The Blood Rush Hour is essentially Robert DeStefano and whoever he can persuade, coerce, cajole, or bribe into lending their exceptional talents to his projects. Their most recent release, “Sanity Fare,” distinguishes itself not just from their earlier work but also from the majority of contemporary pop music. Robert himself asserts, “I believe that the distinctive melodies, unexpected musical twists, profound lyrics, intricate arrangements, versatility across various musical styles, and innovative use of background vocals set my music apart.”

If you’re looking for a suitable genre to place their music, consider categorizing it alongside 10cc, ELO, Jellyfish, The Dowling Poole, and XTC.

Could you share the journey of bringing this record to life? How did all the pieces come together to create the final product?

I recall feeling emotionally and creatively spent after the release of ‘Who Folds First’ in 2017. It took 18 months before I was ready to begin a new project. However, just as I was gearing up to start recording again, we ran into the pandemic, which brought everything to a grinding halt for over a year. This caused a real challenge for me because I compose in the studio. I will book, say, four days in a week and will arrive with absolutely nothing written. Tim (engineer/studio owner/bassist/guitarist) starts the DAW recording, and I sit at the MIDI piano and start working things out. Therefore, it takes a bit longer to complete.

As time ticked on, I wanted to get the album completed and released. Unfortunately, Tim was booked solid for months into the future with all the artists who were unable to record during the pandemic. So, I asked Willie Dowling (the Dowling Poole, Jackdaw 4) if he had any time to help me finish. Thankfully, Willie agreed, and I spent a few weeks in France at his home studio, where we completed over half the album. I then returned to Tim’s in July and August of this year to finish the remainder. WHEW!!

Was there a particular moment or experience that struck you, signaling that you were onto something special with this project?

I think that would have been during my first trip to France in October of 2022. You must understand that I am a gigantic fan of Willie and his music. I knew that Willie was a fan of my music because we’d corresponded previously. But he seemed to shy away from any suggestion of working together. It was only after working together that I discovered why.

Willie’s studio is in an outbuilding on the grounds of his home. Willie also lives in a very rural area of Normandie. If I were to work there, Willie and his wife would have to put me up, feed me, etc. for a week. Having never really spent any time with me previously, he was loath to take the risk. Thankfully he did, and it was during that first week that I realized that we were doing something special.

The decision to seek opinions on your new songs is intriguing. When did you realize that external perspectives could contribute to your creative process?

I’d been wanting to work with Willie Dowling for years. When he agreed to produce part of the album, I was delighted. Usually, I am carrying almost all the weight. Tim adds suggestions every now and again, but usually, everyone plays to my direction. When Willie agreed to produce, it was such a relief to simply allow him to make decisions. I’d already recorded a large portion of the songs that he was going to work on, but I gave him permission to do what he wished because I trust his talent and vision. There were only two or three times that I can recall disagreeing with something that he wanted to do. For example, in ‘Fashioned Footsteps,’ Willie and I sang a backing vocal call and answer in the final chorus. Willie didn’t like it much and had originally mixed it out of the final mix. I asked him to put it back in. He was happy to do so.

Success can take on different meanings as time goes on. When envisioning success for this new record, what does that picture look like now?

That is a very interesting question. Like so many artists, I must earn my keep by means other than my art. In my case, I am a full-time psychotherapist. Therefore, I have neither the time nor inclination to devote to marketing and promotion. Still, it would be great if those who would enjoy the album had a chance to hear it.

Within this collection, do you feel that the best song you’ve ever written finds its home? If not, what distinguishes this record’s essence from your prior work?

I think that if you ask most songwriters, “Which is your favorite of your songs,” they would reply, “The last one I wrote.” I believe that there are quite a few songs on this album that are amongst my best. However, this album is a bit darker in tone than previous ones. The melodies tend to be more pleading and longing, and the lyrics tend to reflect the very confusing and frightening times in which we are living. There is a track on the previous album called, ‘I Still See You’ that presages this album in some ways.

As an artist, the act of baring your emotions to the world is profound. Does this vulnerability come naturally to you, or is it a constant journey of finding comfort?

