While touring with Richard, Clive made a solo album, Strange Persuasions, with Christine singing backup. The two began performing as a duo on the club circuit, and created Home and Away, a mostly-live album that went on to sell over 75,000 copies. It contains several of Clive’s songs that are regarded as classics: Home Is Where The Heart Is, (covered by Fairport Convention, Touch And Go (covered by Kim Carnes), and Northern Soul. Home And Away was followed by Mischief, A Change in the Weather and Love is a Strange Hotel, an album of cover versions. Constant touring took its toll on them, and they decided to go their separate ways after one final album, The Last Word. Since then, Clive has featured on countless albums and played as a session musician in the UK and America, while releasing a string of varied and much-loved solo albums. Over this time he has become as well known for his musical collaborations as for his solo work, working with artists as diverse as Eddi Reader, Richard Thompson, Boo Hewerdine and Nanci Griffith. Bittersweet follows a well-received Best Of Clive Gregson album in 2009 and a career retrospective Best of Clive Gregson & Christine Collister in 2006, plus the Stiff Records reissues of Gregon’s first band Any Trouble and their reunion album.

We both recorded “I Dreamed I Saw St Augustine” first. But one key difference is that Bob then left it around an hour, I gather, before moving onto the next track (”Drifter’s Escape” I think), whereas I left it 9 years. See, in 2002 I had been invited to contribute a track to a CD of Dylan covers featured on a national music magazine. I had intended to record “What Was It You Wanted”, but late the night before the session my producer and I were still sifting through albums and we suddenly changed our minds. A quick call the next morning confirmed that no-one else had bagged “St Augustine”, so away we went. With the mighty Robbie McIntosh (of Pretenders, Paul McCartney fame) on guitar using a tape echo which was on the edge of breakdown throughout the whole day, Paul Beavis on drums and Nigel Stonier on bass, we recorded “St Augustine” live in a Cheshire studio in about five hours. Longer than Bob took but I blame technology for this sort of thing. And it could have all stopped there. In fact things did sort of stop there… except that track somehow never left me. The magazine concerned received it gratefully and were kind enough to praise it; once it was out in the world my audiences kept telling me they loved it and requesting it – unluckily I was mostly doing acoustic shows that year and so the band was never there to play it. So the crowds seldom got their requests answered. But over the months, then the years, e-mails continued to come in from all over the world about the track. One journalist in the US told me he had spent 30 years collecting thousands of Dylan covers and it was in his top five. And when in 2008 I met Bruce Springsteen, who most graciously had been in print as a fan of my work for some years, he told me – in around the third sentence he uttered to me – “Man, that St Augustine, it’s one of the great Dylan covers”. I may have blushed, I can’t remember… The message seemed clear… that day in Cheadle Hulme we had got something right. In fact we all felt with the benefit of hindsight that some magic had been in the room. Around 2009 I started playing “I Pity The Poor Immigrant” in my live shows, and heard at least one version of “As I Went Out One Morning:” that made me want to cover the song. And when I was invited to take part in a 70th birthday tribute to Bob at Celtic Connections in Glasgow this January, and realized that the honoured three-score-year-and-ten moment was due to fall this coming May, I decided I had to do something. Can one -should one – attempt to re-record, re-interpret, a 40 year old, somewhat legendary piece of work, a piece of work which could be argued to be inseparable from its author? Probably not. So… Nigel called Paul Beavis and Robbie McIntosh – neither of whom we had worked with for some six years – in the first week of 2011.

Both were mad keen to work on the project. And miraculously, both were free at the only point – early February – where we could realistically record. The Chapel in Lincolnshire is one of my favourite studios – I’ve recorded four albums there, it’s one of the ultimate get-it-together-in-the-country places. Anyway the merry band convened on February 7th, and by the early hours of February 15th we had recorded and mixed eleven tracks. Needless to say – to anyone that knows us – there were no rehearsals: on at least two of the tracks you can hear, I think, that none of us had any idea how we were going to finish the song in question, but somehow the vibe from back in 2002 still felt present right away. Nigel had keys and loose arrangements… albeit mostly in his head. Paul immediately slipped into top gear and reminded me he is without exception the most empathetic, singer-friendly drummer I know. And Robbie began to produce magic phrases, here a snarling choppy rhythm, there a lyrical high ripple. Every day Nigel drove the session till around three in the morning. My four year old son slipped in and out of the control room to keep us updated with his opinions; our great mate Tracy Browne drove all the way over from Manchester, initially just to support and cook wonderful food for us every day, though eventually she was thrown into the fray herself to contribute some beautiful backing vocals. Do I want, at this point, to elaborate on how I find the myths, the dramatis personae of these songs, the hovering whispers of Old Testament morals, the howls of despair and elation from outcast souls so affecting? No I do not. In February 2011 we took seven days out of our lives and recorded “John Wesley Harding”. There really seemed nothing else we could do. The Album will be released on May 23rd 2011.

