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BiTS: And you turned this into a studio. How did you go about that doing

that?

TBS: Well, I think ‘turned into a studio’ is a bit

over egged really. I put a duvet up [laughs]. I

took an interface and the computer and a

couple of condenser mics, and put a duvet

behind me, and then just sort of had the whole

boat in front of me, if you know what I mean.

Closed all the curtains and just sat there for six

days and recorded the original ten tracks.

BiTS: What sort of hours did you do? Was it

literally all day?

TBS: Oh no. It was morning till sort of

eight at fiddle, I suppose. That was to

record the original tracks. So I did

complete takes of all the original ones and

then I gave it to my good friend Paul Jones

from Mu-Mu Audio. I thought I'd record it

and then he put all of the reverbs on a

mixer. Then we returned to the boat about
maybe a month later, with a couple of

other musicians. Well, with Jesse Benns on Cajón and Jo Chambers on violin,

and Lily Skinner on backing vocals. Then Paul brought his mobile studio,

which is a bit more complicated than mine. We set that up in the boat and

we put some more sound proofing up. He brought some extra sound proofing,

and we did the sort of overdubs.

BiTS: There is some brilliant bass playing on the album. Who is that?

TBS: That’s Paul Jones. He's on one track. The rest of it is my thumb [chuckles].

BiTS: Oh, is it? Okay [chuckling]. Tell me then, when you started recording,

had you actually written all of the songs? Was anything done in the studio?

TBS: Well, I'd written them, but as always, there's always tweaks and some

of the arrangements I did change on the hoof, if you know what I mean. I