I can appear to be more open than I actually am. If the medium is music, it is a bit easier to shield oneself from that vulnerability. Do I feel hurt when I send the album to, say, BBC Discovery Radio and I don’t hear anything back? Yes, of course I do. Do I feel annoyed? Yes, because I’ve heard what they’d been playing and much of it is, in my opinion, simply not very good.

But I don’t hold those feelings very long. Lyrics, on the other hand, are tougher to disguise. Let me ask you, Patrick, if I did not tell you, would you have guessed that ‘My Invention’ was my attempt to convey what it’s like for me when I feel blocked? Or, would you have guessed that ‘Billy Boy’ is my working through what happened to a relationship that had once been very, very important to me?

Imagine you could collaborate with three co-writers of your choice for new songs. Who would you select, and what qualities or dynamics draw you to them?

Oh, my. When I think of the greatest songwriters of the past 50 years, there are far more than three on my list. How do I whittle it down to three? I’ve already worked with Willie Dowling, one of my favorite songwriters. Elvis Costello would be one. Randy Newman is another. If Pete Ham, Richard Rogers, Cole Porter, Frederic Chopin, or John Lennon were still around, I’d list them, but they aren’t. So, drumroll please, third place must go to Paul McCartney simply because he’s Paul McCartney.

Defining a song’s completion can be elusive. How do you determine when a composition has reached its final, ready-to-record form?

As my compositions begin in the studio, I can revise until I am satisfied with them. This can occur during the entire process. For example, there is a track on the album called ‘Lost Girl.’ The penultimate chord was, originally, a Db7. I wanted it to be discordant, but that semitone between the Db in the harmony and the D Natural in the melody was more jarring than I wanted. So, as we were mixing, I asked Tim to allow me to replace the Db7, which I did with an Ab6 flat 5. I love that song.

Striking a balance between experimental artistry and commercial appeal is a challenge. How do you navigate this dynamic within your music?

LOL!! I obviously don’t. Every once in a while, during the making of my albums, I will have a listen to current Alternative, Indie, Pop, etc., to hear if there is anything happening that could add to my ‘sound.’ No matter how open-mindedly I listen, I rarely hear anything that interests me. These songs are getting a great deal of plays and are playlisted on various formats. It really saddens me because I so want to be excited by new music. I recall when The Dowling Poole’s first album was released. I was ecstatic. FINALLY!! There was a beautiful blend of emotion and intellect, tragedy and wit. But alas, even they did not enjoy the success they deserve.

Lyrics often carry profound meaning. Are there particular lines you hope listeners will always remember from your songs? If so, what’s the significance?

I was recently speaking to someone who does a poetry show on his radio spot. I believe that song lyrics should be able to stand alone as poems. In that way, my lyrics usually make more sense in the context of the song. I wrote a song about my fantastical dream life on the second album called, ‘A Song That Some Sing.’ In it, I wrote that ‘Dawn’s waiting for the (pronounced thee) last version of the story, sated inside the choriambus of the wind sound.’

On the new album, I wrote about hearing a voice within me – “through morass I hear the call – ‘Can you hear me? Are you near me? No one’s there at all.’ In a ‘Song for my Father’ I wrote, ‘Was it love that redesigned the lines between us, times we had. Once I sensed you just behind me. Now I’m small and sad. And I miss you, Dad.’ I think most folks can relate to those.

Can you recall the last instance when you felt the immediate certainty of having penned a hit song?

That’s never happened to me. I’ve had the experience on ‘Sanity Fare’ of writing a song and thinking, “That’s really brilliant.” I’ve also had the experience of weeping after completing a song because I felt so moved by it. (‘I Still See You,’ ‘Lost Girl,’ ‘Run to the Roundhouse’)

While you can’t dictate how people interpret your music, are there specific elements you wish to highlight that set your songs apart?

I think that the melodies, sudden musical left turns, thoughtful lyrics, the complex arrangements, a propensity for writing in a number of different musical styles, and inventive use of backing vocals set my music apart.

