Savannah Stopover

Six of the seven tracks are duets featuring six stellar guests: Alison Mosshart (The Kills, The Dead Weather), Sophia Brous, Canada’s Jenn Grant, Robert Forster (The Go-Betweens), Patience Hodgson (The Grates) and Australia’s Gossling.“Most of these songs were written in a slightly altered state,” Henry reveals. Finally home after a long stint on the road, he found himself sick and injured — “delirious with a bad fever and maimed due to a light bulb exploding in my hand.” Resisting the urge to recover in bed, Henry harnessed “the twisted voices” in his head and wrote some songs instead. “They came from a different place, so they required some different voices,” he explains.“Having multiple voices in a song holds a certain power. They can represent a unique synergy and oneness, or have a certain schizophrenia or oppositional battle.”

The U.S. press is impressed: American Songwriter called Wagons “a cool, downbeat and shadowy version of the duskier side of Americana,” while the Country Fried Rock Internet radio program waxed descriptive: “Henry Wagons must have watched a few too many Las Vegas television specials growing up. How else would the Australian songwriter have developed a fascination with the showmanship of Tom Jones and Elvis? Add to the mix (literally) Wagons’ obsession with vintage reverb sounds like the songs of Lee Hazelwood and Nancy Sinatra, and you end up with a record full of noir duets that is both retro and ethereal — without becoming too trippy.”