Paul Henry Smith (solo)

Pabs albums ranked (by Pabs…)

Scroll down to discover all the solo records recorded by Pabs. Ever since Weird Decibels started Pabs has always pottered around his studio, at times it got a little serious, but mostly it’s been a little musical vent to for him to explore the world of acoustic, folk, electronica and alternative.

Welcome. (First draft August 2024)

If you stream his music great. We hoper you enjoy it. However, if you really want to support the label (HMR), download or order a CD from his Bandcamp site, alternatively follow him on Spotify.

Pabs takes over from here to talk about his albums.

His latest: Why Move When Everything is Still 2024 on Bandcamp and Spotify.

Writing.

One of the most frustrating albums that I have written. I started around autumn 2022, it would be some two years later before this album would be released. I would be influenced by artists like Ghostpoet, then I would switch to Jon Hopkins, Max Cooper and then switch back to the Beatles. Amid the writing I was studying for my degree and generally distracted. I started out trying to record electronica, Style at Midnight was one of the best, I was eager to write and the Move sessions started well. However, I spiralled into a world of failed songs that took an age to write only to find me hating them. Then ‘Send Me Out to Sea’ came along. the acoustic was back in the record. This is one of the best songs I had written so I had to make sure it was on a half decent album. I guess I was now trying too hard to find a home for this beautiful song.

Songs.

  1. Style at Midnight
  2. Waltz Under the Waterfall
  3. Send Me Out to Sea
  4. Days and Weeks
  5. You Helped me Down
  6. Waverley
  7. Finally we Lock Eyes
  8. Dig Me out the Sand
  9. Why Move When Everything is Still?
  10. As Above

How I Recorded it.

On the Korg D3200. Using everything that was lying around the studio. Old cheap keyboards, multi fx pedals, Korg Electribe and the Takamine acoustic. It was recorded entirely in my small studio. However, I outsourced the mastering to 257Studios in Glasow and Bruce Wallace lifted the album beyond my humble DIY masters.

How I Rate it.

I got too close to it. For two years I have listened to many of these songs, there are little flaws that I should’ve fixed but I had to get the album over the line. It’s a good album, not sure where it fits in my head. I love Send Me Out to Sea, blessed to have written this song. Style at Midnight is one of my favs as well. Worth a listen.

The Sky Will Always Be There When You Look Up. 2021

The Sky is Always There When You Look Up front cover CD version

Writing

Written during the COVID pandemic of 2020, this album came around rather quickly. There were some of the usual frustrations and setbacks, but I can’t recall this album being particularly difficult to write. Some songs were written on the spot, I had pressed record and started playing, the words just came. I’m lucky that way (sometimes)

Songs

How I recorded it

A largely stripped back acoustic album recorded during the COVID pandemic lockdown. It was recorded on the Korg D3200 within the home studio, there were exceptions, Where Will I Go had field recordings from Tesco…and Stirling.

How I Rate It

After Creeping Ash I swore I’d never write an acoustic album ever again. But I like this one. It’s not challenging, it’s a pretty straight forward listen. I’m pleased how this recording turned out; the production is quite warm. I love some of the songs that just ‘appeared’, ‘The Robin’ and ‘I’m Done’ being two examples. I find myself listening to this from time to time. The only thing about this album I flinch at, its just too focused on the pandemic, on the lock down, so it feels a little claustrophobic.

Overall

It’s a good record. One for listeners who have enjoyed Morningday, Lawnmowers and Why Move.

A Chorus of Lawnmowers 2018

COLMfront

Writing

Still influenced by the National this record was a slow burner. Many of the songs were re-written and re-arranged several times. Sometimes this can destroy a record but on this occasion this worked. I had written a cluster of songs for Kevin to drum to, this got me started, the others followed soon after.

Songs

  1. Watching Years Fly
  2. Van Basten
  3. Tree at the Top of the Hill
  4. University (I’ve Never Been Here)
  5. A Chorus of Lawnmowers
  6. Automatic Help Screens
  7. Here to Stay
  8. My Computer Died
  9. Running in the Cairngorms
  10. Hopes and Dreams

How I recorded it

After the success of the Morningday Sessions I approached Kevin about the drums. He agreed, I moved the studio to his parent’s home and once again we utilised the large room that they had built. The rest of the album was recorded in the studio, although I liked putting the guitar amp at the top of our house stairwell and recording the amp sound when everyone was out the house. There are a lot of samples on this record, I had an android tablet, and it was brilliant for running aps that had various electronic instruments. Loved recording this record.

How I Rate It

I love this record. Everyone else would probably pick Morningday. Lawnmowers has a cosmic feel to it, its beyond this world. Watching Years Fly is a fluke, I have many versions of this song recorded, but eventually created a more subtle arrangement, it has space and lots of little sounds darting across the stereo field. I took my time with a lot of this record, and it shows, I was focused, almost determined to better Morningday. I think I flagged a little as I reached the finish, ‘Running in the Cairgorms’ is perhaps a waste, the flaw. Had I tried to wait just a little longer a couple of more songs might’ve appeared. The mix of songs is a little misplaced, leaping from acoustic rock to electronica but I have a soft spot for this one. It does finish with the powerful ‘Hopes and Dreams’ though. I’m also a little proud of the artwork… Lawnmowers is one of my best.

