Nick Cody, a musician with a long-standing musical enthusiasm that came from his teenage years when he attended Hyde Park concerts and composed in Guildford as a street artist, got the ideas from the famous singer-songwriters like Dylan, Neil Young, and Joni Mitchell. His musical fastenings are intertwined with dramatical, melancholic melodies and sharp lyrics of the legends of the same genre, Nick Cave and Johnny Cash t whose stripped-down covers took a part of his creation of the “Covering these tracks” volume II project.
Enlisting the sounds of The Heartache, consisting of Towse, Corwin Zekley & Harry Orme; Cody goes on this trip to breathe new life into old tunes with a creative twist. Their recent cover of “Nobody’s Baby Now” which was originally by Nick Cave, gets super surreal makeover, as the music video also captivates viewers in its impressive AI-driven western visuals, directed by Mal Williamson. The song’s lyrics and playful storytelling are mesmerizing, and the listener is moved to a changing and secret place.
Originally Cody accomplished through writing the original pieces, though the new attempt of cover songs opens new horizons of team work and creative abilities. His music is designed to provoke thinking and trigger emotions, thus, a cautionary tale or message of hope is the mission. The message the songs carry and the topics they deal with can at times be dark, but there is still an element of optimism and resilience that reflects the artistic spirit of the legendary Leonard Cohen.
Indeed, as the head of Green-Eyed Records, he swears by ingenuity and cooperation across artists because he understands the power of combined force in enlarging accessibility. The project: “Covering these tracks” represent further development of his artistic skills with one thought in mind – to entertain and bring life into his works
As for future, Cody is resolute in his endeavor for the improvement of his songwriting as well as his vocal delivery. Martin Simpson and Jon Gomm are among those who’ve taken him under their wings and have been guiding him. Now aged 65, he brings an attitude of passion as well as immediate attention to his musical voyage, set to leave a strong mark through his art work. Much like the legendary words of Jerry García, “What a long, strange trip it’s been,” Nick Cody discovers new sides of himself in each new project and collaboration.
Can you tell us about your musical background and what inspired you to pursue a music career?
I’ve always had a great love of music since I was bunking off school aged 15 to attend free Hyde Park concerts. Many of my favourite artists were singer songwriters from the 1970s including Dylan, Neil Young, Carol King, Tom Waits and Bruce Springsteen.
I used to busk in Guildford underpass aged 16, playing CSNY covers with my then girlfriend. On a good day we could earn up to five pounds an hour, enough to buy two albums from the local music store!
My inspirations always came from artists that had something to say and who created music with great melodies and sharp lyrics. I also often think of 1965 – 1975 to be a golden era of music and remember listening to Jumping Jack Flash on the radio and Bowie on Top of the Pops, both of whom set the world on fire and of course are still regarded as pioneers in musical creation.
Who are your biggest musical influences and how have they shaped your sound?
My main musical influences include Nick Cave, Glen Hansard, Bob Dylan, Johnny Cash, Neil Young, Joni Mitchell, and Jason Isbell.
All these artists knew how to create great songs, using melody and engaging lyrics. Johnny Cash’s American Recordings was a great inspiration for the Covering these tracks project, brilliant stripped down cover versions of great originals.
In recent times Jason Isbell has been a massive influence with a series of quite brilliant albums. I first came across him on a magazine sampler which included “Speed Trap Town” I nearly swerved the car into the hard shoulder on the motorway, I was so blown away by this track. With some trepidation I opted to include a cover on the forthcoming “Covering these tracks” vol II, and I’m pleased with the results. Our musical quartet that features Towse on vocals, Corwin Zekley on violin and Harry Orme on guitar bring a new sonic dimension to this and other covers.
Could you share the story or inspiration behind your latest Cover Single “Nobody’s Baby Now”?
I’ve always been a massive Nick Cave fan and was first introduced to Nick, by my longstanding friend and lead singer of James, Tim Booth. I wanted to cover one of Nick’s songs, but as with all these new covers, we wanted to add a twist to the track.
Film maker Mal Williamson then created a totally surreal western video all done in AI that is wonderfully surreal. The actual track has Nick Cave’s trademark engaging lyrics and like all the best songs, tells a story that transports the listener to a totally different space. The lyrics allow the listener to create their own sense of what the song is about and are wonderfully ambiguous.