A legitimate complaint that I have heard about my music is that a) there is simply too much going on, b) the melodic phrases are far too long, and c) the lyrics are too intellectual. These are legitimate criticisms. But I can only convey who I am in my writing.

If tasked with introducing your music through three songs, which ones would you choose and what story do they collectively convey to new listeners?

Wow! Tough question. Another legitimate complaint about my music is that it doesn’t stick to one style. On the new album, ‘My Invention,’ ‘Watching You Make Love,’ ‘Within This Tragedy,’ and ‘Lost Girl’ are very different in style. So the three songs would have to reflect that. Hmmm. How about, ‘My Invention’ or ‘Billy Boy,’ ‘Gone Where Nobody Can Find Me,’ and ‘I Still See You.’ These would convey versatility, humor, self-reflection, and loss/grief.

In a hypothetical scenario where you could tour with two other bands, who would be your ideal companions and what synergies do you envision?

Can they be acts from any era? The Dowling Poole because we have a lot in common and share values and humor, a love of philosophy, and a love of music. The other band would be the Smothers Brothers of the 1980-90s. No matter how often I see their clips, they still make me laugh.

Among the compliments you’ve received, is there one that remains etched in your memory? If so, what made it particularly unforgettable?

Two of my favorite songwriters, Willie Dowling and Kristian Hoffman have told me repeatedly that I am an amazing songwriter. Michael Bjorn, the music writer, named ‘Who Folds First’ as the best album of 2017. I will never forget that.

Studio moments often hold a touch of magic. Could you recount an instance that stands out as the most enchanting during your creative process?

To be honest, there are so many it is difficult to settle on one or two. During the recording of ‘And Then…The Unthinkable Happened,’ I ran into an old friend, Fran Kowalski. Fran was a great singer and pianist, as well as being a fine songwriter in his own right. I’d not seen Fran for over fifteen years. He’d heard my first album and enjoyed and it, so when I asked if he’d like to sing on the new one, he agreed.

Unfortunately, most of the album was finished by the time Fran got to Wales. Still, he added his glorious voice on backing vocals on ‘I See Something’ and ‘Dancing By Yourself.’ We had a brilliant two days and agreed to work together on the next album. About two months later, Fran passed away while awaiting bypass surgery. Those two days with him in the studio are precious to me.

Where do you see yourself situated within the broader landscape of the music industry? How do you perceive your unique role and contribution?

I see the music industry sitting in a chair, looking around the room, and saying, “Robert who?” and then going back to whatever it was doing before. If I could make a contribution, it would be to demonstrate that it is okay to compose something that requires a bit from the listener – that art is not a one-way communication. Complexity is not frightening.

My goal has been to make the complex sound simple, and I believe that I have accomplished that now and again. I would like the listener to become a participant instead of a consumer of folderol without the need to consider what has just been consumed.

Envision recruiting three singers to provide harmony vocals on your next record. Who would you invite, and what qualities do they possess that resonate with you?

If Harry Nilsson were still alive, he’d be one of them. Andy Sturmer, PP Arnold, Jacob Collier, and Kevin Godley, perhaps? They all have a great range and a beautiful tone to their voice. Additionally, they can hear the interplay of different parts in multi-part backing vocals.

With the record completed and the music released, do you believe the pinnacle of enjoyment has been reached, or is this just the beginning of an exciting phase?

The most stressful part of releasing music is the post-mastering process, when there’s artwork to await and choices to be made about distribution between the lesser of many evils. Then, about two months after the release, I return to the album and listen for the first time. Even during the mastering process, I am listening, deciding the time between songs and cross-fades. So I do not actually hear the completed work for the first time until 45-60 days after release.

In the case of ‘Sanity Fare,’ I listened to it completely for the first time on Friday, November 2nd. That is the wonderful part. If I return to it in a few years, that also feels wonderful. But generally, I feel ready to make more music.

Looking ahead to the next couple of months, what exciting plans or projects are on the horizon for you?

