FEATURE: New Musical Education: Why Music’s Rich Lessons and Perspectives Deserve Assimilation into the Curriculum

FEATURE:

 

 

New Musical Education

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IN THIS PHOTO: Jay-Z in New York City, 2003/PHOTO CREDIT: Armen Djerrahian 

Why Music’s Rich Lessons and Perspectives Deserve Assimilation into the Curriculum

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AN interesting article caught my eye...

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PHOTO CREDIT: @danielcgold/Unsplash 

that made me think about music and the many ways in which it can teach and enrich (I will mention it later in the piece). Think about music as a means of therapy and rehabilitation. It can be used to simply lift the mood or, for those with neurological disorders and memory problems, it is a way of unlocking something hidden. Many patients with dementia and other disorders use music to help uncover memories and access parts of the brain traditional therapy cannot. We know music’s potency when it comes to tackling depression and the capacity of its healing powers cannot be underestimated. I wonder whether we pay enough attention to the words and what lessons are imparted through music. Whereas parts of the national curriculum seem dated and generic; is there new wisdom and revelation to be found in music? We all take certain lyrics to heart and have our favourite lines – how often do we use entire albums and artists to, essentially, act as scripture? It might sound preposterous to think artists can imbue the same education and importance as philosophers and teachers but I feel music, more and more is eroding from the curriculum. The standard music lessons most of us experienced at school seems to be a thing of the past and most people who get an education in music do so at college/university and special schools. That often involves money and it seems ridiculous music has to be paid for!

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 PHOTO CREDIT: @element5digital/Unsplash

I do wonder whether there should be a reintroduction of music onto the syllabus. It does not have to involve playing or practicing an instrument; it can be as simple as listening to music and discussing it. I feel there are entire periods of music that document society with great clarity and controversy than politicians and public figures. Even listening to music as a form of decompression and anxiety balm would be a wise thing considering the growing epidemic regarding poor mental-health. I feel music listening is becoming more private and that there is an opportunity to bring it back more comprehensively. Maybe there is subjectivity regarding music’s wisdom but I find a lot of what is taught in school is rigid and generic. It is, of course, essential to learn basic maths and science; to discuss classic literature and have talks around sexual education but in terms of general life skills and guidance; where are the musicians? I think, actually, there is great philosophy and poetry that can form and mould young minds. Consider lessons of love and relationships that have been revealed in music since the dawn of time. A lot of children and teens rely on their peers and parents when it comes to heartache and how relationships go but, thinking deeply, can we use music? Think about lyrics and lines that have wise shoulders and how powerful that can be.

Fewer young people are listening back to older music and there is a lot of anxiety and sameness in mainstream music. Maybe they get some guidance from modern Pop and the mainstream but I think a wider study and appreciation could help them immensely. From The Beatles and Carole King through Prefab Sprout and Tori Amos; do we see songs as throwaway and for a specific occasion when there are everyday lessons and important goldmines that are not being explored? Consider that as ‘life lessons’ and there are messages regarding sex – safe or otherwise – that provides a more accessible and less embarrassing form of education. Many might say it is rather controversial and dangerous using music as a firm of sex education but, so long as educators are sensible and employ some censorship, I do not see why music cannot be used to accompany traditional lessons. Maybe there is less wisdom to be found regarding science and maths but, in some ways, there are things that can be extrapolated. I think, in terms of the subjects that naturally fit into music, we’d have English and history. From the English side of things, I do not think enough contemporary or ‘classic’ music is incorporated. Think about the poetry and gems of Bob Dylan and Joni Mitchell as a form of education. Not only is the language beautiful and intelligent – there are so many important lessons and ideas young students can take to heart.

I can understand why classic literature and poetry needs to be studied but how can one be snobbish when it comes to popular music? The world has moved on in terms of technology and the way many of us interact but, in many ways, education has not really stepped on in decades! Music stores are parlours of discussion and connection and, years ago, music used to be a very physical and sociable thing. As the years go by, we are becoming distant and music enjoyment is singular and lonely – unless we are bonding at gigs and talking there. Think about another school subject and music’s biggest draw: history. From the plight of black lives being narrated through classic Hip-Hop albums and how international politics has been portrayed in Folk. Pop music, at every stage, portrays modern life but think about the way songwriters talk about life and how that differs from rather dry and stoic texts. British Hip-Hop and Grime give you an understanding of estates and the lives of a certain sector of society. We can listen to classic albums of the 1960s and, not only get a thrilling blast of sonic gold, but get a real and direct sense of what was happening in the world and how the world differs to how it is today. Hip-Hop, especially, provides perceptive regarding tensions and divisions in America in the 1980s and 1990s. Classic albums from the likes of Public Enemy, I feel, are more potent and tangible than huge text books and rather boring lessons.

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 PHOTO CREDIT: @timothypaulsmith/Unsplash

In fact, you can listen to any period of music and get a very deep and vibrant sense of how things used to be. Apply music to subjects like art and fashion and you can see how things have changed. From the Punk and Goth ages through to fashion icons like Madonna and David Bowie; why not use music as a form of education? I feel every subject on the curriculum could be heightened and expanded by using music. Perhaps you feel there is little ‘wisdom’ to be found in songs by Rock artists and it would be folly to replace a more structured and academic foundation. I am not saying that we replace what is being taught...simply understand how music can inspire and influence an individual and apply that to an entire generation. This article in The Guardian sees Ted Kessler discuss music as a form of education – how artists have taught him lessons and made an impact. Kessler’s book, The Ten Commandments: the Rock Star’s Guide to Life, uses lessons and words from big artists as a form of religion and education. Here are some snippets from the feature:

 “Noel Gallagher famously sang that listeners of Oasis should not put their life in the hands of a rock’n’roll band. I fundamentally disagree. Everything good in my life has been recommended to me by my musical heroes. My moral compass has been set almost entirely by pop stars. No teacher, no institution, no writer (OK, maybe some writers, actually) has had the same impact upon me as rock stars....

Who forged your direction in life? Your parents? School? Your peers? Maybe it was a religious calling, or even a political party. If so, it’s not too late to rethink your choice and invest in musicians instead.

I drew everything I believe in, initially, from Paul Weller, lead singer with the Jam. He changed my life, forever. The London I grew up in the late 1970s was grim: the rubbish piled up, the National Front daubed their initials upon school walls, Thatcher snatched our milk. But Weller rocked up with visions of social utopia attached to the kind of chorus that any idiot 11-year-old could remember. His clothes were fantastic. He was pictured reading Alan Sillitoe and George Orwell. He proclaimed that his fans should investigate an array of soul, reggae, funk and 60s beat records.

School failed me, marriage failed me – or rather, I failed them – and no job is for life. I am a strong advocate of therapy in moments of crises, but have found it frustratingly opaque as a navigational tool when not negotiating emotional emergency: tell me what to do! The wisdom in song, though, the insights of musicians… that light never goes out. As mind-expanding as books, film and art can be, as tightly as you can hold those to you, they have not shaped my tastes, my politics, my worldview, my wardrobe as consistently as watching the Specials on Top of The Pops in 1979. I remain lost in music, and glad to be in that trap”. 

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IN THIS PHOTO: A shot of Dumbo, Brooklyn (U.S.A.)/PHOTO CREDIT: @bantersnaps/Unsplash 

There are a lot of reasons to learn an instrument and get involved with music from an early age. It opens up parts of the mind and can take your life in fascinating directions. There is the social side of things but, when we look at the wider curriculum; are we making the most of the beautiful and endless words from iconic names? I have only scratched the surface but feel musicians, as they are normal people, are not biased and lying. They have lived lives similar to us and experienced the same things. Their knowledge and words can help motivate students and there are so many lessons to be learned. From Hip-Hop’s chronicling of the racial tensions felt in America; that can be applied to the here and now and how many textbooks are as current as popular songs?! Look at fashions and genres as a documentation of specific periods and how the world has changed. Of course, the music itself is as important as the lyrics. I have spoken about the multifaceted and therapeutic side of music and how it can aid a person in so many ways. Learning an instrument can bond people and tech so much and merely playing music can help lift the mood and soothe depression. Some claim that form of ‘education’ is rather lazy and random but few schools are harnessing music in any real or significant sense.

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 IN THIS PHOTO: Lorde (one of modern Pop’s stars whose songs could act as guidance for young pupils)/PHOTO CREDIT: Getty Images

I have learned so much from music and feel, as the years have progressed, I am still picking up new lessons and insights from my favourite acts. Maybe (these lessons) have not been as substantial and evocative as classes I took at school but I feel music holds so much potential. Even if every school around the country introduced a class such as Music Education as standard and integrated that alongside regular lessons then it would make a huge difference. Children and teens would learn about new cultures and countries; they would get a more interesting and eye-opening tributary into a new world and I think music would stick in the mind more quickly than a lot of what teachers are saying. That is not a slight against them but it can be rather challenging taking it all in and music would provide a great education but is a different way of learning. As much as anything, music as an art needs to come back into schools and, as we push it out to the colleges and special schools; so many children are being denied fundamental pleasures and lessons. Maybe the sermons from New York Hip-Hop artists seem reserved to a time, place and location but, open your ears and there is actual history and reality being laid down. You might think many loves songs are too personal and lack substance but there is so much you can take from them and teach to your young students. Open music up to its fullest and do not keep it in record crates and private collections. Introduce it into the national curriculum and I feel music, in so many ways, can enrich, guide and nurture...

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 PHOTO CREDIT: @pistos/Unsplash

SCHOOLS throughout the land.

FEATURE: Sweet Harmony: Was There a Moment When Music ‘Peaked’?

FEATURE:

 

 

Sweet Harmony

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IN THIS IMAGE: A rendition of the cover of Oasis’ 1994 album, Definitely Maybe/IMAGE CREDIT: Danu Labda

Was There a Moment When Music ‘Peaked’?

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THIS is something I always talk about...

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PHOTO CREDIT: @_rxshxxd/Unsplash 

but it is one of the most relevant and interesting aspects of music. It would seem strange to urge people to abandon the music they grew up around and the stuff that resonates purely. Those tested and familiar songs are ones we hold dear and they provide comfort and memory. This is not a matter of nostalgia and harking back to the past. What I am suggesting is that most of us tend to get into a groove and we sort of get comfortable with our tastes. If you were given the choice of never hearing any new music and only listening to what has come or doing the reverse; which option would be the most appealing? Shockingly, a lot of us would rather stick with the older stuff and sacrifice what is coming up. I have explored years like 1991 and 1967 as titanic and historic times for music. These years created movements and incredible albums; peerless quality and recordings that we hold dear to this very day. I wonder whether music has yet to reach its absolute peak or whether it is an always-evolving process. Can we objectively look at music and say that there is still a long way to go? Do we all have our favourite times and eras and feel nothing can come close? It is an interesting argument and it is not as easy as saying older music is best or the new era is where it’s at.

