![]() ![]() I was on one side of the divide – I wanted an independent Scotland - but when you write pop music, you’re writing with your heart and you’re also trying to get to people. The politics on the record is all about transcending division. Pat: This record was written in 2014 which was a very tumultuous time in Scotland with the referendum. You’re known for your political and social commentary in your music – what messages can people expect from the new record? The very first record that we ever brought out – the one that got us our record deal – had a roaring funk epic on it and then a funeral song on the other side, so we’re just continuing that polarity all the way through. We’ve always had in the same space something very funk, R&B and soul influenced and also something very balladic. Pat: Also with this record, it was on a coin toss: four years ago Greg wanted to do a funk record, I wanted to do a ballad record. #POCKETFUL OF STONES FULL ALBUM HUE AND CRY HOW TO#If you don’t know how to write a song by now, then… We’ve not done that before but we’ve done our 10,000 hours. Greg: In 2014, we decided to start a record and set ourselves the task of ‘go into the studio in the morning and don’t leave the room until you’ve written a verse, chorus, verse, chorus’. ![]() Tell us about the new album, what was the recording process like? Here, the pair discuss the secrets to their longevity and why Scotland is experiencing ‘a golden era’ for music… The resulting sound is one that is both tense and anthemic, featuring 12 songs that navigate through themes of family (Pat’s youngest daughter Eleanor duets on Let Her Go, written in tribute to her flying the nest), politics (the album was written to the backdrop of the Scottish referendum) and the pressures of modern society. In the three decades that have followed, the pair have developed their output beyond the parameters of that initial dance-pop sound, experimenting with jazz, drum ‘n’ bass, R&B and Nuyorican Latin-funk.īack with a brand new album, Pocketful of Stones – their first record of original material since 2012’s Hot Wire – singer Patrick has discovered a renewed context for his self-defined role as a male balladeer, describing how a wave of pop artists such as James Blake, Hozier and James Bay gave Hue and Cry a sense of ‘permission’ to make the record. It’s been 30 years since brothers Patrick and Gregory Kane shot into the pop stratosphere as Hue and Cry with their 1987 breakthrough hit Labour of Love: a coded anti-Thatcherite anthem which would lead them down a platinum-selling path opening concerts for the likes of Madonna, Simply Red and U2. ![]()
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