Goldmine Is Out February 19th.
Bombay Harambee are a Little Rock, Arkansas based quartet with a penchant for merry-making. That’s probably the best way to describe the 90s indebted racket that the group put forth with on their debut album Goldmine. It’s out on 19th February and it is bags of fun and we’re premiering it right now. Yep, right now.
Alexander Jones, vocalist and guitarist with the band, sat down with Overblown recently to tell us all about the inspiration behind the title of the album and the songs on the record. Listen below while you’re getting the inside scoop.
We liked the sound of the word. It also comes up a few times lyrically. Striking gold leads to gawkers, onlookers, and hawkers, all often more trouble than they’re worth. A goldmine is often a black hole, and Midas keeps reeling them in.
This song came from watching a concession speech. It is about the interval of time between when you lose what you had and when the house comes to collect the security. We thought it was a fitting opener to set the tone.
Bombed the Polygraph
One of the last songs recorded, it has a slightly different bite in its current live form. We do more of a Pixies-style quiet-loud-quiet, or is it loud-quiet-loud? It contains our first reference to a Supreme Court decision on the album. Jason Grizz really makes this one on the drums.
One of the many of our songs in B Major. At the last second I changed the lyrics for the verses from the second-person to the third-person perspective. I think it helps convey the meaning a little better. It’s more of a diary entry than a dialogue, so shifting the perspective really helped.
This song is about apartment hunting when something always seems off no matter what. Maybe it’s the price per square foot, or the spot in town you’re looking, or maybe the inherent claustrophobia the twenties.
The hook for this song was written in about 30 seconds when Trent and I were waiting on people for practice at Squirrel Manor. We never realized how long it was until we recorded it. Everyone in the band wanted me to write another song based on the last riff, so I did. But we haven’t recorded it yet. I think it’ll be called “Hold Your Horses Ma’am”.
The last song we recorded for the album, which is why we put it at the end of Side A. Stringing Sentences is about my mom, who lost a battle with a degenerative brain disorder several years ago. It’s not an easy subject for me to handle even now, and that disease provides the lyrical hook.
Check, Check, Checkmate
Though I wrote this during a miserable blizzard in mountainous Charlottesville, VA, CCCM’s one of the songs most narrowly focused on Little Rock. Valentine is a street in the neighborhood our band played the most: Stifft Station, which surrounds the venerable White Water Tavern. It’s also about growing older in a “Losing My Edge” sort of way with both scenes and stations of life shifting.
One of our first songs circa 2013. Blue Balloon was my attempt at writing an exceptionally simple song. Trent and Tyler like it a whole bunch. Maybe it should’ve been the single or something. In any case, I still have a great music video idea for it that I hope we can work on this summer. But I can’t tell you else it’ll lose its mystique!
In many ways the lyrical cornerstone of the album, Midtown is about our hometown of Little Rock, for better and for worse. Midtown Billiards is a legendary dive located on Main Street in Little Rock. It’s open from 4 pm – 5 am, seven days a week, twelve months a year, though by one of the quintessentially southern vestigial Blue Laws, the bar is forced to close on Christmas. Slyly, it opens at 12:01 on Boxing Day. It’s important to know one’s way around a loophole.
Spaceman Dave and Trent had to leave at some point during our recording sessions. This left Jason G. (drums), Jason W. (engineer), and me to our own devices. I had written the piano part in high school, and I just started playing it on one of the studio’s pianos. Jason played a minimal drum part, and then I recorded a fuzzy, distorted, guitar lead. It’s also the only time I got to play bass on the album, which is my favorite instrument to play in a band.
This song was inspired by weekly trips I took to Civil War battlefields in Virginia in the winter of 2014-15. I went to the major fields: Fredericksburg, Wilderness, Bull Run I & II, though I never made it to Appomattox Courthouse. I conceived of the persona of a Confederate returning to barren normalcy from what remains the most destabilizing war in which the United States has ever fought. It’s written from the perspective of that person coming home to search for someone he saw for only a minute or two during the height of his conflict summers.
WZTV Chanel 5
I was listening to Marquee Moon and Wowee Zowee exhaustively during the burst of writing that included this song, so that’s the primary origin of the title. I dunno why, but I always like to include a waltz on a record, so here’s our contribution to the 75% canon. This is yet another about loss, but I’d defy anyone to claim loss inherently paralytic. WZTV is a loss lashing out.
Follow Bombay Harambee on Facebook.