Paul Simmonds
and
Philip "Swill" Odgers


official Band-Website

Odgers & Simmonds is a new side project by Philip "Swill" Odgers and Paul Simmonds, the Songwriting team of The Men They Couldn't Hang. Unmistakingly the guitars and voices of Swill and Paul, this album shows the two of them from a very different side, the songs bringing new meaning and life into the much used phrase „Low-Fi"!
   "Baby Fishlips" was mixed and engineered by Alon Adiri (of Dub Syndicate), and this version of the album contains two extra tracks! One of them, „The Trigger" being a duet between Swill and Mick Thomas (ex-Weddings, Parties, Anything).

The press about "Baby Fishlips"
"instantly recognisable, yet definately new!" Aktiv Musikmagazin
"Folk, the way it was always made: For two instruments and voices - and it works!" Oldie Markt
"a Country & Folk-experience full of life and charming simplicity." Kurier am Sonntag
"an intimate piece of Lo-Fi-Folk-Pop" Access All Areas

   Swill tell's how the concept for 'Baby Fishlips' first came about; "Since the beginning of The Men They Couldn't Hang back in 1984 I have always wanted to try something simpler, something more stripped down. Over the last year or two I have often discussed this idea with Paul and finally one drunken night in a pub in Acton, West London, we decided that we would definitely do it. A month later we were in the living room of the flat above Paul's - me singing away with my head inside a lampshade (it really gives quite a good reverb effect you know?) and Paul strumming away on the settee. It was great fun recording this way, you just had to keep your fingers crossed that the doorbell wouldn't ring in the middle of a take. Alon Adiri (of Dub Syndicate) was at the controls, he'd worked with us before and we liked his approach. But this was the first time that Paul and I were producing - it's a good feeling knowing that you only have yourself to blame if things go wrong but if things turn out right…".

... what, and whether, other pieces of furnitures were used during the recording sessions!? - read on ...

   Swill and Paul approached each recording with an open mind and a "Let's do it" attitude, they never got too serious or let the technology take over. Still they worked hard and put in plenty of hours but it was always good fun and this shows in the recordings. They also became very innovative, apart from the previously mentioned lampshade as a reverb unit, there was also the holiday souvenir mandolin that Paul played. The maker of the instrument probably never thought that it would be used as anything other than an ornament. It was dusty, the strings were rusty and it was very difficult to get into tune - but still it sounded great! On top of this various kitchen utensils, cutlery etc. added their own unique flavours to the percussion.
   The one concession they made to the living room recordings was in the mix. When they decided that it would be best to mix the album in a professional mixing studio, „Swill" continues; „We did this in an all night session and when stumbled out of there, into London's Rush hour, we stank of red wine and too many cigarettes. Commuters on the tube back to Acton starred at me disapprovingly as I hummed away to the memory of the night before, my head nodding up and down as I desperately tried to stay awake and not miss my stop".
   In order to ensure the best possible sound quality, the master tapes were then handed over to Joszi Sorokowski at White Noise Studio in Hamburg, Germany. Known as a talented producer through his work with Pressgang ('Fire'), Chuck Prophet, Tim McGraw (various singles), and many others.

"A living room production, a labour of love, and I can't wait to do it again" Philip "Swill" Odgers

Discography (excerpt)
- "Baby Fishlips" (Twah!/EFA 61116-2)
- V/A "SEKA [Sister]" Benefit Compilation (Twah!/ EFA 61113-2)

The Men They Couldn't Hang ...
   ... began their career in 1984, appearing at a number of alternative country music festivals. They followed-up their live performances with the release of a cover version of Eric Bogle's 'Green Fields Of France', which soon became a big hit on the UK Indie charts.
   Their first album, 'Night Of A Thousand Candles', was released in 1985. It includes the singles 'Ironmasters' and 'Greenback Dollar'. The following year, they recorded their second album, 'How Green Is The Valley'.
   With their third release in 1988, 'Waiting For Bonaparte', The Men They Couldn't Hang were propelled to stardom in Europe. One year later, they followed up the success of 'Waiting For Bonaparte' with their fourth album, 'Silvertown'.
   At the height of their career, T.M.T.C.H. recorded the brilliant 'Domino Club' (1990) with 'Great Expectations', 'Kingdom Of The Blind' and 'The Lion & The Unicorn'. Unfortunately, this appeared to be their last studio album - shortly after the following tour, T.M.T.C.H. disbanded.
   In 1991, T.M.T.C.H. came together for one live performance at London's Town and Country Club. That night, they showed the world what they are - one of the best live bands ever. This emotional gig is immortalised on the album 'Alive, Alive-O', released later that same year.
   Much to the delight of their fans, T.M.T.C.H. reunited in 1996. They returned with a new power and excitement to their music. 'Never Born To Follow' is an excellent work which includes the single, 'The Eye'. Their most recent releases, 'Six Pack EP' (1997) and the „Best Of" collection, 'Majestic Grill' (1998) are the next steps forward for the Men in their long and illustrious history....

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