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PHOTO CREDIT: @adigold1/Unsplash

Music is a complex and ever-changing industry and we have definitely seen some big changes. Technology is always growing and allowing us to experience music in different ways; access anything we want and communicate with people around the world. There is a school of thought that suggests things can only get better and, given the technology and access we have, artists can produce better material and albums that will be preserved forever. Given the rate of growth and all of the sounds that have come before; we are in a great position where there is limitless choice and a chance to break new ground. People claim the best albums ever are still to come and we will see something revolutionary happen. In recent weeks, I have talked about the fun coming from music and I have focused on certain years when music was absolutely golden. Maybe we are all too subjective and there is no definitive answer. I respect those who say music is growing and we could see the very best it has to offer in the future but I wonder, given what has come before; can we ever equal the absolute best years?! I have mentioned years like 1967 and 1991 because, as I said, there seemed to be this movement and cohesion. Now, in 2018, I do not feel like there is the same sort of excitement and evolution as there was years ago.

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 IN THIS PHOTO: The Beatles in 1967/PHOTO CREDIT: Getty Images

When we look at those who say music has not yet experienced its best days, I wonder how far we can go and what can arrive. I do not feel like we will see entirely new genres form because it is so hard to find that new mobility. Artists are creating sub-genres and ideas but can you start from scratch and find a completely new sound? I do not feel this is possible so, when it comes to something to rival a Summer of Love or Grunge explosion; where is that explosion going to come from? In terms of technology; there is the capacity to take music to new heights and splice anything together but is that going to take away the naturalness and realness of music? I have also mentioned how sampling is harder and it is a lot more tricky getting clearance to fuse older songs into new work. It is ironic that, in a modern and developed age, we are stepping back in many ways. A further obstacle arises when considering the established albums and these years we all hold in such regard. The climate is different now and the music landscape is very different. Whilst it is possible we have seen a peak, there is that optimism that suggests a revolution can take place. We have all this material out there and there is an endless reservoir to choose from.

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 PHOTO CREDIT: @dchuck/Unsplash

I think the biggest hindrance regarding musical development is the division, size of the market and the emotions being put into songs. Given the choice and mass of artists out there, it is getting harder and harder to focus and zone in on bubbling movements and the best artists. Big and influential genres have run their course and the mainstream is not quite as legendary and respected as it was in years past. Fewer of us are relying on charts and magazines when it comes to music and self-discovery means we all are pulling in different directions. This may sound gloomy and lost but I still think there is a chance for brilliance. Maybe it will not be a profound shift and anything to rival the past but music is always changing and who knows what will come along. I asked whether music has peaked and, as a result, we are sloping downhill and everyone will have their say. Many say that peak has yet to come whilst others feel it is impossible to make that call given the fact music is a subjective medium. Who is to say the sounds of 1967 are better than today? Does generational bias cloud things or is there some definite truth? Whilst it might not be possible to identify a distinct year/time when things were best; I do feel like there was a golden moment that many artists are still taking from.

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 IN THIS PHOTO: David Bowie in the 1970s/PHOTO CREDIT: Masayoshi Sukita

I have mentioned the 1960s and, in every decade, there has been true genius put forward. When one speaks of peaks and a definite high; you have to consider a time when things crystallised and there was this strong and enduring whole. 1967 is a fantastic year and I feel the 1970s cannot be overlooked. I have also talked about icons and how we do not see them anymore. Consider the greats like David Bowie and legends like Aretha Franklin and I wonder whether it is possible to have these sort of figures today. There are Pop leaders and big figures but it would be impossible to create someone like Bowie who evolves and goes through these creative shifts. The market and landscape is not the same as it was and the days of the icon are definitely in the past. Modern artists are fascinated by all periods but, more than anything, there is a period of five or six years where I can see are more popular than anything. Maybe it is my bias but was there a stronger and more staggering time than 1989-1995? Those slightly older say that their days were best whereas plenty argue music is at its strongest right now. I have talked about icons and their decline – many might note that all the legends of music, largely, peaked before this time period. I think this was the last time we had Pop icons truly reigning and inspiring the masses.

Kate Bush created The Sensual World in 1989 and it was a definite golden period in her career. She put out Hounds of Love four years before and many assumed she would not be able to equal that record. Rather than feel the pressure and suffer a decline, she created a brilliant album that many say is her finest. Michael Jackson left Bad and Thriller behind (by this time) but Dangerous (1991), to me, is his best record. It is his most daring and eclectic and demonstrated a tougher and angrier artist. Whereas legendary artists like Kate Bush and David Bowie were putting out exceptional work during 1989-1995; I feel Jacko really hit his peak during this time. Some of Prince’s best albums came out at this time – Diamonds and Pearls (1991), Love Symbol Album (1992) and The Black Album (1994) – and one Pop megastar, Madonna, was reaching her peak. Think about her career-defining album, Like a Prayer (1989) and how that changed music. It would be quite a few years before we saw the end of chart-busting, MTV-owning icons but Madonna was unstoppable by 1989. She produced Erotica in 1992 and Bedtime Stories two years later and some consider these records to be among the best ever. Between 1989 and 1995, we saw some of the very best Pop and the music landscape was a lot more powerful and popular. We had great music T.V. stations like MTV and magazines like NME were guiding our tastes.

Pop would continue to produce huge artists and albums for years to come but I feel there was a definite drop/slowing by around about 2004. Artists who peaked during my favoured period were inspired by the previous generation and, as we can hear now, have impacted modern artists. I interview a load of artists, ranging in age, and it is the music of the late-1980s and early/mid-1990s that compels them hardest. I think popular culture as a whole was creating an optimism and wonderful spirit. We had great comedy shows and T.V. series; there were political shifts and all of this helped contribute to the music. Not only was the Pop mainstream strong and varied but other genres, from Britpop, Grunge and Dance were majestic. Dance was huge in the 1980s but it strengthened and changed by the next decade. The influence of European acts on the Dance scene gave us this brilliant variety and, whether you like the mainstream tracks that had a giddiness and fluffiness or preferred the darker tones of The Prodigy and The Chemical Brothers; there was variety for all. The start of the period (1989-1991) saw a giddiness and delight that married the accessibility of Pop with something a little bit more physical and club-based. The middle of the 1990s would see harder-hitting acts like The Chemical Brothers and Orbital transform the genre by adding more chemicals and pummel to the agenda.

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 IN THIS PHOTO: Nirvana/PHOTO CREDIT: Getty Images

I feel Dance music and Electronic sounds had their last real rise by the end of the 1990s – we have never seen music the scene as strong since. I love the memorable and big Dance songs throughout the 1990s and, even though there was plenty of cheese, it has remained to this day and many of us still gravitate in that direction. If that wasn’t enough, we had the peak and death of Grunge (1991-1994/1995) and Britpop. The optimism of Dance was infusing British artists who made Britpop a success and, whilst Grunge was a darker alternative; it has impacted and inspired so many Rock/Alternative artists we hear now. Alongside Grunge titans like Nirvana and Soundgarden, there was fantastic Rock from the U.S. Even the ‘outsiders’ of Britpop were making waves – such as Radiohead and Supergrass (I feel they were on the fringes) – and there was so much going on. Maybe Pop music was not producing the same sort of icons like The Beatles; Rock’s Led Zeppelin and The Rolling Stones had already peaked long before this period but I feel the scene was a lot more challenging and eclectic between 1989 and 1995. Many might argue there is a greater spread of genres now – and music is a lot broader – but was there a better time in living memory where we saw such quality and influence? The reason I have selected this period for special attention is the way the artists/albums have inspired the modern generation.

Many are taking from the 1960s and 1970s greats; the 1980s has always stirred and compelled by there is something about the spirit and grandeur of the late-1980s to the mid-1990s that is hard to shake off. I have talked about nostalgia and bias but one cannot ignore the sheer quality and importance of this period. I feel the 1960s is a bit overrated – take away a few huge acts and it is weaker than you’d think – and the 1970s, to be fair, gave us a hell of a lot of genius. When I consider quality and peaking; I am not only considering the slew of wonderful albums and how new genres/movements came together. I feel an emotional shift occurred in the late-1990s and first part of the last decade that has negatively impacted today’s music. The European Dance masters and the Britpop greats provided an intense fizz and smile that continued for a while. I feel the most optimistic and spirited music of today owes more to this time period than anywhere else. Have we seen a more joyous and time for music as we did back then? Maybe the 1960s can rival it but think of all the ‘classic anthems’ of the 1980s and 1990s (the years I am interested in) and it is hard to argue. From Pop queens and kings kicking ass to the Dance purveyors striking gold; I feel it was a wonderful time when music was at its strongest.

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 IN THIS PHOTO: De La Soul (pictured in 1990)/PHOTO CREDIT: Michael Ochs Archives/Getty Images

Articles like this show when certain genres hit their peak but think about a time when so many genres hit a rare vein and I am drawn back to that period. Maybe I should stretch back to 1988 because, thinking about the Rap and Hip-Hop classics from that time (when De La Soul, N.W.A. and Beastie Boys ruled) and can you think of a time when so many different and disparate styles of music coalesced and peaked?! Even if you consider that seven/eight-year period (1988-1995); so much happened that moved music forward and inspired music today. Many argue that Rock reached its peak long before the late-1980s seeing as giants like Pink Floyd, Led Zeppelin and The Rolling Stones were long past their best. I do not agree it is impossible to hone down to a narrow period when music was at its peak. It is obvious that certain periods are finer – because of critical acclaim and huge movements – and I can agree with other viewpoints. I do feel that the optimism and bombast that ruled the British charts by the mid-1990s was an absolute peak. Artists like Oasis were taking from acts like Led Zeppelin, T. Rex and The Beatles and updating them for a new audience. Legendary Pop from The Beach Boys were being utilised by new artists and it seemed modern greats were bridging the golden days of the past with what was happening at the time.

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 IN THIS PHOTO: Madonna in 1992/PHOTO CREDIT: Getty Images

Look at music now and, when we think of artists bridging the old and new; it seems most are still looking pre-2000 for their guidance. It is impossible to say what music will do in years to come: we might have an explosion of innovation and something that rivals the glory years. I think things will get better but I feel safe in saying nothing will rival the sheer variation and inventiveness that we saw back then. There was a delight in the mainstream and, even when music got moody and dark; it had a spark and something exceptional. I am not suggesting we have peaked and everything is downhill from here but I do think there are certain periods of music that are great and need to be examined. To me, that insatiable and heady time from 1989 (let’s say 1988 instead) to the mid-1990s is impossible to top. Rather than wallow in nostalgia; I am accepting of music’s changes but I can see how many artists are taking from that time and find something in there that appeals. It is interesting looking at certain times and what was happening in music then. There must have been something in the air or a particular catalyst but, to me, the scene was at its strongest...