Believe it or not, I am still dealing with Tim’s tremendous popularity! In all fairness, Tim is a remarkable engineer, and his studio is very, very well-kitted out (Sonic One Studio in Wales). Therefore, he is in high demand. I have some time booked in January when I will begin working on album number five. “Time With Tim” would be a great album title, but I fear it’s been used.

Can you take us through the creative journey of bringing this album to life? What were the key milestones, challenges, and breakthroughs you experienced along the way?

There were some issues that made the making of ‘Who Folds First’ quite exhausting for me. As I mentioned, this, plus the pandemic, made getting started rather difficult. It wasn’t until the Autumn of 2021 that I began to see something taking shape. At that time, I was aware that I still needed another two compositions to complete the album. There were two songs that I just wasn’t getting anywhere with, so I dropped them at this time. Over the next eight months, I managed to get some much-needed time with Tim and so finished the composing aspect of the album. The next push came when Willie agreed to work with me.

How would you describe the evolution of your sound in this new album compared to your previous works? Were there intentional shifts in style or themes?

Willie brought a sonic awareness to this album that I don’t think we had on the previous albums. While Willie and I share a taste for similar sounds and instrumentations, Willie likes to create moods with effects and choices of sounds. I can think of two examples from ‘Sanity Fare.’ One is in ‘Fashioned Footsteps’, where Willie took my Wurlitzer piano part and added an effect, a reverb that sounds backward. It brings an eeriness to the song during the first verse, where I sing, “I walk along kicking leftovers from the sands of Southerndown Beach.” Southerndown Beach is at the foot of a cliff that’s about 400 meters high. This is a spot where numerous suicides have taken place over the years, and I use that beach for that reason. The effect on the piano adds to the despair of the verse. The other example is in ‘Billy Boy’ during the second verse where I sing, “Past the wood into the neighborhood, there we are walking, talking, you to me.” This is obviously a memory that I am mentally seeing. Willie added a synth there that brings the feel of looking back through the haze of time front and center.

I also was aware that ‘Who Folds First’ was, in the words of Christian Philips of Sonic Executive Sessions, a “veritable chord-fest.” This caused my brother Jack to drop out of the project, complaining that he couldn’t get a feel for the songs and that they had “too many chords.” Most of the participants on ‘Sanity Fare’ would laugh hysterically if they were told that I tried to make the album less complicated. But I did.

With this fresh collection of songs, how do you envision connecting with both your existing fanbase and new listeners? Are there specific emotions or messages you hope they’ll resonate with?

I honestly wish that I knew how I might connect with new listeners. I get some attention in ‘Power Pop’ circles, but I’m sure that you will agree that I don’t nestle nicely into that bed. Prog has been suggested as another possible genre, but I don’t fit there well either. Add to this my propensity for having songs such as ‘Watching You Make Love,’ ‘Intermezzo,’ and ‘Lost Girl’ on the album, and, well, you see the dilemma. These days, people like to categorize, to place things in containers marked ‘X’ or ‘Y.’

How do I offer a song that gives a good representation of the Blood Rush Hour?

As far as listeners resonating with the album, I believe that there is much to choose from. I think most can resonate with struggling to move forward (‘Within This Tragedy’), self-doubt and self-recrimination (‘Fashioned Footsteps’), finding oneself back in the same or similar circumstances that we thought we’d be well enough to avoid (‘Here We Go Again’), emotionally floored by a change in our partner that we did not see coming (‘(No More) Happy Ending’), or meeting an ex a number of years after a very difficult breakup (‘See You Again’). I suppose these are all human experiences.

In my experience, Patrick, when someone listens to one of my songs, they tend to project their own meaning onto it, which is great. I recall receiving a message from a young woman in Canada after I released the first album. She couldn’t believe it, she said, that I would write a song that would capture her feelings so accurately. She was referring to the song, ‘Delme.’ She went on to tell me that she had a relationship with a man called Delme and that Delme had to return to his home country (the U.K.) and my song captured how she felt about her despair about losing him. I wrote ‘Delme’ about a friend who died unexpectedly while I was on holiday. But my Canadian friend got something completely different out of it. That’s okay by me.

