Claire Hamill – Over 50 years of Folk Rock quality

1. Your latest album “A Pocketful of Love Songs” was written during lockdown. What effect did the lockdown have on you as an artist?

To Be honest, even though Lockdown brought many traumatic events into my life, I was not allowed to attend my mother’s funeral for example, I also found it incredibly freeing. I have a very busy life with people in and out constantly. I have a small choir that I teach and I’m very fond of the members who have all become friends and my middle daughter has recently moved here with her family so that makes life busy too.

So the fact that I couldn’t be reached was blissful in its way and gave me time and space to be creative.

2. Was the positive meaning of the lyrics of your album associated with the dark times of the lockdown?

 You could say that, I used a fantasy relationship with someone I was attracted to, to channel my thoughts of love and hope and denial of love. It wasn’t always a happy endeavour as I was experiencing the grief I was feeling at the loss of my lovely mother. I think it must have contributed. Don’t get me wrong, she was quite old, she lived to be 90 but it was still such a loss. 

3. Who are the other contributing musicians in this album?

The producer/engineer Kevin Jones is the main contributor. He and I are in complete accord when it comes to style and sound so I happily left him to do most of the arrangements. I arranged all my vocals of course. We brought in my FRAGILE  band mates, Oliver Day (guitar) and Max Hunt (Keyboards) and Dave Rollins who played on my last album and we used Simon Farmer on Saxophone and Pete Martin who often plays with Kevin.

4. There is a variety of Folk and Rock musical elements on your beautiful new album, how do you decide upon the orchestration when you have to record a music track that you have on your mind?

I think every song asks for its own interpretation, musically. I knew I wanted a Rolling Stones drum feel on “Got my Mojo Back” cos I can just hear Jagger singing it!  ‘I’ll Wait for Winter” needed a folky, haunting sound because of the imagery of the owl calling through the dark wood.” This Duet” is light and bouncy, perfect for a Samba/Jazzy treatment.

5. You refer to the subject of love in your album, where is the place for “love” in 2022?

The place for love is right here in the house! In the heart! We spend so much of our lives in empty longing, it’s time to wake up and grab each day, have as much fun as possible, without ruining our liver in the process! Haha!

6. You use the seasons “Springtime” and “Winter” in the titles of your new album. How do time and the seasons affect you on a personal level?

I grew up in the countryside and I think it has deeply affected me. Even as a child I think I was aware of its beauty. I need to be outside, we all do. It’s such a shame that we don’t all get the chance to experience silence and solitude. That’s what my song ”Trees” is about on my album, ”Love in the Afternoon.”

Growing up in England makes you aware of the Seasons and I think it’s one thing that keeps a lot of us living here. We say we want the sunshine and of course we do, but I need lush, wet, green more than dry, hot, gold.

7. You have toured in the past with Jethro Tull and the King Crimson, do you remember these tours?

 Yes very much so. Ian Anderson came into my dressing room after the soundcheck to introduce himself and ask if I needed anything which was really sweet.

 One night the P.A. System broke down so I got off my chair and went to the front of the stage, sat down, legs hanging over the side and sang for the people who could hear me at the front. It meant at least that I was able to entertain a few rows, and the show went on.

Procul Harum were mainly playing theatres as opposed to Stadiums like Tull. I remember going to Calgary and thinking how far north we were.  The buildings were tall and grey.  I imagined all the cattle being driven through the town, it felt like Cowboy Country.

When we went to L.A we had a gig at the Hollywood Bowl. I was amazed at the sound of the cicadas and the beautiful fireflies. I had never seen them before. It was a revelation!

8. How did you sign in 1971 with the label of Ray Davies of the Kinks?

My manager, Tony Demetriades was friends with Ray. They were both keen Arsenal supporters. Tony wanted to manage Ray, Ray wanted a label like many other successful rock bands of the time and Tony knew I wanted to make another album.

Unfortunately I had not re-couped my advance on “October” which had been a very expensive album to make so Island were unwilling to fund another one, preferring to release a single instead. Tony suggested that if I left Island (where I was very happy) I could make another album for KONK and Ray would produce. I think I made the right decision.

9. What do you remember from your collaboration with Wishbone Ash?

 I remember the thrill of being on stage between those powerful guitarists and in front of that pounding drum set! It was loud! But the music? Wow! I could have danced all night!

Unfortunately my dancing didn’t go down too well with the band especially Steve Upton who was given the task of telling me to “calm down a bit on stage” Hahaha ! Poor Steve. Poor me! I was devastated! But my dancing went down very well with the fans. At our gig at the Birmingham Apollo 5 guys jumped on stage to try to kiss me!…..My finest moment! Hahaha….

10. What about your next music plans?

 I have a huge and diverse catalogue of music which I would love to pull together into various styles, eg, Rock, Folk, Country etc.

Also I am burning to do a classical album.

I have written lyrics to the Pachelbel Cannon, The Mozart Piano concerto 21, Albinoni’s Adagio and   The theme from Aranjuez by Rodrigo, to name a few. I’d love to finish that project.

My autobiography has to be next though.

I was a young woman making her way in the music business at a very interesting time. I think my fans would like to hear more about my journey.