IN that busy and electric time.

FEATURE: All We Want for Christmas: The Ten Best Christmas Tracks

FEATURE:

 

 

All We Want for Christmas

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PHOTO CREDIT: @anniespratt/Unsplash  

The Ten Best Christmas Tracks

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AS it is the first of December...

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PHOTO CREDIT: @brunus/Unsplash 

it seems only right to break the seal from the Christmas song ban and let a few of them through! I realise we will be subjected to several weeks of those old and familiar tracks; there are a selection of fresh and modern Christmas songs that are offering variety. It might take a few more years before they get into the heart the same way as the tested and cherished Christmas song and, whilst it can irritating walking into shops and hearing Christmas music endlessly, there is something warming and pleasant hearing these familiar tracks. A great Christmas track can evoke all the sides and familiar elements of the time and create something that sticks in the head and stands alongside any traditional track. There are plenty of bad and grating Christmas tracks but it is the classics we all love. Here, in my view, are the ten finest Christmas songs that I’m guessing you’ll be hearing...

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  PHOTO CREDIT: @jakobowens1/Unsplash

QUITE a lot in the next few weeks!

ALL SINGLE COVERS: Getty Images

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Mariah CareyAll I Want for Christmas Is You

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Release Date: 1st November, 1994

Label: Columbia

Songwriters: Mariah Carey/Walter Afansieff

Producers: Mariah Carey/Walter Afansieff

Original Highest Chart Position: 9 (U.S.)

SladeMerry Christmas Everybody

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Release Date: 7th December, 1973

Label: Columbia

Songwriters: Noddy Holder/Jim Lea

Producer: Chris Chandler

Original Chart Position: 1 (U.K.)

Wham!Last Christmas

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Release Date: 3rd December, 1984

Labels: Columbia/Epic

Songwriter: George Michael

Producer: George Michael

Original Chart Position: 2 (U.K.)

Bing Crosby - White Christmas

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Release Date: 30th July, 1942

Label: Decca

Songwriter: Irving Berlin

Original Chart Position: 1 (U.S.)

WizzardI Wish It Could Be Christmas Everyday

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Release Date: December 1973

Labels: Harvest/Warner Bros. Records

Songwriter: Roy Wood

Producer: Roy Wood

Original Chart Position: 4 (U.K.)

Brenda LeeRockin’ Around the Christmas Tree

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Release Date: 1958 (U.S.)/December 1962 (U.K.)

Label: Decca

Songwriter: Johnny Marks

Producer: Owen Bradley

Original Chart Position: 14 (U.S.)

Chris ReaDriving Home for Christmas

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Release Date: 10th December, 1988

Label: Magnet

Songwriter: Chris Rea

Producers: Chris Rea/Stuart Eales

Original Chart Position: 53 (U.K.)

Paul McCartneyWonderful Christmastime

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Release Date: 16th November, 1979

Labels: Parlophone/Columbia

Songwriter: Paul McCartney

Producer: Paul McCartney

Original Chart Position: 6 (U.K.)

The Pogues (ft. Kirsty MacColl)Fairytale of New York

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Release Date: 23rd November, 1987

Label: Pogue Mahone

Songwriters: Jem Finer/Shane MacGowan

Producer: Steve Lillywhite

Original Chart Position: 2 (U.K.)

John & Yoko/The Plastic Ono Band (with The Harlem Community Choir)Happy Xmas (War Is Over)

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Release Date: 1st December, 1971 (U.S.)/24th November, 1972 (U.K.)

Label: Apple

Songwriters: John Lennon/Yoko Ono

Producers: Phil Spector/John Lennon/Yoko Ono

Original Chart Position: 4 (U.K.)

FEATURE: The Best Glastonbury Headliner Ever?! Golden Years: Is David Bowie’s Legendary 2000 Set the Absolute Finest?  

FEATURE:

 

 

The Best Glastonbury Headliner Ever?!

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IN THIS IMAGE: David Bowie’s iconic Glastonbury 2000 headline performance is available for the very first time on C.D., DVD; streaming and on vinyl/IMAGE CREDIT: Getty Images/Parlophone 

Golden Years: Is David Bowie’s Legendary 2000 Set the Absolute Finest?  

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THAT question might provoke some...

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IMAGE CREDIT: Andrew Spear for WaxPoetics

backlash and fevered arguments – or nothing at all – but we all have our views regarding the best Glastonbury headliners! In terms of those festival headline sets, there are only two that I would love to have been at – turn the clock back and make sure I was there. When Nirvana played Reading in 1992…that would have been something epic and awesome. I would have killed to be there but, as I was nine at the time, maybe it wouldn’t have been the best idea! I was seventeen when David Bowie headlined Glastonbury in 2000 and, thinking about it; it seems like an opportunity missed. In 1999, Bowie brought us his Hours album and, to be fair, it was not one of his best. The 1990s was not a great period for Bowie in terms of standout albums and memorable tracks so it is forgivable to overlook his 2000 set. One might have thought he’d sprinkle some new material in with a few classics but what actually happened was something else! Up until now, we have only been able to see a portion of his famous headline set. Bowie only wanted a bit to go out on T.V. and, as other artists have demanded since; it was those in the audience that actually got to see everything. The paying punters at Glastonbury were seeing this mindblowing set and, as it was 2000, it was not streamed over the Internet!

This was whilst the Internet was around but it was pre-YouTube. All people, largely, had to go by was what was portrayed on T.V. and, because of that; there has been a huge clambering for the full set on some format or other. We have been quite lucky when it comes to pre-Christmas releases. Kate Bush has remastered and released her back catalogue and will bring us a lyrics book. There have been great music books elsewhere and there is plenty more to come. If you have already ordered socks and chocolates as last-minute – or rather inexpensive – Christmas ideas then you can hold the phone! Finally, for the first time, the full headline set is available across a couple of formats. Here are the details of the songs and magic that one can get their hands on:

 “Not only the greatest Glastonbury headline performance but the best headline slot at any festival ever” NME

All formats feature Life On Mars?, Changes, Let's Dance, Under Pressure, “Heroes”, Fame, China Girl, Ashes To Ashes, Ziggy Stardust, Rebel Rebel, Station To Station, Golden Years, Absolute Beginners and many more.

2nd October 2018 London: Parlophone Records in association with BBC Studios and Glastonbury Festivals Ltd. are proud to announce DAVID BOWIE ‘GLASTONBURY 2000’ on 2CD/DVD, 3LP, 2CD and standard and high resolution digital formats documenting Bowie’s legendary Sunday night headline performance on 25th June at the most famous festival on earth...

 

The package includes the full 21 song greatest hits set and for the first time, a DVD of the entire show (only 37 minutes of which has ever been broadcast on TV) including the Glastonbury performance of ‘Heroes’, a highlight of the record breaking ‘David Bowie Is…’ exhibition and the only track that has been previously released.

All formats feature David’s diary, originally written for Time Out, which documents him preparing for the show in his own inimitable manner:

“As of 1990 I got through the rest of the 20th century without having to do a big hits show. Yes, yes, I know I did four or five hits on the later shows but I held out pretty well I thought…big, well known songs will litter the field at Glastonbury this year. Well, with a couple of quirks of course”.

In addition to newly mastered audio and upgraded video DAVID BOWIE ‘GLASTONBURY 2000’ features new artwork from Jonathan Barnbrook (who worked with Bowie on the sleeves for Heathen, The Next Day & ★) and notes from the renowned author and Bowie fan Caitlin Moran who reviewed the show for The Times.

The package features photos of Bowie resplendently dressed in a 3/4 length one-of-a-kind Alexander McQueen frock coat, the pattern of which was made to echo the hat (the famous ‘bipperty-bopperty hat’ mentioned in the song Queen Bitch) and worn by David at his Glastonbury Fayre debut in 1971...

 

Glastonbury co-organiser Emily Eavis commented “I often get asked what the best set I've seen here at Glastonbury is, and Bowie's 2000 performance is always one which I think of first. It was spellbinding; he had an absolutely enormous crowd transfixed. I think Bowie had a very deep relationship with Worthy Farm and he told some wonderful stories about his first time at the Festival in 1971, when he stayed at the farmhouse and performed at 6am as the sun was rising. And he just played the perfect headline set. It really was a very special and emotional show”.

Emily’s father Michael, the founder of the festival who first met David at Glastonbury in 1971 said “He’s one of the three greatest of all-time: Frank Sinatra, Elvis Presley and David Bowie”.

We get to behold this great package where we get fan notes from Caitlin Moran and some beautiful artwork. When you have the time – and I suggest getting the vinyl version of Bowie’s 2000 masterpiece – you get to hear all his classics belted to an adoring audience. China Girl and Changes rubs shoulders with Ashes to Ashes and Little Wonder; Fame and Starman are in there too! In fact, it is a bonanza of Bowie classics and great interaction with the crowd. Bowie tells how it (2000) is the first time he has played Glastonbury since the 1970s and a true moment, at a rather interesting stage of his career, where he gets to play all the hits.

I have mentioned how 2000 was not his richest period and one would imagine, if he were still alive, he would be a sure-fire bet for next year’s Glastonbury. It is a tragedy we will not get to hear Bowie play songs from Blackstar (2016) alongside all those monster gems. The great man died in January of 2016 and, in a matter of weeks, we mark three years since his passing. It is with mixed emotions and a slight tear that one listens to Bowie having a ball; on the biggest musical stage and vibing from the incredible energy that evening. I would any forking over forty-four quid – as priced by Amazon.co.uk – is the bargain of the decade when it comes to a priceless bit of history. Years from now, you will be listening to the album and hearing this incredible, spine-tingling set! We all know how majestic David Bowie was as a performer and I am not surprised his 2000 headline set has made the history books. There is debate and conversation when one thinks about the ‘best’ Glastonbury headline set. To me, it comes down to Bowie’s 2000 set and Radiohead’s legendary 1997 appearance. Radiohead had released OK Computer and it was a pivotal time in their career. The sheer energy, mood and magic that was created is hard to top. I think Michael Eavis says it is his favourite-ever Glastonbury headliners and many fans agree.

This article collates the very best and puts David Bowie’s headline set at number-three:

Here’s a great yarn, reported by Music Week: according to promoter John Giddins, who worked on David Bowie’s Glass Spider tour, Michael Eavis originally didn’t want the star to perform at Glastonbury, having described his recent drum 'n' bass tour as “the most boring thing he had ever seen”. In a cunning ruse, Gidding ‘leaked’ information to the press that Glastonbury was desperate to book Bowie and Eavis’s phone exploded with excitable phone calls. He swiftly did an about-turn and the resulting show – Bowie’s first at the festival since a low-key appearance in 1971 – was a greatest hits stomper that packed in the likes of Rebel Rebel, Starman, Changes and, of course, Heroes”.