Albums often involve collaboration with various musicians and producers. Could you shed light on how these collaborations contributed to shaping the album’s identity?

I’ve already commented on Willie’s contribution as a producer/engineer. Tim’s contributions are also immense. His engineering and editing skills are beyond belief. In effect, Tim is really my co-producer. With technology, as it is, people can make contributions from anywhere in the world. Unfortunately, circumstances and physical injury prevented Peter Tomlinson from playing or singing on ‘Sanity Fare.’ I was, however, constantly in touch with him during the recording, sending him rough mixes and asking for feedback. Peter is always willing to be honest. But his injuries meant that Tim and Willie did the lion’s share of the guitar work on the album. Todd Shuster (Cherry Fez) played on ‘Billy Boy’ and something else. Brother Jack played on ‘Watching You Make Love’ and another one or two. Most of the instrumentation was played by Willie, Tim, and me.

One difference between Tim’s and Willie’s engineering is that Tim prefers to use sampled percussion, such as wood blocks, tambourines, etc. Willie prefers to have me play them live. This is nowhere more evident than in the middle of ‘Billy Boy’ where I sing, “At the start of June time…” where you can hear the percussion is real. With the drummers, I chose to use Mal Limit again, but Willie wanted to use the drummer he uses, Darby Todd. Both are great, so there is no problem there. You can hear the difference in the snare drum. Darby’s is not as deep as it is tuned a bit higher. ‘Whap!’ Mal’s is a deep snare that produces a real ‘whop!’

I was joking with Scott Evans the other day that it seems as though over the past few years, I have given him the lead vocal job on songs that were the most difficult to sing. He does a brilliant job on both songs, which feature his lead vocal, ‘Here We Go Again’ and ‘Tunnel’s End.’ As an interesting aside, Willie is fairly adept at doing impersonations. When working on ‘Tunnel’s End,’ Willie decided that he really wanted to have a lead vocal harmony. Normally when we do this, we ask whoever sang the lead to sing the harmony with themselves. We tend to blend with ourselves much better than we do with others. But Scott was in New Jersey and Willie was in France, and Willie wanted to finish the song and the mix, so he did his best Scott impersonation for the lead vocal harmony. I think it is wonderful. Joseph J. Tobias, Jr. has a wonderful voice, and he used it to its full capacity in the two songs that he sang, ‘No One’s There (At All)’ and ‘Waves Set in Motion.’ Beautifully done.

I’m fortunate to have access to the services of Andrew Griffiths, the human horn section. Andrew played trumpet, trombone, baritone trombone, alto, tenor, and baritone saxes, and recorder on ‘Sanity Fare.’ I adore his trombone solo in ‘Watching You Make Love.’

In the digital age, visual elements are intertwined with music. How did you approach the album’s visual aesthetics, such as album art and accompanying visuals? How do they complement the sonic experience you’ve crafted?

There aren’t too many accompanying visuals, unfortunately. I wish that I had the time to do that. I hired a small company in Scotland who did the Dowling Poole’s last two videos to do a video for ‘Within This Tragedy.’ It uses the graphics from the CD cover and back cover to create the visual. I think that they did a great job.

The title came to me late in the process. Looking for inspiration, I happened upon the 100 books that everyone should read. This led to a giggle-fest with Willie as we went through the titles, changing them slightly, such as ‘War and Peas and Carrots,’ or ‘Crepes of Wrath,’ ‘Freight Expectations,’ ‘Grime and Furnishment,’ ‘The Sale of Two Titties,’ and suchlike. But then I saw ‘Vanity Fair,’ and the giggles left the room. ‘Sanity Fare,’ the price of trying to stay sane in this crazy world, suddenly began to glow inside my head.

My cover designs have historically been slightly or very humorous, so this was no exception. The crew on the right-hand side of the cover are ensconced in the culture. They watch as this man, naked and desperate, runs and flees his entrapment. The man doesn’t know where he’s going; he knows only that he must get away from where he has been.

Earlier, I mentioned that the melodies and lyrics on this album carry a great deal of longing, a desire to not end up “here again.” Such is the message of the artwork.