"I think we consciously wanted to move away from any blues clichés... we didn't want to be singing songs about porches, rocking chairs, black cats or mojos. There was a very clear attempt to make a record that was a modern blues album, with no pretences or tired old imagery that you hear people constantly allude to in their songs. As such, it's a rock album with blues overtones. It has also has very clear lyrical themes – the loss of something loved and cherished through indecision and irresponsibility..."

Can't Find A Lover: "I was sitting around with Ben, both of us playing guitar and having a drink. I think we'd had quite a few by the time I played him this riff I'd had for a while. He raised his bleary eyed head and said he liked it. That was a good sign; so I remembered it and at the next rehearsal started jamming it. The whole band came in and it sort of worked straight away. It has a great Led Zeppelin feel to it, but Derek's harp takes it somewhere new and much bluesier."

In Two Minds: "This songs came out in minutes. It's fairly self explanatory – I had something I wanted to say, and when that happens I find the words and music always come very quickly. I think the verse sounds a bit like Neil Young. It took a while for us as a band to find our feet with it, but I think the recording is very powerful. The main riff is very strongl – a good live number."

Living My Life Alone: "One of Derek's gems. A beautiful, simple, unpretentious song. Derek has the ability to say the most profound things in the most uncluttered, elegant way. His harp on this mirrors that. A really lovely song – and Ben's bassline on the chorus carries a lovely melody perfectly."

Take No More: "A very bluesy riff from Ben that has ended up as a totally live recording. Another jammed number that just worked straight away once The Band got hold of it. Chunky. Great harp from Derek."

Baby Oh Baby: "I love this track. I think the energy in it is sensational, It motors along and is a great example of what a sympathetic but dynamic drummer Jon is. Again, it's a simple idea from Derek, but he writes with such an instinct for rhythm that you can't help but tap your feet to his numbers – and this is that to the nth degree. This is one of those songs you just 'get' straight away"

Wired: "Again, I was sitting around with Ben and we were in a bit of a drunken stupor as I started to play this riff….within about 3 minutes I had written the whole song. I think you can hear that I was a bit pissed in its phrasing of the words, but like In Two Minds, it was something I had in me that had to come out. When I finished it I looked up and saw Ben going a bit green and realised there was something in him that had to come out too! A powerful song - not blues per se, but the shades are still there. The feedback from this one has been fantastic."

Over Too Soon: "This is such a delicate, fragile song from Ben. It has an almost nursery-rhyme like quality. The melody fits the words perfectly – and what words! So evocative and real … you close your eyes and you are there, on that beach. I tried to give Ben's acoustic guitars a lot of space so the arrangement is sparse, but actually more complex than it sounds. Another one with a Zep feel. Ben wasn't sure about putting it on the album, but I was adamant it belonged on there, and right there in the middle too, as a sort of respite from the rock onslaught!"

Put The Lights Back On: "This one is arguably The Band's best performance. Jon and Ben are just sensational on this one. Although Derek wrote it, I'm sure he would admit that it's as much their song, as they just gun it form the off and never let up. I kind of just hang back and watch the chaos – until my backwards guitar solo halfway through! A cracking live number."

Leave A Man Alone: "This is a riff of Ben's we started jamming at the recording session and all fell in love with. We knew we had to make space for it on the album so a song grew out of it. It has that swinging rock/funk feel that was popular in the 70s. A real highlight with Derek's harp sounding great".

I Can't Let Go: "In hindsight, this was my attempt to write a modern blues standard. It's really Derek's harp that carries it, and I love his solo. But I think it works thanks to Ben's bass line and the simple chorus – 'against my better judgement and everything l know, I can't let go' – we've all been there!"

The Eyes Don't Lie: "This came from the same, er, lubricated writing session as Wired. Actually I don't think Ben and I were quite drunk at this point, and he had this huge riff that we were really getting off on, so I started writing down some daft lyrics that we always said we'd change – but we never did! Sometimes things just work in context no matter how silly they seem on paper. A really popular live number and a real powerhouse performance from Jon doing his best Keith Moon."

Blue Dawn Rising: "The album's closer – and it really couldn't have gone anywhere else. It's a painfully personal lyric from Derek so it's a hard song to comment on - it's exquisitely beautiful and frankly, speaks for itself. Despite the subject matter, we all loved the tinge of optimisim at the very end... perhaps there is redemption after all...? It seemed absolutely perfect that the album should end with this song's last line."

"As I hear the album I'm just very pleased with the way it has all come out, but most of all love the fact that it flows like all the best albums do, and that The Band plays brilliantly on it – we joke that it's Jon's album because he sounds incredible on it – his playing is better than ever – maybe we are only half joking!. Ben and Derek also really delivered song wise. I swear I'm going to get the sack soon if I don't pull my socks up!"