This piece/publication included Bowie in their top-twenty and another, here,  gives another angle behind Bowie’s 2000 appearance:

He did everything. From ‘Wild Is The Wind’ to ‘Changes’ to ‘Ashes To Ashes’ to ‘Rebel Rebel’ to ‘The Man Who Sold The World’, one by one they came – leisurely dispatched by a grinning 53-year-old man with a gorgeous blond mane and an only slightly ridiculous long coat, a nod to the outfit he wore on his previous performance at the bash in 1971. “I got struck down by laryngitis earlier this week,” he noted casually over a tinkling piano intro, “so if I give out, and if any of you know the words, then for gawd’s sake join in. I’m counting on you!”

Showmanship, songs, the element of surprise, the good-natured vibes… it’s hard to see what more one could ask from a headline set. Even as he closed with the comparative low of ‘I’m Afraid Of Americans’, the crowd went with him. They belonged to him. Glastonbury was his”.

Pulp owned the Pyramid Stage in 1995 and 1994 saw Oasis, Blur and Pulp take to the NME Stage. Look back at 1981 and New Order’s set and it is hard to match the spirited and epic tones that were produced. Ever since the 1970s, we have seen some biblical Glastonbury headliners and I guess Beyoncé’s headline slot in 2011 is the last really epic occasion – let’s hope she is invited back for next year! I doubt we will see the sort of histrionics and drama of previous years next year but you never can say. I feel the main battle of the headliners is between Radiohead in 1997 and David Bowie in 2000. It was a golden time and, if you were at either/both years, you will argue and have your own view. I attended neither (go figure) but I have heard and watched both Glastonbury sets. When it comes to Radiohead’s set; you have the charged and emotive performance that sees a band at the peak of their powers. It was a perfect moment for them to shine and, whilst big albums like Kid A (2000) would follow; the band had a huge following and the pressure was on them. At a moody and damp Glastonbury in 1997, they performed a truly sensational headline set.

If you think Radiohead were nerve-free for a relaxing and inspires set then, as the band has said, things were a little different. NME reported on their 1997 headline set – as they embarked on their second last year – and the band told the tale:

Speaking to Jo Whiley on BBC Radio 2, O’Brien recalled: “It was like a form of hell. We were doing something that was like a dream, to play the Pyramid Stage on a Saturday night, it doesn’t get better than that. [But] to find yourself in a situation whereby it felt like we were in crisis mode – the equipment failure was happening, [we were] trying to keep all members onstage, people not walking off – it was like ‘this should be a heaven but was like a kind of hell’.”

O’Brien added that their experience may have helped “galvanise” the group. Listen to the clip here.

Frontman Thom Yorke recently discussed how he came close to walking off stage during the set. Yorke spoke about how he nearly abandoned the performance during the encore because “all the speakers have been blowing up and stuff.”

“At one point I just went over to Ed [O’Brien, guitarist]. I tapped him on the shoulder and said, ‘I’m off mate, see you later,'” said Yorke. “He turned around and went, ‘If you do, you’ll probably live the rest of your life regretting it’. I went, ‘Good point'”.

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IN THIS PHOTO: Radiohead in 1997/PHOTO CREDIT: Getty Images

However they were feeling whilst on stage; the results speak for themselves. Many (fairly) argue none come better than that 1997 set. I adore Radiohead but I think Bowie sneaks them. Think about the gap he left between Glastonbury appearances (nearly thirty years) and he was seamless and seemed to have no fear. The difference between the sweaty and charged Radiohead set and the old master seducing and enthralling the fans three years later is quite radical. I love how relaxed Bowie seems and how he chats with the huge crowd. Not only is the interplay and tone just so but you get decades of iconic hits. He has an embarrassment of riches to supply people with and nobody could have been disappointed. It was the perfect mix of the greatest hits and some newer material. The delivery and showmanship from Bowie is extraordinary and you only need to listen to the set – on the new release – to feel shivers and feel like you are there! It is a truly wondrous display of control, emotion and providing the absolute pinnacle headline experience. Maybe we will see a set that rivals Bowie’s 2000 one but I am not going to hold my breath! Eighteen years after he delivered this near-sermon of a performance; have we seen anything as epochal and truly unbeatable?!

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 IMAGE CREDIT: Getty Images

I admire anyone’s viewpoint and why they love a certain Glastonbury headliners - but can you get better than Bowie gracing a lucky selection with some of the finest tracks ever written?! Radiohead might have been riding a wave and coming through at a crucial moment but the sheer breadth and quality of the material Bowie spooned to the masses in 2000, to me, makes it the defining headline slot. It is heartbreaking listening and realising we will never again see a David Bowie performance. I have been following him for years and look back at his gigs in the 1970s and compare them to the changed and different-looking man in 2000! Whether he was Ziggy Stardust or Aladdin Sane; underneath everything, he was simple David Bowie (or David Robert Jones, to be precise!). I would have loved to have been there but having the chance to witness the full set in all its glory is a great thing. He has been gone almost three years but we are still being treated to rare material and ‘new’ offerings from David Bowie. His staggering Glastonbury set is out in the world and it makes for a perfect Christmas present. Not only that but we get to experience one of the/the best Glastonbury headline set of all-time, delivered by one of music’s true heroes. Make sure you grab a copy, block everything else away and, with a slight tear in the eye, witness a genius of music...

TRULY in his element.

FEATURE: Music Sounds Better with You: Ones to Watch 2019: Part III

FEATURE:

 

 

Music Sounds Better with You

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IN THIS PHOTO: Kara Marni

Ones to Watch 2019: Part III

__________

HERE is the third part of my...

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IN THIS PHOTO: Yizzy

rundown of artists to watch next year. I doubt I will be able to include all of the names that are worth keeping your eyes out for and there will be omissions but, as there are a few more editions to come; let’s hope I have not forgotten anyone big! I have loved seeing the artists coming through this year and how they will shape up next year. Have a listen and look at the names and there is variation to be found. I am excited to see what 2019 holds for all of these artists and whether they have any new material bubbling up. Have a listen to this fine selection because I am sure you will be hearing more from them...

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IN THIS PHOTO: The Regrettes

NEXT year.

ALL PHOTOS/IMAGES (unless credited otherwise): Getty Images

______________

Maria Kelly

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Basement Revolver

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Yizzy

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ARK

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Æ MAK

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Matilda Eyre

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Annabel Allum

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Robinson

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Hands Off Gretel

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Starling

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Kara Marni

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Chlöe Howl

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Michael Jablonka

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Loski

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Elena Ramona

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James Holt

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Yxng Bane

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Tallies

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The Tuts

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Hatchie

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Wyvern Lingo

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VC Pines

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The Regrettes

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Just Like Fruit

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FiFi Rong

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Taylor Janzen

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FEATURE: The December Playlist: Vol. 1: With Power Comes Great Responsibility

FEATURE:

 

The December Playlist

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IN THIS PHOTO: Grimes/PHOTO CREDIT: Eli Russell Linnetz  

Vol. 1: With Power Comes Great Responsibility

__________

IT is great to kick off a new month…

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IN THIS PHOTO: Kelly Rowland/PHOTO CREDIT: Jeffrey Mayer/Getty Images

with a track from Grimes. I was not sure whether she’d be releasing material this year and she has left it right until the death. Alongside her are offerings from The 1975, Ex:Re (Elena Torna); Arctic Monkeys, Jade Bird and Kelly Rowland. It is a great week for music and, alongside some Christmas tracks (including one from Phoebe Bridgers); there are plenty of conventional sounds to keep people happy. Have a listen through this crop of songs and I know there will be something in there that turns the head and gets inside the heart. If you thought artists were cooling it before 2019 and not willing to put out new material then you’d be wrong! This eclectic selection of tracks shows that there is plenty of brilliance…

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IN THIS PHOTO: Arctic Monkeys/PHOTO CREDIT: Zackery Michael

TO go around.

ALL PHOTOS/IMAGES (unless credited otherwise): Getty Images/Artists

___________

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 PHOTO CREDIT: Ben Grieme for FADER

Grimes (ft. HANA)We Appreciate Power

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IMAGE CREDIT: Marika Kochiashvili

Ex:Re Romance

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IN THIS PHOTO: Arctic Monkeys/PHOTO CREDIT: Zackery Michael

Arctic MonkeysAnyways

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IceageBroken Hours

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PHOTO CREDIT: Gabriel Green

Julia Holter Whether

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Kelly Rowland Kelly

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PHOTO CREDIT: Ines Ziouane

Black Honey Crowded City

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PHOTO CREDIT: Ryan Pfluger

Sharon Van EttenJupiter 4

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Jade Bird Love Has All Been Done Before

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Chris SailsLove Language

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PHOTO CREDIT: Brick Howze

Alessia Cara Not Today

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Circa WavesMovies

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Emily BurnsDamn Good Liar

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Four of DiamondsBlind

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graves (ft. EZI)I’m Fine

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Alec Benjamin Boy in the Bubble

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ISLAND - Just That Time of Night

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Nicki Minaj (ft. Lil Wayne) Good Form

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Nina Nesbitt Colder

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Saweetie - Pissed

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Tom Speight Strangers Now

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Wavves So Glad It’s Christmas

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The 1975Inside Your Mind

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Clean Bandit (ft. ALMA)In Us I Believe

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Jeff Tweedy Some Birds

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Alice MertonFunny Business

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Mark Ronson (ft. Miley Cyrus)Nothing Breaks Like a Heart

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Shame Dust on Trial

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PHOTO CREDIT: HipHopDX/Mike Lavin (@thehomelesspimp)

Chance the Rapper (ft. Joey Purp) My Own Thing

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Sasha SloanAgain

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Phoebe Bridgers Christmas Song

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PHOTO CREDIT: Zain Ayub

Kwame CLOUDS.

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Tessa VioletBad Ideas

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Lucy Grimble Keeper

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Men I TrustSay, Can You Hear

FEATURE: Music Sounds Better with You: Ones to Watch 2019: Part II

FEATURE:

 

 

Music Sounds Better with You

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IN THIS PHOTO: Jason of allusinlove 

Ones to Watch 2019: Part II

__________

HERE is the second part of my...

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IN THIS PHOTO: IDER/PHOTO CREDIT: Lottie Turner

rundown of artists to watch next year. I doubt I will be able to include all of the names that are worth keeping your eyes out for and there will be omissions but, as there are a few more editions to come; let’s hope I have not forgotten anyone big! I have loved seeing the artists coming through this year and how they will shape up next year. Have a listen and look at the names and there is variation to be found. I am excited to see what 2019 holds for all of these artists and whether they have any new material bubbling up. Have a listen to this fine selection because I am sure you will be hearing more from them...