After the show, you will be able to download her new single Teach Me To be Bad from the following link:

http://itunes.apple.com/gb/preorder/teach-me-to-be-bad/id397538464

The download also includes brand new tracks!!

‘You’re the Radio’ has also been A-listed on Radio 2.

Thank you for your continued support!

Murphy’s Heart is smart and honest and confident enough to concentrate on life’s most important themes: love and sex. She considers both the damage that love does, the violence that it can invoke, the guilt that comes with parental love, but also the maddening truth that one means precisely nothing without the other. Gilmore is wise enough to write a song like God’s Got Nothing On You which casually nails an habitual self-regarder (already speculation has it that one Tony Blair was the inspiration) who abandons “all those friends you outgrew with Bombay gin and a rose tattoo…”, while being uncynical and open enough to write something as beautiful as Due South where a young man heads off, “feet on the dash of a rented car” only to soon find himself alone and lost, “looking for hope in stiletto heels…”

Think Hardy-esque harvest hoe-down on a Saturday night with the moon shining bright and the cider flowing; think of love lost and won with the briny taste of the sea on your lips; think of the adrenalin rush of a fairground ride and you’re there… in fact, wherever he takes you, Louis captures the essence of a scenario in a heartbeat with lyrics that evoke wistful nostalgia for good times past:

To the broken tune of an ice-cream van, I wrote a song for you on the back of my hand, if you follow me we can jump the lights of a seaside town on a Saturday night…

the unyielding forces of nature:

Feel the waves rising up to drag you under, see the clouds rolling with the sound of thunder, light a beacon and let it burn…

and pure elation at being alive:

The giddy rush of the jump and ride, when your heart was in the air, but that’s got nothing on the way it made me feel when I saw her at the fair…

You can hang around at the water’s edge but if you want to fly you’ve got to jump from the ledge…

Musically, Kittow’s Moor pulses with energy and warmth. The Embers glow red hot and threaten to burn the barn roof off, sounding like an itinerant gang of field hands, fishermen, vagabonds and the ghost of Eddie Cochran wandering west along a country road, in search of the spirit of Albion punk and determined to have a damned good time whilst they’re about it. Accordions, banjos, tin whistles and mandolins cook up a joyous rural clamour to lift your heart and send you out into the night with a smile on your face.

Louis Eliot & the Embers, timeless and magical, as English as the landscape, as fresh as a spring afternoon… …Brit-Pop indeed.

“True pop genius.” The Times

“Winning blend of rustic charm and urban cool…a savvy pop brain with the lyrical articulacy of a Costello or a Weller.” Uncut

“Louis Eliot has welded the sound of barn-bound folk to that of pure pop and emerged with an album that boasts ultra friendly, individually shaped songs guaranteed to warm both hands and feet.” Mojo

“My new discovery… really great stuff… ” Bob Harris, Radio 2

With the crackle of fireworks and the thrill of the fairground, Louis Eliot is back with a new incarnation – Louis Eliot & the Embers. The former frontman of Kinky Machine and Rialto – who scored three top 40 singles in the late 90s – has delivered a most evocative and accessible collection of songs with his first new album in half a decade, Kittow’s Moor.

Kittow’s Moor is the follow up to The Long Way Round – Louis Eliot’s critically acclaimed solo debut that was released by IRL in 2004. Marking Louis’s transition from metropolitan songsmith to country troubadour as he headed for home, it was declared album of the week by The Sunday Times and attracted high praise across the board.

Throughout his career, Louis has been at the hub of British songwriting talent, most recently contributing two co-writes to Adventure Man by current Ivor Novello Songwriter of the Year, Eg White – yet another addition to the proven CV of an artist who can deliver a heart-stopping hit with easy charm.

And Kittow’s Moor is no exception, demonstrating more than ever Louis’s extraordinary talent for wry observation and a rip-roaring, roller-coaster ride of a tune, but this time in the context of the countryside.

Having lived the dream of 90s London Brit-Pop hedonism, Louis Eliot snatched his Gretsch Country Gentleman guitar and headed west, swapping the fetid Thames fug for the fresh air of Cornwall. Away from the shrill whir of the capital, surrounded by timeless rolling landscapes and wild beaches, he started over.

On August 30th, Fullfill will be releasing Thea Gilmore’s 10th album titled ‘Murphy’s Heart’. We are very proud of this album and look forward to her success.