Are there any specific themes or messages you strive to convey through your music?
Prior to the ‘Covering these tracks” project, I’d only written and released original material. I’ve always wanted to create music to “spark the brain and make people tap their feet” Lyrics, themes and messages can appear at any time, hence the need to carry a notebook at all times to capture ideas. Some of the tracks contain observations of human behaviour and can be cautionary tales, others can be specifically about actual people including an early track “Five string man” about Keith Richards and “Hey Rona” about a woman I met in Tel Aviv who was quite a character who survived a car crash. I also wrote “Pink Moon” about Zeke Schein about a long lost Robert Johnson photo in his book “Portrait of a phantom”
Above all I like to send a messages of hope out into the universe, even if this means writing some dark lyrics! A major national music magazine commented on my album ‘All is fine til’ the world goes pop” in the following matter –
“The Leonard Cohen vibe, may be too bleak for some…” which I thought was hilarious. That said I’m happy with the comment and the artist comparison and Cohen was one of the greatest songwriters of all time.
Are there any collaborations or dream collaborations you hope to pursue in the future?
I’m always keeping an eye out for great musicians and believe the collaboration is a key part of creating great music. To date working with Towse, Corwin Zekley from California, Michael Ross from Nashville, Laurent Zeller from France, has really kicked me into a who new gear. I’m flattered to have such terrific artists involved in my projects.
I have my eye on a few artists I’d love to work with and already know, but I’m keeping quiet on specifics until I approach them for project involvement. I’m also currently working with a 60-piece choir and have spotted a couple of great singers, who I have in mind as part of a project in 2025.
What do you think sets you apart from other musicians in your genre?
I’m focussed and come from a communications training background where I still travel the globe to work with people. This gives me the unique opportunity to both meet people I’d never find locally on the music scene. This other work also allows me to fund projects and ensure all band members are fully rewarded for creative input.
I set up Green Eyed Records (www.greeneyedrecords.co.uk) as a music platform to encourage creativity through collaboration among artists as this is in my view the best way to collectively reach a wider audience.
The music business is tougher than ever for many musicians and I’m currently conducting a series of interviews with world class journalist Sylvie Simmons on some of the challenges musicians have in this new ‘Spotify era” where streaming has killed invaluable sources of income. I also have a brilliant producer Carl Rosamond who has produced all my music to date and has helped with our trademark sound.
Are there any upcoming projects or releases you’re particularly excited about?
I currently have two albums currently in play. The first is “Covering these tracks” volume II, which is out on April 26th with a launch party in Leeds UK. Following that will be “This is love and heartache” which is the second “Nick Cody & The Heartache” second all electric album due for 2025. We already have 70% of this album “in the vault” and some singles including “Can’t stop” and “That Gal” and “Slow time” have already been released and had great feedback.
I also have an idea for an electric track with a choir planned for Valentine’s Day in 2025 which is a Towse cover, but I need to figure recording logistics and check the idea is not too mad in terms of viability!
Looking ahead, what are your long-term goals or aspirations as a musician?
I think of myself primarily as a songwriter and singer. Hanging out with Martin Simpson and Jon Gomm has inspired me to be more ambitious in my projects and to strive always to create better work of a higher standard.
I have also had brilliant vocal tuition from Agi on a weekly basis for over five years and am now focussing more on vocal delivery. I’m lucky to have an amazing network of session musicians available and as the old saying goes “Why have a dog and bark yourself?” in other words, I can get much better results by collaborating with and engaging the very best musicians.
As for “long term goals” I’m 65 next month, so I’ve got to get a move on, I don’t have time to waste and that’s one of the reasons that I’m working on so many projects. My aspiration has always been to entertain people and to create a body of work that is both inspiring and challenging” for people. Like many artists, I’m always looking at the next piece of work. I am extremely grateful to those individuals who have supported me in my own work, including Martin Simpson, Jon Gomm, and Jim Glennie from James. I have massive respect for all such professionals who bring great music to us all and is so needed especially in these times.
When I think about my own journey, I am reminded by a quote from Jerry Garcia
“What a long, strange trip, it’s been.”