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IN THIS PHOTO: Becky of MAYPINE

NEXT year.

ALL PHOTOS/IMAGES (unless credited otherwise): Getty Images

______________

allusinlove

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Chess Galea

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L.A.D

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MAYPINE

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BLACK HONEY

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Matt Perriment

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Megan O’Neill

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CAEZAR

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Robyn Cage

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Saachi

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Austel

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H A VV K

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Beauty Sleep

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Only Girl

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Dermot Kennedy

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BOUTS

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Ricky Rebel

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Bishop Briggs

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talker

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Sharkmuffin

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GAZELLE

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Cocoa Futures

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Kris Angelis

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Neon Waltz

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Francine Belle

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IDER

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FEATURE: Sisters in Arms: An All-Female, Autumn-Ready Playlist (Vol. XX)

FEATURE:

 

 

Sisters in Arms

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IN THIS PHOTO: Stealing Sheep 

An All-Female, Autumn-Ready Playlist (Vol. XX)

__________

NOW that November…

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 IN THIS PHOTO: Ex:Re (Elena Tonra)

is nearly over and we are looking ahead to December; I should switch to a winter playlist but, given the warmer weather, am sticking with an autumnal feel! I have been looking at some cracking new tracks from the best rising and established female artists in music. I feel music made by women is often overlooked or assumed to be rather inferior. That is, obviously, not the case and, as shown here, wonderful variation and huge strength can be found. Have a listen to this collection of songs that seem to sum up the contrasts and colours of autumn. We have the brightness and bolder moments married with the more sensual, cool and contemplative ones. It is yet another bumper-load of female-led music that ends November...

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IN THIS PHOTO: Kelly Rowland

WITH a huge smile and bang.  

ALL PHOTOS (unless stated otherwise): Getty Images/Artists

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Vera Hotsaucebullet

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Ex:Re Romance

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Stealing SheepJoking Me

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Carson McHoneSad

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DominiquePayup

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DaraDon’t Wanna Cry

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PHOTO CREDIT: @shervinfoto

Alice MertonFunny Business

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Ivy Adara Callgirl

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Gabrielle AplinMy Mistake

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Kelly RowlandKelly

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Kat Saul - Nick Miller

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Tessa VioletBad Ideas

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Kristen Arian - Tipsy

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Sophia ScottShe Ain’t Me

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Lily Mckenzie (ft. Team Salut) - Surrender

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Charlotte OCSatellite

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Rachel FoxxGive to Receive

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PHOTO CREDIT: Wendy Lynch/Magnum PR

LadytronFar from Home

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Emily BurnsDamn Good Liar

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Erthlings Cuts & Bruises

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Four of DiamondsBlind

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Jackie Tech - Temple

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Laura Tesoro - Mutual

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Rose Elinor DougallMake it with You

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MaloryLast to Die

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Fiona BevanGoddess

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HindsBritish Mind

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303Whisper

FEATURE: Rhymin & Stealin: New York’s Finest: The Beastie Boys’ Eight Incredible Albums Investigated and Uncovered

FEATURE:

 

 

Rhymin & Stealin

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IN THIS PHOTO: The Beastie Boys in Chicago in 1987/PHOTO CREDIT: Paul Natkin/WireImage  

New York’s Finest: The Beastie Boys’ Eight Incredible Albums Investigated and Uncovered

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EVEN though the Beastie Boys...

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 IN THIS PHOTO: The Beastie Boys in 2009 (from left to right: Ad-RockMCA and Mike D)/PHOTO CREDIT: Press/Getty Images

ended their recording career in 2011, they are still as relevant as ever and over in the U.K. right now! Beastie Boys Book was released at the end of last month and is the story of the trio as told by its two surviving members, Ad-Rock and Michael Diamond (Mike D). The New York band formed in 1981 and, since their debut in 1986, they have seduced and thrilled the world with their brotherhood, wit and incredible rhymes. I love them because of the sampling and how they manage to marry disparate worlds. Although Adam Yauch (MCA) died in 2012; his bandmates are promoting the new book and are keeping the spirit and memory of Beastie Boys alive! Their debut, Licensed to Ill, was released on 15th November, 1986 and I cannot believe it is thirty-two!

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IN THIS IMAGE: The cover of the Beastie Boys Book/IMAGE CREDIT: Spiegel & Grau/Getty Images

I remember listening to it as a child and was blown away by this fresh and wonderful sound that was happening at the explosion of American Hip-Hop. In the year, Run-D.M.C. released Raising Hell and it was to lead to a bold and genius Hip-Hop movement that saw the likes of N.W.A. and Public Enemy release generation-defining albums. Make sure you pick up the new book as you get a lot of details of that time and the role the Beastie Boys played in Hip-Hop’s start. I cannot recall the first time I discover the band but it must have been around the time of Hello Nasty in 1998. Maybe it was a bit sooner but, in any case, I had heard nothing like it and still cannot think of anyone who comes near to them and that concoction of sounds. There is more to the Beastie Boys than the songs - there is an entire legacy, past and set of relationships that many of us never got to see!

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IN THIS IMAGE: A shot of the Beastie Boys Book/IMAGE CREDIT: Spiegel & Grau/Getty Images

I followed Beastie Boys right until the final album, Hot Sauce Committee Part Two, and am sad we will never see another record from them! Ad-Rock and Mike D are promoting Beastie Boys Book and it is great to hear them chat about their time and being in one of the biggest bands ever. Rolling Stone looked at the book and gave their impressions. One snippet of their review/assessment struck me:

Yauch’s loss is deeply felt in Beastie Boys Book, where he’s arguably the most vivid character of all – the snowboarding prankster, spiritual seeker and older-brother figure who pushed the others to new heights again and again. “The band didn’t break up,” Horovitz writes in a heartbreaking chapter on the recording of 2011’s Hot Sauce Committee Part Two. “We didn’t go our own creative ways. No solo project fucked things up to cause animosity. This was our last album because Adam got cancer and died. If that hadn’t happened, we would probably be making a new record as you read this. Sadly, it didn’t turn out that way… Too fucking sad to write about.”

In the hotel room, it’s clear that Horovitz and Diamond are relishing the chance to spend time together, riffing on the old days. “Looking back, it’s like, oh shit, that was crazy – how did we live through that?” Horovitz says. “And look at us now. We’re grown-ups. We have to think about mortgages. I gotta get dog food.” He shrugs. “I’m still alive”.

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IN THIS PHOTO: Michael ‘Mike D’ Diamond (left) and Adam ‘Ad-Rock’ Horovitz photographed at the Bowery Hotel in New York/PHOTO CREDIT: Mike McGregor for The Observer  

Make sure you tune into BBC Radio 6 Music from ten tomorrow morning as Ad-Rock and Mike D are talking about the book and recalling memories from their time in the Beastie Boys. It is rare to see a group (or duo, as they are now…) have that optimism and talk about their career when they lose a member. Whilst it is sad MCA is no longer here and part of this holy trinity; they are happy to talk about the old days and there is that endless and unbreakable love. When speaking with Miranda Sawyer for The Guardian, some interesting details came from the interview. It seems like the actual creation of the book was quite intense:

The book took them four years to complete and tells the Beasties’ story from pre-1981, when Diamond formed a hardcore band with friends, including Yauch. Packed with photographs, diagrams, maps, cartoons, recipes, lists (some great music ones), as well as some brilliant writing from them both, Beastie Boys Book is a delight. But, God, getting either Diamond or Horovitz to talk about it is nigh-on impossible”.

The interview is definitely worth reading in its entirety...but this is a section that really caught me:

“...Mostly, the interview goes like this: I mention an anecdote, or a particular time in their career, and then they mess around. So, when I ask about Diamond’s late-1980s habit of wearing a Volkswagen badge as a medallion (as he does on the book’s cover), he and Horovitz have a lengthy debate as to whether either of them actually wrote anything specifically about the VW badge/medallion thing. Then…

Diamond: “It was just one of those things that happened… Adam and Adam showed up at my apartment in the West Village with one and they were like: ‘Here, you’re wearing this’”...

 “Horovitz: “That’s not really how it happened. Didn’t you steal it? You kind of stole it.”

Diamond: “From you? I stole it from you? Is that what you’re saying?”

In contrast, Horovitz enjoyed the writing (“It was very easy, I really liked it”), and has concentrated on completing a lot of the other legwork: sourcing photographs, tracking people down. Aside from all that, he has a little boy with his wife, Bikini Kill’s Kathleen Hanna, and he and Hanna write screenplays together (they sold a pilot to Comedy Central). He’s played bass in Bridget Everett and the Tender Moments and he acts, much to Diamond’s amusement. “Did you know Adam was in a semi-pornographic movie in 1984?

I am rambling and stepping off of the path at the moment but I have loved learning new stuff about the Beastie Boys and make sure you pick up a copy of the book - as it is an illuminating, comprehensive and deeply personal look inside a magical time when New York’s finest reigned! In honour of some Beastie magic hitting our shores; here are all eight of their albums laid out; a review for each and the choice tracks selected – I have highlighted the definitive cut from each record. From 1986’s Licensed to Ill through to 1989’s Paul’s Boutique; from To the 5 Boroughs in 2004 to the finale, Hot Sauce Committee Part Two (2011); it has been a wild and wonderful ride. Reacquaint yourself with their back catalogue and get settled back. They might not be recording anymore but, as their book shows, there is so much more to learn. We have never seen anyone like the Beastie Boys come along and, for as long as any of us live, I don’t think...

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IN THIS PHOTO: The Beastie Boys in Greenwich Street in New York City/PHOTO CREDIT: Terry Richardson

WE ever will!

