Robert Love presents ‘Ghost Flight’, his debut collection of jazz-infused blues and country-folk crossover that confirms his abilities as one of Britain’s finest singer-songwriters.

Recorded in the space of just six days with the assistance of co-producer/engineer Casper Kendros at an arts studio previously used by David Gray, ‘Ghost Flight’ captures a raw snapshot of an artist working at his most intimate level.

“He knows his technology and his compressors”, says Love of Kendros, previously known for composing the soundtrack to ‘The 51st State’ as well as being a member of Headrillaz, “so he was perfect”.

Love assembled a fresh team of musicians for the recording of the album. Brendan O’Connell, loaned from Brixton’s dynamic folk outfit The Messengers Of God, helps to give ‘Ghost Flight’ a beautifully understated vibe, not to mention a scorching solo on the closing track ‘She’s More Rock And Roll Than Me’. Pianist Clifford Slapper brings his experience from Raymond’s Revue Bar to lend the album a hazy jazz club ambience. Aztec Circle bassist Scott McRae and Alabama 3 drummer Jonny Delafons complete the line-up as a rhythm section of masterful expertise.

“Putting a band together and quickly getting that chemistry is often the toughest thing”, explains Love. “You can have the best players in the world but the chemistry will always be very important”.

‘Ghost Flight’ eschews Love’s fondness for techno in favour of an instinctive organic production that allows his instinctively written material room to flourish.  Influenced by the Daniel Lanois production on Bob Dylan’s ‘Time Out Of Mind’ album, Love took further inspiration for ‘Ghost Flight’ from artists as diverse as Johnny Cash, Brian Eno and Laura Cantrell. Listening to Dizzee Rascal also encouraged Love to capture what he describes as, “a filthy urban vibe in a Velvet Underground, country and western style”.

But more importantly a solo album represented a feeling of liberation for Love. Fresh from a decade as frontman for Alabama 3 and a recent rush of work in techno clubs, Love relished the change in musical extremities that such a project had to offer.

Lyrically, ‘Ghost Flight’ is largely introspective with intimations of mortality coming to the fore. Love tackles what he calls “sentimental oestrogen pop” on ‘Below The Wire’, a murder ballad in the shape of ‘The Bullet That Hits You’ and his trademark post-modern ironic humour on ‘Operator Blues’.

“It was very liberating but at the same time it’s an enhancement of Alabama 3”, says Love with a strong Welsh accent that has survived years of Brixton life. “It allowed me to be more lyrically introspective without having to sing about left-wing Marxist narcotics in an American accent”.

The writing and recording of ‘Ghost Flight’ was complicated by Love needing extensive surgery to cure neck injuries caused by head butting a skinhead at an anti-racist festival and the following recuperation that demanded, as well as the demands of the Alabama 3 touring schedule.

“I was shit scared about the operation on my neck and I was on tour, partaking in the drink and drugs that go with rock ‘n’ roll. But after the operation I was given a load of morphine and sleeping pills so I had to do the rest totally cold turkey. I discovered that I sound exactly the same under both conditions”.

Love’s persistence was rewarded with the completion of a rich and emotive work that remains immediately distinctive from his work with Alabama 3 yet that also has enough similarities to engage their devotees.

Plans are afoot for Love to tour in support of ‘Ghost Flight’ around its release. Ever eager to continue to explore and expand his musical horizons, Love’s other upcoming projects include a progressive house single with the renowned DJ/producer Tall Paul as well as commencing work on a new studio album from Alabama 3 in February. As Love believes, “As long as you you’ve got a good record collection you should be capable of doing most things”.

Ben Hopkins, December 2005