"Nothing Is More" feat. James Fearnley

[MacRua]

With the release of the new Nothing Is More, Los Angeles-based, all-female pop-punk band Go Betty Go finally became a band, according to guitarist and songwriter Betty Cisneros.
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Other tunes range in emotion from the can-do party spirit of The Pirate Song, which features accordion by the Pogues' James Fearnley, to the dark themes of desperation on Saturday.
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maybe Mr.Fearnley could add something on the subject?

[DzM]

http://sideonedummy.com/go_betty_go_stream.php

Claims to have a streaming sample (maybe?) of <i>The Pirate Song</i>. Might work for somebody (doesn't work for me, but I haven't tried real hard).

[Alex]

you'll need QuickTime to hear the sample. Excellent song, great accordion! I'll definately buy that album the next days.

http://sideonedummy.com/go_betty_go_stream.php

Claims to have a streaming sample (maybe?) of <i>The Pirate Song</i>. Might work for somebody (doesn't work for me, but I haven't tried real hard).

[Alex]

excerpt from this interview:
One of my favourite songs of your album is "The Pirate Song" you recorded with James Fearnley (POGUES) and Ted Hutt (FLOGGING MOLLY). How did it come to this co-operation?
When we were finishing writing this song we thought that it would sound cool if we added an accordion and Ted Hutt made a few phone calls and got in touch with James. He was very nice. He came in and listened to the song maybe twice and went in and started recording. And then Ted recorded the banjo once the song was recorded. Both those instruments added so much to the song. We're so happy with the way the song turned out. (Michelle)

[Mick Molloy]

Ted Hutt was Flogging Molly's first guitar player by the way

[JamesFearnley]

I got a phone call from Brad Wood, who, among many other things, is the Cranky George Trio's bass player, who put me in touch with Ted Hutt. I didn't know who he was at all, and didn't know anything about Go Betty Go, but the session was up in the old Baby O studios (where Joe Strummer recorded Earthquake Weather, and where I'd visited him many years ago while he was recording there; Joe was excited to show me, and anyone else for that matter, where the Brat Pack used to do laps around some gallery up in the top of the building) and Baby O studios down the street from the Hollywood Y, where I'm a member, so the parking was a dollar with validation.

I like the song. I liked the girls. They were friendly and very lenient towards a fifty-year-old draught horse like myself, coming out of some sort of career twilight. The song I thought I wasn't going to be quite so friendly with, because it's in a key with more black notes that I care for. Ted offered to bump it all down a register with ProTools, but it sounded shit like that. So I lit into it with as many of the chords as I could figure out in my head. A couple of hours later I wheeled the squeeze box back up to the Y parking lot, bunged it in the trunk and went for a swim.

Don't do many sessions. Don't know why. They're such fun to do. However, there's not much call for an accordion player for a lot of things. Now and again I get a phone call from someone who's googled 'accordion players' for some wine and cheese thing, usually for some film-related bunfight, in West LA, or some other place I prefer not to have to drive to. I don't like to think I have to don the striped shirt and the beret and hang myself with onions or something like that, so I generally decline.