely studio, Storybook Sound.

Do you have any interesting, funny or memorable stories from the recording sessions? 

ER: We do have a couple but they are censored! There was a lot of work to be done in a short period of time, and all of us took it very seriously.

AT:

All recording sessions are interesting, fun, and inspiring. It was wonderful to be in the studio all together at the same time; I love the interactive aspect of recording music live. Unfortunately, we now live in not only different cities, but different countries, so being together is always extra special.

One of the tracks is called ‘London Town’. What was the inspiration/story behind the song?

ER: From my perspective of going back and forth to London over the last five years. Every time I make that drive from Heathrow to the center of London, I see how much my beloved old city has changed. Futuristic buildings are there to greet me and it gets harder and harder each time to find buildings of my past. We’re slowly moving into the “Jetsons” age.

AT: London Town reflects on urban transformation, the tension between the old and the new, the natural and manufactured, and the struggle to maintain one’s identity in the changing landscape and cultural spheres. I think it’s really important to pay attention to the past, not to just ignore, tear it down or throw it out.

The song also speaks to knowing oneself – sometimes we get lost, or digress from who we really are. Returns can often be considered a step backwards, but the return to one’s self can also be a positive progression and evolution. Ed and I had a wonderful musical partnership that ended. Going back to it took some time, and when we did, we both wanted to recapture what we had, but to also build on it and push each other forward to something new.

Who is in the band on the album and what do they play? 

ER: In addition to me (Edward Rogers) on Vocals and Loops and Amanda Thorpe on Vocals, Loops, Guitars, Keyboards and Melodica, we have some of New York City’s best rock and jazz musicians including:

Don Piper (our producer) on Guitars, Backing Vocals, Keyboards, Percussion and Mandolin

Sal Maida on Bass

James Mastro on Guitars

Joe McGinty on Piano and Organ

Konrad Meissner on Drums

Mac Randall on Guitars

Ray Sapirstein on French Horn

Tony Scherr on Upright Bass

Yair Schleider on Piano and Organ

AT: This album is comprised of live band studio recordings, as well as tracks built in our home recording set ups.

Do you have any favoured stage instruments, effects, pedals, microphones? 

ER: Me being a singer, I get away scot easy!

AT: I usually play either my Blueridge BR-343 guitar or my Martin LX1E. I don’t use pedals with the guitars…. I leave that to the others! I also love the casio SK-1 and a melodica is always a good to have! I have a bit of an ‘instrument habit’ so I tend to acquire a lot random instruments and they often end up on recordings as well. At home, I use a 57 for vocals. Nothing fancy.

Do you have any live plans for 2024 in the UK and Europe?

ER: What Amanda says!

AT: We hope to have some shows in the fall.

What is the story/inspiration behind the band name?

ER: We went to dinner one night at a posh restaurant down off Portobello Road and was joined by a well-known Brit singer-songwriter. When describing a music project Amanda and I were creating and the type of music we were doing, he said something like ‘it all sounds like bedsit poets music to me’. And our name was born! Who was the artist? Not at liberty to say anymore.

How do you look after your voices?

ER: At a minimum, I do half an hour of warm-up exercises at least six days a week, and run through half a set every day.

AT: A couple of Gitanes and a dram of whiskey! Just kidding! I have worked with several vocal coaches over the years and now as a music therapist, I do a significant amount of voice work with individual clients who have a range of language and communication challenges, so I use my voice daily. Other than that, no ice in my drinks, lots of warm water with ginger and honey, and of course a cup of tea!

What two things do you hope to have achieved once you have left the stage? 

ER: An audience that listened to our music and was receptive. And, hopefully the message of the songs was conveyed.

AT: Transporting the audience on an enjoyable and thought-provoking journey, and leaving them with a sense of having participated in a positive shared experience with me.

Was it a difficult album to write?

Yes because of the transatlantic factor! The five-hour time difference creates a challenge when trying to set up times to work together. I personally prefer being in a one-on-one situation where both artists are contributing equally and ideas and edits are easier to agree on and implement in real time.

AT: Only in the sense that we weren’t together in the same room, but Edward is such a good friend that we have our own short hand. He’s a great sounding board with a fountain of musical references for us to consider, he never stops listening to new artists where as I tend to go backwards (I’ve been on an Al Bowlly and Vaughn De Leath kick recently!). I think we complement and push and pull each other in different directions.

What makes Bedsit Poets happy and what makes you unhappy?