ALL ALBUM COVERS: Getty Images

________________ 

The Wonderful Beginning: Licensed to Ill (1986)

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Release Date: 15th November, 1986

Labels: Def Jam/Columbia

Producers: Rick Rubin/Beastie Boys

Background:

The group originally wanted to title the album Don't Be a Faggot, but Columbia Records refused to release the album under this title—arguing that it was homophobic—and pressured Russell Simmons, the Beastie Boys' manager and head of Def Jam Recordings at the time, into forcing them to choose another name.[5][6] Adam Horovitz has since apologized for the album's earlier title.[7]

Kerry King of Slayer made an appearance on the album playing lead guitar on "No Sleep Till Brooklyn" and appeared in the music video which is a parody of glam metal.[8] The name of the song itself is a spoof on Motörhead's No Sleep 'til Hammersmith album.[8] King's appearance on the track came about because Rick Rubin was producing both bands simultaneously (Slayer's Reign in Blood was originally released a month earlier on Def Jam).[8]” – Wikipedia

Review:

There hasn't been a funnier, more infectious record in pop music than this, and it's not because the group is mocking rappers (in all honesty, the truly twisted barbs are hurled at frat boys and lager lads), but because they've already created their own universe and points of reference, where it's as funny to spit out absurdist rhymes and pound out "Fight for Your Right (To Party)" as it is to send up street corner doo wop with "Girls." Then, there is the overpowering loudness of the record -- operating from the axis of where metal, punk, and rap meet, there never has been a record this heavy and nimble, drunk on its own power yet giddy with what they're getting away with. There is a sense of genuine discovery, of creating new music, that remains years later, after countless plays, countless misinterpretations, countless rip-off acts, even countless apologies from the Beasties, who seemed guilty by how intoxicating the sound of it is, how it makes beer-soaked hedonism sound like the apogee of human experience. And maybe it is, maybe it isn't, but in either case, Licensed to Ill reigns tall among the greatest records of its time” – AllMusic

Download/Stream: Fight for Your Right; Paul Revere; Brass Monkey

Spotify Link: https://open.spotify.com/album/11oR0ZuqB3ucZwb5TGbZxb?si=IsxHfbYwSBmJxjqaz2XBLQ

Choice Cut: No Sleep Till Brooklyn

The Misunderstood Follow-Up That Is Regarded as a Seismic Gem: Paul’s Boutique (1989)

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Release Date: 25th July, 1989  

Label: Capitol

Producers: Beastie Boys/Dust Brothers/Mario Caldato Jr.

Background:

Derided as one-hit wonders and estranged from their original producer, Rick Rubin, and record label, Def Jam, the Beastie Boys were in self-imposed exile in Los Angeles during early 1988 and were written off by most music critics before even beginning to record their second studio album, Paul's Boutique.[8] Following the commercial success of Licensed to Ill, the Beastie Boys were focusing on making an album with more creative depth and less commercial material.[8] The group's previous album had been enormously popular and received critical acclaim among both mainstream and hip hop music critics, although its simple, heavy beats and comically juvenile lyrics led it to be labeled as frat hip hop.[8] The group signed with Capitol Records and EMI Records.[8]

Contrary to popular belief, most of the sampling for Paul's Boutique was cleared, but at dramatically lower costs compared to today's prevailing rates.[10] According to Sound on Sound, most of the samples were cleared "easily and affordably, something that [...] would be 'unthinkable' in today's litigious music industry."[10] Mario "Mario C" Caldato, Jr., engineer on the album, said that "we realized we had spent a lot of money in the studio. We had spent about a $1/4 million in rights and licensing for samples."[11]This type of sampling was only possible before Grand Upright Music, Ltd. v. Warner Bros. Records Inc., the landmark lawsuit against Biz Markie by Gilbert O'Sullivan, which changed the process and future of hip hop sampling” – Wikipedia

Review:                                               

Twenty years later, nobody’s asking that question. Paul’s Boutique is a landmark in the art of sampling, a reinvention of a group that looked like it was heading for a gimmicky, early dead-end, and a harbinger of the pop-culture obsessions and referential touchstones that would come to define the ensuing decades' postmodern identity as sure as “The Simpsons” and Quentin Tarantino did. It’s an album so packed with lyrical and musical asides, namedrops, and quotations that you could lose an entire day going through its Wikipedia page and looking up all the references; “The Sounds of Science” alone redirects you to the entries for Cheech Wizard, Shea Stadium, condoms, Robotron: 2084, Galileo, and Jesus Christ. That density, sprawl, and information-overload structure was one of the reasons some fans were reluctant to climb on board. But by extending Steinski’s rapid-fire sound-bite hip-hop aesthetic over the course of an entire album, the Beastie Boys and the Dust Brothers more than assured that a generally positive first impression would eventually lead to a listener’s dedicated, zealous headlong dive into the record’s endlessly-quotable deep end” – Pitchfork

Download/Stream: Shake Your Rump; Looking Down the Barrel of a Gun; Shadrach

Spotify Link: https://open.spotify.com/album/4DfmPm17Nz6a60BlEpGGKU?si=mSWCWU3lQCuAVq4X_MgYTw

Choice Cut: Hey Ladies

The Critics Were Firmly Back on Board: Check Your Head (1992)

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Release Date: 21st April, 1992 

Label: Capitol

Producer: Mario Caldato Jr.

Background:

Check Your Head is the third studio album by American hip hop group Beastie Boys, released on April 21, 1992 by Capitol Records. Three years elapsed between the releases of the band's second studio album Paul's Boutique and Check Your Head, which was recorded at the G-Son Studios in Atwater Village in 1991 under the guidance of producer Mario Caldato Jr., the group's third producer in three albums. Less sample-heavy than their previous records, the album features instrumental contributions from all three members: Adam Horovitz on lead guitar, Adam Yauch on bass guitar, and Mike Diamond on drums.

In contrast to their previous album, Paul's Boutique, the Beastie Boys returned somewhat stylistically to their punk roots on Check Your Head, playing their own instruments for the first time on record since their early EPs (although they did provide live instrumentation on at least two songs on Paul's Boutique).[7] Hence, photographer Glen E. Friedman's idea to shoot photos with their instrument cases (one of which became the cover).[7] Supposedly, a trading card with Norman Schwarzkopf, Jr. from a set of Desert Storm trading cards was the inspiration for the title[7]” – Wikipedia  

Review:                                               

This all means that music was the message and the rhymes, which had been pushed toward the forefront on both Licensed to Ill and Paul's Boutique, have been considerably de-emphasized (only four songs -- "Jimmy James," "Pass the Mic," "Finger Lickin' Good," and "So What'cha Want" -- could hold their own lyrically among their previous work). This is not a detriment, because the focus is not on the words, it's on the music, mood, and even the newfound neo-hippie political consciousness. And Check Your Head is certainly a record that's greater than the sum of its parts -- individually, nearly all the tracks are good (the instrumentals sound good on their subsequent soul-jazz collection, The in Sound From Way Out), but it's the context and variety of styles that give Check Your Head its identity. It's how the old school raps give way to fuzz-toned rockers, furious punk, and cheerfully gritty, jazzy jams. As much as Paul's Boutique, this is a whirlwind tour through the Beasties' pop-culture obsessions, but instead of spinning into Technicolor fantasies, it's earth-bound D.I.Y. that makes it all seem equally accessible -- which is a big reason why it turned out to be an alt-rock touchstone of the '90s, something that both set trends and predicted them” – AllMusic

Download/Stream: Pass the Mic; So What’cha Want; The Blue Nun

Spotify Link: https://open.spotify.com/album/04FRBQIphnjVWLyAs9j5mo?si=mmyE5G79RpSGloOEsBUXww

Choice Cut: Gratitude

An Evolutionary Leap, Rather Than Sabotage: Ill Communication (1994)

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Release Date: 31st May, 1994   

Labels: Capitol/Grand Royal

Producers: Beastie Boys; Mario Caldato Jr.

Background:

Ill Communication is the fourth studio album by American hip hop group Beastie Boys. It was released on May 31, 1994 by Grand Royal Records. Co-produced by Beastie Boys and Mario C., the album is among the band's most varied releases, drawing from hip hoppunk rockjazz and funk. As with their prior release Check Your Head, this album continues the band's trend away from samplingand towards live instruments. It features musical contributions from Money MarkEric Bobo and Amery "AWOL" Smith and vocal contributions from Q-Tip and Biz Markie. The Beastie Boys were influenced by Miles Davisjazz rock albums Agharta and On the Corner while recording Ill Communication[1]” – Wikipedia     

Review:                                               

By 1994, the Beastie Boys were a lot closer to 30 than they were to 20, and it's not much of a stretch to interpret their fourth album as a growing-up phase of sorts. Where Check Your Head was a jam session turned venting process turned crossover success, Ill Communication is the album that let them infuse their turn towards sincerity with a renewed sense of playfulness, solidifying their transition from the gleefully exaggerated bad-boy anarchists of their first two albums to a trio of (slightly) more mature, trend-setting enthusiasts. It's as if they took stock in their history, realized they were past the point of having to prove anything, said what the hell, and decided to throw their whole repertoire into the album. Considering the record was assembled over a comparatively brief six-month span, it's an ideal, condensed snapshot of the Boys' genuine interests and cultural obsessions, whether they were spiritual (Buddhism), musical (late-60s/early-70s soul-jazz) or recreational (no less than three members of the 1993-94 Knicks get shout-outs). It's the Beasties at their most lifestyle-savvy, though they came across less like opportunistic youth marketers and more like the idiosyncratic hipsters they'd always been. (Remember, this was in 1994, before "hipster" was a pejorative.)” – Pitchfork  

Download/Stream: Sure Shot; Root Down; Heart Attack Man  

Spotify Link: https://open.spotify.com/album/6lfjbwFGzQ6aSNP1N3JlT8?si=Wzj6VRnRQMaqq3L8Z5cAWg

Choice Cut: Sabotage

A Wide-Ranging Masterpiece: Hello Nasty (1998)

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Release Date: 14th July, 1998  

Label: Capitol

Producers: Beastie Boys; Mario Caldato Jr.

Background:

Hello Nasty was released on July 14, 1998, four years after the band's previous album, Ill Communication—and marked the addition of DMC champion Mix Master Mike to the group's line-up.[1] "I Don't Know" features Miho Hatori on vocals, and "Dr. Lee, PhD" guest stars dub musician Lee Scratch Perry on both vocals and percussion.[2] Hello Nasty also marked Eric Bobo's last appearance as percussionist in the band, as well as the last time the Beastie Boys worked with a co-producer.[2]

The title for the album was allegedly inspired by the receptionist of their NY-based publicity firm Nasty Little Man who would answer the phone with the greeting "Hello, Nasty".[3] The cover art depicts all three members (Horovitz, Yauch and Diamond from left to right) wrapped in an aluminium sardine tin and getting baked in the sun. The band makes a reference to this in the song "Body Movin'", in which the lyrics goes, "MCA, where have you been? Packed like sardines in a tin”” – Wikipedia

Review:                                               

On the surface, the sonic collages of Hello Nasty don't appear as dense as Paul's Boutique, nor is there a single as grabbing as "Sabotage," but given time, little details emerge, and each song forms its own identity. A few stray from the course, and the ending is a little anticlimactic, but that doesn't erase the riches of Hello Nasty -- the old-school kick of "Super Disco Breakin'" and "The Move"; Adam Yauch's crooning on "I Don't Know"; Lee "Scratch" Perry's cameo; and the recurring video game samples, to name just a few. The sonic adventures alone make the album noteworthy, but what makes it remarkable is how it looks to the future by looking to the past. There's no question that Hello Nasty is saturated in old-school sounds and styles, but by reviving the future-shock rock of the early '80s, the Beasties have shrewdly set themselves up for the new millennium” – AllMusic   

Download/Stream: Song for the Man; Body Movin’; Three MC’s and One DJ

Spotify Link: https://open.spotify.com/album/1HhBu55aklCwIus7KffIji?si=NynHMTOZQueT2UJYEhbGng

Choice Cut: Intergalactic

Entering a New Century – and a New Creative Phase: To the 5 Boroughs (2004)

Release Date: 15th June, 2004  

Label: Capitol

Producer: Beastie Boys

Background:

To the 5 Boroughs is the sixth studio album by the Beastie Boys. The album was released on June 14, 2004 internationally, and a day later in the United States. The album debuted #1 on the Billboard 200 with 360,000 copies sold in its first week and is certified Platinum by the RIAA for sales of over 1,000,000 in the U.S.” – Wikipedia

Review:                                               

To the 5 Boroughs” is the Beasties’ first all-new CD since 1998’s ”Hello Nasty” and thus has the feel of a bona fide event. As might be inferred from the title, ”Boroughs” is the group’s gift to their hometown in the post-9/11 era. ”Dear New York, I know a lot has changed/Two towers down but you’re still in the game,” Mike D raps on ”An Open Letter to NYC,” the album’s anthemic centerpiece. The track includes a ton of New York-specific shout-outs (”I remember when the Deuce” — 42nd Street and Times Square to you out-of-towners — ”was all porno flicks,” raps Ad-Rock wistfully) and prominently samples the Dead Boys’ ”Sonic Reducer.” It sounds so rousingly righteous you don’t even mind that the Dead Boys were from Cleveland.

