by Ed Biggs Is there anyone out there who doesn’t like Richard Hawley? Following his breakthrough to wider awareness with his Mercury-nominated fourth album Coles Corner in 2005, I personally cannot recall a single pundit, review or casual music fan speaking about the former Pulp and Longpigs man in anything other than glowing terms. For Hollow Meadows, he continues his long-standing theme of naming his albums after areas, landmarks or features
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