Now a decade into his recording career under the Yellow Days moniker, British songwriter George van den Broek hit the reset button with his latest album Rock and a Hard Place. His fourth full-length represents a new chapter in his personal life: his first statement released free of drugs, as well as one that sees him further grounded by being happily married. This sense of groundedness permitted him to look inward rather than out, with the record’s key influences coming from the music of his youth—classic pop-soul artists and P-funk legends alike. “It’s a return to innocence,” van den Broek shared of Rock and a Hard Place in a press statement, later contrasting the new record with the scattered musical ideas that defined his earliest psychedelic bedroom-pop recordings while he was still a teenager. “I’ve been like a disobedient dog that needed training,” he continued playfully. “I see this as the first adult album I’ve ever done.”
Ahead of the album’s release this Friday via Independent Co., the songwriter is sharing with us a playlist of some of his influences during the album’s conception period—many of which can clearly be heard in the big-band singles that have dropped so far. The central focus of these songs he selected, it seems, is the sense of pleasure that they give off, as well as their balance of—in his words—“composure and passion.” Meanwhile, van den Broek makes sure to shout out Stevie Wonder in particular (twice) for his guidance in writing “melody, harmony, rhythm, lyrics, and fun production,” with the soul icon’s playbook of bubbly keys and attention-grabbing vocals at the forefront of busy pop compositions clearly laying the foundation for Rock and a Hard Place.
Check out the playlist along with van den Broek’s writeups below, and pre-order Rock and a Hard Place ahead of its release on February 13 here.
Stevie Wonder, “Too High”
This song is a masterclass in writing melody, harmony, rhythm, lyrics, and fun production. It’s the perfect song, and for any first-time listener a life-changing moment. [This is a] tune we covered on the road, trying to pick up any of the bread-and-butter aspects of this tune. [My] favorite line is when he discusses LA party people—“She had a chance to make it big more than once or twice / She wasn’t very nice”—and of course when he calls her “a tangerine.” That little bit of humor and wisdom inside of a story that’s being told of an overdose. The song is like watching a movie.
Eddie Hazel, “Physical Love”
P-Funk hedonism that feels so good on the ears. Eddie Hazel telling stories through his playing inspired me and my guitarist, AL Finch, massively. We’d cover this as part of an encore last year, although it was an instrumental I’d play bass and sing the title in the spaces I could. Just the pleasure of it and sweatiness is something one could only hope to come near to when writing their own album
Little River Band, “Reminiscing” [Live]
Now this is a serious YouTube dig. I like the studio version, but there’s a lightning-in-a-bottle magnificence to this live performance. The band is rock solid, but the vocal performance is like something I’ve never quite heard. Such complicated, almost convoluted melodies rooted in jazz but sung so straight that they sound like the most natural thing. Incredible how much this inspired me in the recording of my vocals on the new album.
Little Beaver, “Party Down, Pt. 1”
Unbelievably groovy tune—such an underrated artist, Little Beaver. The energy he puts into the vocal performance is pent up but smooth. That balance of composure and passion is scary good. This tune brought so many happy evenings with parties in my studio and at my flat that brought writing this album closer with every listen.
Stevie Wonder, “Lookin’ for Another Pure Love”
It has to be the chords, the keyboard-like use of guitar, and of course the melancholy is evil! Important lyrics that are so maturely written: “He is a problem in my life.” Something about that line drives me crazy. The backing vocals and harmonies, as well, are so rich in the final half of the tune.
Sly & the Family Stone, “If You Want Me to Stay”
I’ve been covering this song for the last couple years on the road. Its construction and style were at the forefront of my mind when writing myself. I moved his vocals up to suit my voice, so I learned that as a writing technique on this new album.
Donald Fagan, “Maxine”
“Maxine” has this sophisticated and spooky energy to it. Amazing lyrics that put you in these scenic settings he wants you to visit in your mind when he mentions Lincoln Hall, being on the side of a highway, Mexico City, filling his Manhattan apartment with friends. Such a cleverly written song that hijacks your imagination.
Marvin Gaye, “I Wanna Be Where You Are”
This keyhole view into the amazing I Want You album is an excruciatingly short tune that gives you all the pleasure you could want and leaves you wanting more. Marvin’s use of a big band and harmony is forever something we try to work toward, humbly!
Ray Charles, “Rockhouse, Pts. 1 & 2”
This is an old-timey groove that hits just as hard as a modern beat. It’s funky, but in such a classy, pre-funk way. The use of the brass and the momentum of the track is something we tried to emulate on “I Cannot Believe in Tomorrow.” There’s an adage that “blues is either a good man feeling bad or a bad man feeling good,” and this is definitely a bad man feeling good!
Al Green, “Dream”
This is a real sound bath—kick back with headphones or speakers and enjoy. The bass playing is super guitar-y, which is something I always love. The tenderness of the track and the production style is something we tried to bring to the album.
