Behind the Scenes of a 90s Hit: Orchestrating Neil Hannon’s “Something for the Weekend”
The story of The divine comedy’s breakout hit, “Something for the Weekend,” is a engaging blend of serendipity, scrappy recording sessions, and a last-minute television appearance that changed everything. As the orchestrator for that iconic track and the Casanova album it came from,I have a unique outlook on the journey from humble beginnings to festival headliner. Let me share some insights into how this unlikely anthem came to life.
A Pre-Existing Title & A Rock and Roll Injury
Interestingly, the seed for the song’s title came from an unexpected source. Neil Hannon discovered a Robin Sarstedt LP in a charity shop, realizing someone had already claimed the phrase “Something for the Weekend” decades prior. Furthermore, the initial team assembled was… colorful, to say the least.
I first met Neil when a mutual friend, a cellist, asked if I knew an oboe and piano player. I vividly remember being struck by Neil’s eye makeup, initially assuming it was a rockstar affectation. However, it turned out he’d recently received a black eye courtesy of an overzealous French journalist.
From Demos to Manuscript: The Recording Process
Creating the Casanova album was far from glamorous. Neil initially crafted demos on a four-track recorder,and my role involved transcribing those ideas into full orchestral arrangements. You can imagine the process: I’d haul manuscript paper to whatever temporary lodging Neil had secured – often a sofa in a less-than-ideal apartment – and meticulously notate each part.
We pieced together studio time in short bursts, constantly pleading for extensions as we hopped between facilities. It was a truly unconventional way to record an album, but it fostered a unique creative energy. Essentially, I scored what Neil had demoed, adding my own embellishments to enhance the sound.
The Iconic “Aaaaah-Whooooo!” & Brass Player Endurance
My contribution wasn’t limited to the written score. I was one of the voices contributing to the signature “Aaaaah-whooooo!” that introduces each verse. However, one especially memorable recording session involved a trumpet player, Robin Smith, pushing his limits.
He tirelessly repeated the challenging trumpet line, his lips visibly turning blue. After hours of takes,he declared he was finished. Neil, ever the pragmatist, offered an additional £20 if he could nail the high note, a tactic that ultimately proved successful.It’s a lesson in motivating brass players,to say the least.
TFI friday: The Turning Point
We were touring smaller venues in France when we received the call to appear on TFI Friday. This meant postponing three gigs, rushing back to London for a quick shower, and scrambling to find replacement musicians – a trumpeter, string players, and someone to play the tubular bells – all at the last minute.
Neil was visibly anxious,receiving a stern pep talk from record company representatives: “Don’t mess this up.” We had onyl one rehearsal before being thrust onto live national television. That single performance was transformative. Prior to that,we struggled for recognition in the UK,but afterward,we were inundated with festival bookings and a surge in popularity.
Looking Ahead: Current Projects
currently, The Divine Comedy‘s album, Rainy Sunday Afternoon, is set for release on September 19th, with a tour following from September 17th to October 25th. You can find tour details at https://thedivinecomedy.com/live.
Additionally, my composition for The Royal Ballet’s like Water for Chocolate, choreographed by Christopher Wheeldon, will be performed at the Royal Opera House in London from October 1st to 24th. More details is available at https://www.rbo.org.uk/tickets-and-events/like-water-for-chocolate-christopher-wheeldon-details.