Overall

Love it, especially the first two thirds, then it stumbles, the record would’ve won the race had it not tripped on the last straight, but I got it over the line and gave it a big hug. A great place to start.

From cover of the morningday cd

Morningday 12th September 2014

Writing

After Creeping Ash, I told myself I was never writing another acoustic solo record again, I was utterly bored of it. Then a few years later, after falling in love with the music of RM Hubbert I decided to start writing again. Here I was, back in my studio recording acoustic songs. Sure, they were stronger than the tunes of creeping ash, an album akin to a bag of unsalted plain crisps. I was a father to a young child, my music was supported by my brilliant wife, I had just had the most amazing years with Weird Decibels, yet here I was, alone in the studio writing more acoustic songs…for my seventh record…There were signs that I wanted to move away from solo acoustic. I had started to dip my toes into the soothing waters of electronica, Jon Hopkins was an early influence. I had a great wee tablet, a Nexus 7 that played samples really well.

Growing in confidence with sampling and beats I delved a little deeper into the Korg electribe, now armed with beats I put down Static Television and other tunes. By this time the album seemed badly unbalanced, I needed more organic sounds.

I decided to get in touch with Kevin Byrne, long time friend and a massive part of the HMR community. I sent him some demos, Hard Working Man, Awkard and What Are You Running From? Being three.

Jemma Burt (now Quinn) had played on Weird Decibels 1, most famously on Wonder (our biggest hit). I asked her to come along. That afternoon we laid drums, piano and violin. However, one song would emerge to stand above them all. The Smiths tinged I Had To Turn it Around. This wasn’t a solo triumph, sure I wrote the song but Kevin and Jemma took this to a new height.

A few months later, probably as I was mixing another panic attack came along. The album, lop sided, uneven…maybe I could do an ep…I was defeated.

I dug out the Korg again and sampled my most complicated beat at this time, the pounding Kelpies. Then, influenced by the drawl of the controversial artist Mark Kozelek I wrote April in an afternoon. I started with that bassline and the rest was history. Finally, I had ten songs I was happy with.

Songs

  1. April
  2. I Had To Turn It Around
  3. Bluelights
  4. Awkward
  5. Hard Working Man
  6. Looking From the Outside
  7. Kelpies
  8. What Are You Running From?
  9. Static Television
  10. I Hate Long Goodbyes

How I recorded it

On the Korg D3200, great machine. Started with the acoustic tracks, using a Rode NT2a for just about everything, including Bluelights. The Nexus 7 tablet was brilliant! Headed over to Patrick and Sandra Byrnes house to record their son on drums (than you so much) Jemma came long that day and we recorded some of the most impactful parts of the album. Finally, back in the studio I laid down more beats for Kelpies and April

How I Rate It

My favourite for years, for a introverted person like myself I found it so hard to go out and play this live. Then the brilliant Kenny Bates encouraged me to play live at the Tolbooth in Stirling (twice) it was an amazing time. Lewis, three, maybe four at the time can me heard running around in the outtakes (two CDs worth). I have such an emotional connection to this album. When I listen back these days, a couple of things annoy me, I could’ve stretched for better takes of some songs. That said, I’m immensely proud of this record.

Overall

As a DIY producer and musician you rarely reach the realms of being a full time performing musician. With Morningday, my fingertips touched the glass ceiling. There were a few months where I thought this record could finally present me with a chance at success and recognition in music. When these hopes faded, I was left with a body of work that captured a moment in my life. I was a new father, laden with responsibilities of being a parent but overwhelmed by the love of being a Dad. I think this record captures that moment perfectly.

Creeping Ash 2009

Writing

I really can’t recall why I started writing this record, maybe a few years had passed since the previous record and it was time to write a new one (not the best idea), maybe I had a song I liked and decided to write another album. Whatever the reason, If I remember correctly, I had lost my way with acoustic music. I had dived deep into the writing of Weird Decibels 1 (following the passing our friend Dave Brown), the solo  writing had largely taken a back seat.

Songs

  1. I Don’t Understand Life
  2. Dark Days
  3. Dream Together
  4. The Boxer
  5. I Will Learn to Talk to You
  6. Creeping Ash
  7. Think About it
  8. My Heart is All Over the Place
  9. Bird Song
  10. Irn Bru
  11. So Still

How I recorded it

Using a Tascam 2488 I recorded this via a tried and tested method. Double tracking the guitars and some of the vocals. It was recorded at my old house; we had a spare room that was used for a number of different things. My music gear was usually stored in a cupboard, so when I was inspired to record something, I’d need to empty the cupboard, set the gear up then hit record. By the time that happened I lost the urge.

How I Rate It

I cannot connect with this record. Its just dull. Tired ideas. I often repeat a recording process until its exhausted and this is what happened here. There are one or two decent songs, The Boxer being one, but the rest are forgetful. I’d not terrible…just bland.

Overall

I never set out to record bad albums, in fact every time I write and record, I aim to create my greatest record. This was one of those ‘I’ve started so I’ll finish moments’, I probably shouldn’t have. Its not badly played or recorded, its just not that exciting.

Creeping Ash by Paul Henry Smith

Recorded on a digital 8 track, the sound improved, after the patchy early albums this record finally shows that Pabs can write one or two decent tunes on his own. He let no one hear this album when it was first released. In many ways he stills does this…

ARTICLE WILL BE COMPLETED SOON