Sonically, the disc falls somewhere between the Beasties’ two best efforts, ”Licensed” and 1992’s ”Check Your Head,” minus the latter’s weird, megaphone-like vocal effects. The beats — by Mixmaster Mike and the Boys — are simple and effective, with a welcome lack of distracting bells and whistles that made ”Hello Nasty” feel overstuffed. It’s also the globally aware group’s most politically charged album to date. ”Is the U.S. gonna keep breaking necks?/Maybe it’s time we impeach Tex,” raps MCA on ”Time to Build,” one of several instances in which George W. is given a lyrical smackdown” – Entertainment Weekly

Download/Stream: C-Check It Out; Triple Trouble; Oh Word?

Spotify Link: https://open.spotify.com/album/4nnQZQWLibK1VIhCGDFjk3?si=8J47qGRnR1ijUT-q0S34Sg

Choice Cut: An Open Letter to NYC

Great but Not Essential: The Mix-Up (2007)

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Release Date: 26th June, 2007  

Label: Capitol

Producer: Beastie Boys

Background:

On May 1, 2007, an e-mail sent to those on the Beastie Boys' mailing list revealed the album is all instrumental. On June 21, 2007, a legal stream of the entire album was released on BrooklynVegan.com.[7] Drummer Mike D said that "even though The Mix-Up is a 'post-punk instrumental' album, the Beasties have no plans to ditch vocals for good. In fact, they are currently planning another version of the album that will feature collaborations with 'a pretty wide array' of 'mostly newer' vocalists."[8] Two singers speculated to be featured on the vocal version were Jarvis Cocker and M.I.A.[9]Wikipedia

Review:                                               

This is a fusion of sounds -- cool organs, elastic guitars, loping basslines, rolling rhythms -- where all of the elements are integrated together, turning into a style that's recognizable as uniquely, undeniably the Beastie Boys, even if they don't utter a word on this record. As always, they're more about feel than instrumental acumen, but they've sharpened as players, creating tighter, assured grooves and seamlessly blending their fascinations with funk, dub, soul, and Latin rhythms. Even if the instrumental interplay is tighter, the overall atmosphere is alluringly warm and friendly: it's music that flows easily and it's a perfect soundtrack for a slow summer afternoon. Most of all, the Beasties sound relaxed and comfortable, enjoying the process of making this music, and if you're on the same wavelength, it's hard not to get sucked into it too. The Mix Up is not a major statement, but that's the nice thing about the record: it's as personal and idiosyncratic as any old funky soul-jazz LP that you'd find deep in the crates of a second-hand record store. It's easy to enjoy and it's indelibly stamped with the personality of the group, which is not only no small thing, it's also a good, rewarding path for the Beastie Boys as they approach middle age” – AllMusic

Download/Stream: 14th St. Break; Electric Worm; The Rat Cage

Spotify Link: https://open.spotify.com/album/4ceCKh9j1lgoMWOzCqxqIA?si=CY9jpu8OStyY3R48NsAirg

Choice Cut: Off the Grid

The Superbly Grand (If Sad) Finale: Hot Sauce Committee Part Two (2011)

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Release Date: 27th April, 2011  

Label: Capitol

Producer: Beastie Boys

Background:

The first part of the album was intended to be called Hot Sauce Committee, Pt. 1 and was prepared for release, with artwork revealed and a planned release date of September 15, 2009.[6] In an interview the Beastie Boys stated that the album was completed and group announced that they would tour the United Kingdom in support of the new record.[5] This was delayed after Adam "MCA" Yauch was diagnosed with cancer.[4] On July 20, 2009, Yauch announced the cancellation of tour dates, and assured fans that he should be fine after surgery.[10] In October 2009, Adam Yauch announced that the band had not yet decided a new release date, but was quoted saying he was hoping to release it in the first half of 2010.[11]

An email sent out on October 17, 2010, from the Beastie Boys announced that Hot Sauce Committee Pt. 1 would be shelved indefinitely, and Hot Sauce Committee Pt. 2 would be released in 2011. An email sent the following week now clarified that Pt. 2 would be released with almost exactly the same track list as was announced for Pt. 1, excluding the track "Bundt Cake."[12] No date was set for Part 1.[13] The project was finally released in May 2011 under the title Hot Sauce Committee Part Two, with a slightly altered track listing including a new version of "Too Many Rappers".[14]

According to Andrew Eastwick from Tiny Mix Tapes, "Long Burn the Fire" paid homage to the 1970s soul-rock band Black Merda with its fuzz-inflected guitar riffs. Its song title, Eastwick continued, "may also be a sly nod" to music critic Robert Christgau, who recommended the band's 1972 record of the same name to the Beastie Boys in his review of their 1994 album Ill Communication[15]” – Wikipedia

Review:

The tracks urge us to Make Some Noise, threaten to "rock da house" and even suggest a "party on the left." However, their wit and invention transforms such tired cliches into their freshest offering in years. A tapestry-cum-rollercoaster of sound, the confusingly titled album (Part One remains unreleased) mixes obscure samples, live playing, electronic squiggles and hardcore thrash. You're as likely to encounter cries of "Mayhem, mayhem!" and air horns as old nursery rhyme phrase "Knick knack paddy whack" featuring in a rap. The mere two guests have been selected to actually add something rather than to up the celeb appeal. The blistering Too Many Rappers finds Nas paying homage to his Beastie forefathers; Santigold gives Don't Play No Game That I Can't Win some instantly infectious pop reggae sunshine. However, the Boys' trademark nerdy raps are as inimitable as ever” – The Guardian  

Download/Stream: Too Many Rappers; Funky Donkey; Lee Majors Come Again;

Spotify Link: https://open.spotify.com/album/1vQYbqslni0jVfvaVK2lvx?si=gXrvMc0CT5OFVaYIKEV1Lg

Choice Cut: Make Some Noise

FEATURE: Music Sounds Better with You: Ones to Watch 2019: Part I

FEATURE:

 

 

Music Sounds Better with You

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IN THIS PHOTO: Jade Bird/PHOTO CREDIT: Hollie Fernando for RollingStone.com  

Ones to Watch 2019: Part I

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IT is the time of year when we look ahead...

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IN THIS PHOTO: EQUALS

and prophesise the artists who will define the following year. It has been a hectic and exciting year for music and I am sure a lot of the artists who made impressions this year will reign in 2019. I have been looking through the rising acts who are making steps and have collated them in this list. There are a few more editions to come and I will cover a lot more musicians but, for now, here is the first collection of promising sounds. Have a look through and I am sure you will find something in the pack...

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IN THIS PHOTO: Grace Carter

THAT spikes your interest!

ALL PHOTOS/IMAGES (unless credited otherwise): Artists/Getty Images

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Liv Dawson

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Rews

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King Nun

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DIDI

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Emmi

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Lazybones

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Grace Carter

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Tiger Mimic

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Jade Bird

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Malaika

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YONAKA

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The Wild Things

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Beth McCarthy

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Mahalia

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EQUALS

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CHILDCARE

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Emily Magpie

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Chasing Deer

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Mark Harrison

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Kate Kelly

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Anna Pancaldi

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XamVolo

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Fiona Harte

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FloodHounds

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RIDER

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Sam Fender

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RuthAnne

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Duke of Wolves

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Delta Sleep

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FEATURE: Pressure Point: The Return of The Zutons and the Question as to Whether Reformations Can Rekindle the Flame

FEATURE:

 

 

Pressure Point

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IN THIS PHOTO: The Zutons (who disbanded in 2009 and have rarely played together since)/PHOTO CREDIT: Getty Images 

The Return of The Zutons and the Question as to Whether Reformations Can Rekindle the Flame

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I am always curious why certain bands go away...

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 PHOTO CREDIT: Getty Images

and what motivates them to come back after a long gap! I latched onto The Zutons’ music when their debut, Who Killed...... The Zutons?, came onto the shelves in 2004. I was still at university but had not yet graduated and was sort of wrapping things up. A lot of the music I was hearing up in Cambridge was contemporary mainstream and I discovered The White Stripes a year or two before – and was compelled and obsessed by their back catalogue. Liverpool’s The Zutons offered something eccentric, fresh and exciting. So much of my musical curiosity back then was something gnarlier and less uplifting but, when I heard that album, I was instantly struck. There is not a lot on the Who Killed...... The Zutons? Wikipedia page – apart from the tracklisting… – but there was a lot of interest and fascination when they arrived on the scene. Songs like Pressure Point and You Will You Won’t are instant and burrow in the head. Others – like Nightmare Part II and Dirty Dancehall – take a few spins before all of their layers start to make sense. It is a confident and different album that many compared to the work of The Coral. That is a band I was heavily into and, having started out earlier than The Zutons, it is understandable if a few hints and sounds were incorporated into The Zutons’ locker. The bands are different and I feel The Zutons are more accessible. The debut album, whether critics were totally on-board or not, is a giddy delight and one that still stands up some fourteen years after its release.

Why Won’t You Give Me Your Love? and Valerie were the two big singles from the follow-up album, Tired of Hanging Around, and the latter was famously covered by Amy Winehouse – who put her unique stamp on the song. There was, perhaps, less instant joy and satisfaction on the album: one needed to dig deeper and it was a more mature record that took in new elements. Reviews were better (compared to the debut) and, as AllMusic show, it was unusual to see a band source such disparate and rare influences:

There was a little bit of everything here, including the powerful sax playing of Abi Harding -- obvious on every track but not dominant -- and Boyan Chowdhury's guitar work, which was original and innovative (and would soon be missed, as he left the band not long afterwards). They unashamedly lifted the intro of Tears for Fears' "Everybody Wants to Rule the World" for their song "Valerie," but the song was so good that one could forgive them almost anything; indeed, Amy Winehouse took the same song into the Top Ten for the second time within two years with a very different version. What a pity they released Tired of Hanging Around in the same week as Shayne Ward's album; otherwise, there would have been some real music at the top of the charts”.

