Discussions with Jim Glennie founder member of James

I’ve known Tim Booth and Jim Glennie from James for a very long time and watched them over the years become a band that has sold over 25 million albums, including releasing no less than eight albums on Universal Music. Jim was recently kind enough to let me do an interview with him and I sketched out the following questions

  1. When did you first start writing and playing music?
  2. What was the Manchester scene like in 1980s and who was most on your radar and why?
  3. How big an influence was Tony Wilson on the Manchester scene?
  4. How did you first meet Tim Booth and what were your first impressions?
  5. How did you come to work with Brian Eno and what was the experience like?
  6. You’ve played alongside some major artists over the years, what have been the best, worst and strangest experiences?
  7. What makes for a great song and what whose music have you loved the most over the years?
  8. What are the 3 biggest myths about being in a major band and the music industry?
  9. How has Spotify and streaming affected artist income and overall are the effects positive or negative?
  10. If you could go back in time knowing what you know now, what message would you send back to your younger self?

We filmed the interview and will be releasing the footage via Green Eyed Records in the near future.

Jim Glennie from James


In running Original Ukulele Songs and Music for Thr Head and Heart I get a lot of artists post on the social media pages and its rare to come across material that stops me in my tracks and thinks WTF! However when I first saw the video below, I could not believe how good it was and as well as promoting it, I invited Towse to be on one of the MHH Songs of Hope videos


Towse aka Grace Fellows massively reminds me of one of my favorite artists Mary Margaret O Hara, but with a twist and genuinely unique. I started to explore and see what other material was out there and bought the last album that featured a really superb track “This is love”


This is another really well contructed and delivered song with a great video.

During covid 19 I have been immersed in creating a wealth of material and decided to see if Towse would be interested in some collaborations. The first track I sent over was “Wait until the pain has gone’ a slow Amy Winehouse type song and Grace did a brilliant job of adding a verse and harmonies.

Since then we’ve worked on a number of songs that are quite diverses in nature and both myself and my producer are blown away by the results. This material will begin to be released later in 2021 and 2022 through Green Eyed Records.

I also highly recommend subscribing to the Towse video channel HERE

The Music for the Head & Heart launch Oct 26th

Next Saturday I am hosting the launch of the Music for Head and Heart platform. I’ve spent the last two years working on this and the platform consists of two main ingredients. The first is interviewing artists for the platform, where they can talk about their creative process as well as performing some of their material.

To date we have over two dozen artists from all over the globe “in the vault” and over a dozen are live on the main site – www.musicfortheheadandheart.buzz

This has and continues to be a fascinating and inspiring project. I originally tried out a beta tester for this platform with originalukulesong.com but I realised I needed to create something on a bigger scale and more musically inclusive. I chose the name “Music for the Head and Heart” to suggest that the platform is about music that makes you think and moves you emotionally.

The spirit of collaboration

I’ve always been a big fan of collaboration and in my non musical other life this philosophy has literally helped me establish my trainings literally all over the globe. In the music world I have often blogged on the benefits of working with like minds and sharing resources. Not everyone gets this of course and some artists are pretty self obsessed and don’t appreciate the value of working with others to create a bigger dynamic.

Special thanks to my good friend Martin Simpson for agreeing to be interviewed for Music for the Head and Heart. Martin is a brilliant seasoned performer already and its gracious of him to be here. Later this year we’ll be unveiling other well known established artists as well as many newer less known performers.

Live performances

As well as the main website, I’m running a series of showcase evenings of artists playing live. The first evening is October 26th which will feature Captain of the Lost Waves, Miranda Arieh, Emily Mercer, and Behla Hutchinson. All four of these artists are superb musicians and great entertainers and its going to be one superb evening. Tickets are available here

There will be a second live evening, early 2020 which will feature more artists who have recorded for the platform.

Interview with Manitoba Hal

 What is it about the blues that you love?

I love that the music is all about the feeling and emotion. It’s built on a simple accessible framework that makes the music accessible and immediate. It’s also not important that you play well. Many great blues acts are not great musicians but they absolutely have the feel and the emotional connection. Of course, playing well doesn’t hurt.

What in your experience are the biggest misconceptions people have about earning a living from being a musician?

I think the biggest misconception is the “made it” myth. The reality in today’s music business is the new “made it” is just continuing to be able to have a job. There is no big “discovery” moment anymore, it’s a series of small discoveries and one-at-a-time marketing now. Your career is made on multiple small streams of income. CD sales, merchandise, touring income, workshops are just a few of mine. I’ve been blessed to make a good living the past 8 years from music alone.

How did your previous experience as guitarist help or hinder learning the ukulele?

It was useful in that the basic shapes and tuning are soooo related. But it took me a while to play a uke like a uke. (do I even do this now? Not sure.) Also, the fact that I knew a little about stringed instruments and scales has helped a ton with playing skills.

What’s the best advice anyone gave to you as a musician and who gave it to you?

The best advice I ever got was from my grandfather. He was a piano player in the depression years here in Canada. And he told me that being a musician is a lousy living but a great life. And he was absolutely correct. He also added that when you become a musician you take a vow of poverty and the better you stick to that vow the more you’ll enjoy the life. What I took from that is that you have to make peace with the idea that you can’t do everything. You can’t own the latest gadgets. Good things come but they come from planning and hard work.

If you could play with any musician on planet Earth that you have not yet played with, who would it be and why?

It would be my grandfather. He wasn’t famous or even influential really but by the time I came along he had quit playing publicly and by the time I could really play he was close to the end of his life. I often think how lovely it would have been to be a professional player with him and play shows together.

You are known for touring Canada, Europe and Australia. Do you have any favourite festivals that you look forward to playing and why those ones specifically?

Honestly, I love them all. They all have their special flavour and things that they do well and things they sometimes don’t do well. The bottom line for me is interaction with the fans. I am really into just hanging out with the people. I’ve never wanted to be the big “star” who hides away and then makes a grand entrance. I prefer hanging out in the pub or at the coffee shop with the folks that make it possible for me to have a living.

What are the most common issues students struggle with learning the uke and what advice would you give to someone starting out?

The most common thing I run into is the notion that playing all the songs in your songbook constitutes practice. While this is technically true, all you are practising is your repertoire. You aren’t learning anything new or building new skills. I run into tons of players who think they’re intermediate because they have been playing for several months but all they’ve done is play the same 6 or 8 chords over and over again with the same rhythm. I always suggest that students spend 15 to 20 minutes a day on pure skills development. Work on a hard strum pattern. Play the chords of a key you don’t know. Work on the chords up the neck. Learn a scale. Then after that, you can move onto practising your repertoire.

If you could go back in time 20 years and give yourself one piece of useful advice, what would it be?

The only advice I could offer my early self would be to stay positive and open to possibilities. I’ve been playing uke for over 20 years and for the first 10 I never took it that seriously. I was certain that the guitar was going to be my ticket to “making it”. In the end, it is the ukulele that has carried me around the world. I often wonder how far I could have gotten if I had spent more time with it at the beginning. That said we are where we are meant to be. So maybe I wouldn’t have even made it here. It’s hard to say I suppose and I’m just thrilled to be here.

Check Hal’s site HERE