The Gleeman: Making ‘Something To Say’ and the challenges facing mature artists

Singer songwriter Dean Morris, aka The Gleeman, is on the brink of releasing his debut album Something To Say, a collection of intricately crafted pop vignettes that have been decades in the making. Headliner caught up with him to discuss the origins of the record and why the industry needs to do more to support new mature artists…

Something To Say, the debut album from Hertfordshire-based singer songwriter Dean Morris – better known by his artist moniker The Gleeman – has been a lifetime in the making. Technically speaking, work began on the album, which is released on November 1, back in 2019, but there are moments on the record that can be traced back as far as 30 years ago.

A lifelong music fan and musician, Morris had always harboured ambitions to not just release a collection of songs, but to do so in style. He’d write music sporadically in his teens and beyond, but as he puts it, life would soon get in the way of any plans to build a bona fide career as an artist. Now in his mid-50s, he is placing every ounce of energy and commitment into his first album release.

Not content with throwing a bunch of scratchy demos together on GarageBand and calling it an album, he’s created his own label Mean Dorris Music, recruited the services of Ed Sheeran producer Will Hicks, and drummer for the likes of Adele, Ash Soan, and former Noah and the Whale guitarist/keyboardist Fred Abbott, as well as produced a special vinyl edition featuring half speed mastering methods to offer high end audio performance. In short, there are no half measures to be found anywhere on this album.

“I always had it in my mind that one day I would give it a proper crack,” says Morris. “But I went to uni, got a job, bought a house, had a family, and all these things take priority at those times. Then it reached a point where it was now or never. The first point in the process was getting some vocal coaching, as I wasn’t particularly confident having not performed before. Then things started slotting into place from there.

“I was introduced to Will Hicks and the plan was to go to a studio in early 2020 to record the album and thrash it out, but obviously plans changed a little in 2020! So, it was put on hold for a little while and we started recording it around July 2020. We came away with 13 tracks and had it mixed by Ash Howes who did a great job. And then it was like, we have this album, now what do I do?”

What followed was a lengthy period during which Morris familiarised himself with the music business and formulated a plan for the release of the record.

“I spoke to a number of people in the industry to try and get some help releasing it,” he explains. “And there are no quick wins in the music industry, so we took our time with it. So, what we initially wanted to turn around in about three months has now taken about three or four years! But you have to take the time to build a fanbase, get the gigs under your belt, build your social media following, and get some radio and TV support. I’ve been working with some great people, but it’s tough. And as a new mature artist it’s tougher still.”

According to Morris, the opportunities available to mature artists looking to release music for the first time are negligible. And without a more open-minded approach, he believes the industry is depriving swathes of creators and audiences alike the chance to connect and engage.

“The industry at large is very poor at supporting new mature artists,” he asserts. “That stems from the record labels – they are very interested in the hot, trendy, young artists they can hook fans in early. Obviously, you have legacy artists and places like Radio 2 which is great at supporting new music from established acts, but there are very few routes to market for mature artists breaking onto the scene. There are some very talented artists out there who are being ignored and the industry is failing older music lovers by not providing them with new music from older artists.”

Intent on bucking this trend, Morris has not just been exerting his efforts in the studio. From the moment he decided to embark on this project, he started booking solo gigs and turning up at open mic nights to test his mettle on the live stage.

“It’s scary,” he laughs, describing his decision to start performing in front of an audience. “You don’t have the armour and bravery of youth to protect you. It’s daunting and at the beginning I suffered really bad nerves. The first gig I did was OK but after the second one I just wondered why I was doing it. It was torture. Getting over it was difficult, and I’ve come across others who have been through similar situations, but you have to dig your heels in. And the more you do it the better you get and the easier it becomes. But putting yourself out there to do something new when you’re older is difficult.”

While the challenges facing mature artists are indeed manifold, Morris is also keen to point out that there are some benefits to taking up music later in life.

“From an artistic point of view, you have a lot more to draw from,” he continues. “My album reflects that. A 20–25-year-old couldn’t have written this album – they wouldn’t have had the life experiences to draw from. I’m a very story-driven songwriter and all my songs have something to say. There is meaning; there is thought; it’s trying to make a point, and I think music is most effective when it can connect with you on that deeper level.”

With the release date of Something To Say now within touching distance, is Morris now in a place where he can reflect on his achievements? The culmination of a lifetime’s work, one may assume, is surely something to look up on with pride.

“It might be when I can sit down, relax and look back at what I’ve done,” he says with a smile. “To hear these songs, some of which are over 30 years old, finally brought to life has been amazing. The process was a little bit daunting to start with. I was going into a studio with a producer who has made some massive hits and some great musicians. It took me a little while to ease into that in the studio and to find my voice. Fortunately, they were all great and generous with their time. Will was a great teacher, and I learned a lot. And to come out of it with these songs was really nice, where something you had written 30 years ago on an acoustic guitar is a fully realised song and is out there on an album.”

Of course, the work is far from over. In the days and weeks leading up to the album’s release – and most likely beyond – Morris will remain in full on promo mode. As each and every aspect of the album suggests, he is doing everything in his power to ensure Something To Say lands with as significant an impact as possible. He’ll be looking to build upon recent appearances on Sunday Morning Live and airings on Radio 2 with yet more performances and media engagements. He may be late to the game, but his drive and ambition are as lofty and fierce as anyone. Perhaps even more so.

“For the past few years it’s been full pelt,” he signs off. “A lot of people may not have done it as full on as I have. I’d always gone into it with that approach. And it’s been amazing. But you’re just so focused on what needs to be done on a day-to-day basis. You have to just try and make it happen.”

Listen to this interview in full below.