I was less struck by the 2008 album, You Can Do Anything, but it got a lot of critical love. To me, the purity and essence of The Zutons is on those horn-parping, eccentric gems from the debut. The songs that has that unusual flair and could get you nodding the head and swinging the body. In any case; it was sad to see the band sort of break away and nothing from them. Ten years after their third album; news has been announced of a tour and, let’s hope, another album. NME reveal the details:

 “Noughties indie icons The Zutons have reformed for their first full tour in nine years.

The Liverpool band are touring next March to play their debut album ‘Who Killed The Zutons’ in full on an eight-date tour, to mark the album’s 15th anniversary. Tour dates are below. Tickets for the tour will be available at this link from 9am on Friday (November 30).

It comes two years after The Zutons reformed for a charity benefit to commemorate the death of their friend Kristian Ealey. Zutons singer Dave McCabe sang with Ealey in his first band Tramp Attack. At the time, the band vowed it would be their “final ever” concert.

But the concert saw the band start to revive their friendship. McCabe said: “We’ve all been off doing our own thing for a little while. It’s only with hindsight and a bit of space that you see how special something really is. It’s easy to take things for granted when you’re younger, but now it’s just amazing to think of those songs still having a place in the world, and for people to come and hear us play them again”...

‘Who Killed The Zutons’ included the singles ‘You Will You Won’t’, ‘Pressure Point’, ‘Confusion’ and ‘Remember Me’. The Zutons’ most famous song ‘Valerie’ featured on their second album, ‘Tired Of Hanging Around’, which was covered by Amy Winehouse. The Zutons released their final album to date ‘You Can Do Anything’ in 2008.

The Zutons tour dates are:
March 26: O2 Institute, Birmingham
March 28: Barrowland, Glasgow
March 29: Albert Hall, Manchester
March 30: Roundhouse, London
April 1: O2 Academy, Bristol
April 2: Rock City, Nottingham
April 4: O2 Academy, Leeds
April 5: Olympia, Liverpool
”.

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 IMAGE CREDIT: Getty Images/Press

It is great to see the band have got back together – there was a bit of tension at one stage and many felt their days were extinct – but there is a real appetite for their music and what they left behind. I wonder whether, like many bands returning after years at sea, this is about nostalgia and recapturing memories. You see the article above and, yes, The Zutons were darlings and icons of the early-2000s. They represented something bold, colourful and appealing and, whilst their music is still relevant, is a tour a chance for us to see the old hits one more time before they go off again?! The band have said material will follow – they are keen to get paid, they cheekily remarked – and I wonder why they have come together again. Maybe they all got into a room and decided enough is enough...it has been a long time and we are all close mates. Perhaps there is that need to mark ten years since their last album and mark a sort of anniversary. The dates, I am sure, will be well-attended and I do wonder what a new Zutons album will involve. As much as I love Who Killed...... The Zutons?; it has been fourteen years and they couldn’t very well repeat the sound of the debut. I love the infectiousness of that record but understand if they take a different stand.

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 IN THIS PHOTO: The Zutons’ Abi Harding at V Festival in 2005/PHOTO CREDIT: ant217

My worry is that they will do something more ‘mature’ and loss the spark and adventure that opened eyes back in 2004. I always think their secret weapon is saxophonist Abi Harding and her mad skills! Even from the debut album, it was her extraordinary talent and passion that sort of brought the songs to life. I love Dave McCabe and the guys but I hope Harding plays a big role in any new record and the tour. I presume the band’s original/last line-up will be solid and unchanged but it is what they do after the tour that interests me. I know Harding has been busy since The Zutons sort of went on hiatus and I cannot wait to hear her back in the fray. There is that debate regarding nostalgia and a genuine new phase of a band’s life. Many can say The Zutons are simply trying to milk the nostalgia cow but, at a time when so many artists enjoy a brief career, seeing them come back and look to the future is a good thing. The pressure from critics will be huge and many will want to see – if and when another album comes – something akin to their earliest work. The members are all a bit older and wiser and might be looking to take their sound in a new direction. Can The Zutons rekindle that flame and get the same sort of attention they received in the middle of the last decade?!

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 IN THIS PHOTO: The Zutons at a hometown (Liverpool) gig/PHOTO CREDIT: Getty Images

There is a lot of political division and tension in this country so they might want to document that. Maybe family life and new loves will play a role or perhaps they will draw together their early excitement with something a little smoother and less boisterous. So long as – no bias or anything – Harding is allowed to strike and open her wings then I feel critics will latch back onto the band much quicker. The Zutons are not the only act who is back in the spotlight after a long time away. Band reunions are not a new thing: many get back for the cash or a nostalgia reunion; others patch up their difference or decide that they have been away from one another for a long time. The Streets (Mike Skinner) is embarking on new tour dates and, under the guise ‘Mike Skinner and The Streets, there is new material out and it seems like things are back on track. Earlier in the year, NME reported on The Streets’ announcement of a ‘greatest hits’ tour:

Maybe a twinge of nostalgia stirred in Mike Skinner when ‘Original Pirate Material’ turned 15-years-old last year and there was a flurry of pieces looking back on its brilliance. Whatever his motivation, this week The Streets will play their first shows in the UK since signing off (in Skegness, no less) in 2011. The gigs, which sold out in minutes, begin in Skinner’s old stomping ground Birmingham and round-off with three huge nights at O2 Academy London...

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IN THIS PHOTO: The Streets (Mike Skinner) has announced tor dates for next year but not released an album since 2011’s Computers and Blues/PHOTO CREDIT: Getty Images/Press

It’s billed as a “greatest hits tour”, and when Mike Skinner confirmed the news about the comeback, he joked he’d “missed tour buses very much”, adding “it’s been long enough”. Yes, seven long years since he put on his Classics to have a little dance and perform live as The Streets.

Course, there were a few raised eyebrows when the news landed. Skinner sounded adamant when he told The Guardian “The Streets is finished” at the beginning of the decade just before the release of their fifth and final album, going on to say “I have no interest in repeating myself”. He recently said the decision wasn’t based on the pay-day, telling Mr Porter “I don’t need the cash, otherwise I’d have done all the festivals, and the offers we got were insane”.

As reunions go, this is one of the less complicated ones since Mike Skinner is The Streets. No inter-band wrangling, here. For these shows, he’s surrounded himself with a white-hot live band of five members. It includes long-term collaborator Robert Harvey on guitar, formerly of baggy-rockers The Music, and the other half of Skinner’s collaborative project The DOT. The soulful Kevin Mark Trail joins him on vocal duties for large parts of the set, swapping flanks of the stage, but it’s still a show that’s led by Skinner. Who, by the way, is looking in top shape for a guy now into his late-30s”.

The last album from Mike Skinner’s act, Computers and Blues, was out in 2011 and it was felt, once that album was done, things were complete. There were those questions around cashing in on remembrance and nostalgia but Mike Skinner seems to be in inspired mood and is putting out new stuff. Like The Zutons and how they will be remembered; many people will look at the glory days and recapturing that spirit. The Streets’ first two albums, Original Pirate Material (2002) and A Grand Don’t Come for Free (2004), and want more of the same. The fact Mike Skinner is not the same man as he was then means we cannot return to those days. In that time, he was this young man whose experiences of council estates and dodgy takeaways was drawn from experience a sense of struggle. Now, having moved on from that life to an extent, he cannot write about the same things with the same clarity and authenticity.

The newest stuff he has put out sounds pretty good but many will note it is not quite as lofty and epic as the stuff being produced back then. Back in 2002, there was this emerging U.K. Garage and Hip-Hop scene and this was pre-YouTube and streaming. The scene was different and I think a lot of people look at artists and expect they will pick off where they left from or they will return to their golden period. Every band and act needs to evolve and it would be unrealistic to expect Mike Skinner to write about dodgy birds down the pub and negotiating the weather as he makes his way home from a late one.

Even though the newish material from The Streets is not as fired and genius as the older work; it is exciting to see things kicking back off. No plans, as far as I know, are out regarding a new album and whether there will be more Streets stuff. The dates are out so, in order to transition from nostalgia to a genuinely new phase of things, Skinner will be thinking, let’s hope, about a new album. The Zutons will have some pressure regarding when an album comes out and how it will sound – don’t expect new stuff from The Streets to instantly go back to 2002. The Zutons were vibing from and capturing a spirit that was looming in 2004 and party of a Mersey/Wirral sound. Things have changed and The Coral have moved on from their more weird and wonderful experimentations of The Coral (2002) and Magic and Medicine (2003). The thing that links The Coral, The Zutons and The Streets is a distinct regency – 2002-2004 – and it has been a long time since then. Even though The Zutons and The Streets are playing their earlier material in new tour dates; that does not mean, when new material comes, they will stick with that sound. It is tricky for any popular band/artist to go away from music, come back after a long time, and convince people they are looking ahead and not simply doing a sort of nostalgia tour. It is great to see The Zutons and The Streets return but we all want new tracks and are curious where they head.

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 IMAGE CREDIT: Getty Images

I return to The Zutons and, as much as I adore their debut and revel in that magnificence and freshness; it is 2018 and we might not get new material until this time next year. Each member has been through a lot and their camp is not the same as it was back in 2004. Look at everyone from Blur to The Stone Roses and what sort of pressure was placed on them when they brought out new material. You cannot recapture the past but it is unfair to judge artists’ motives and assume anything after their heady peak will not resonate. I know The Zutons will smash their tour and whatever they bring out next will be fantastic – the same goes with The Streets. It is always humbling seeing artists reform and acts getting a new lease of creative life. Maybe we will not hear another Pressure Point or Valerie from them but the fact they are back in the world. Many asked Who Killed...... The Zutons? and we were Tired of Hanging Around but, in 2018, it seems, in The Zutons’ mind, We Can Do Anything (sorry!). The band is back, rejuvenated and, let’s cross our fingers, critics and the public...

WILL be right behind them!

 

FEATURE: Starting the Decade in Style: Part V/V: The Finest Albums of 1980

FEATURE:

 

 

Starting the Decade in Style

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PHOTO CREDIT: @artificialphotography/Unsplash 

Part V/V: The Finest Albums of 1980

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THE reason I am putting together this feature…

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 PHOTO CREDIT: @_sharon_garcia/Unsplash

is to shine a light on the albums that started a decade with a huge deceleration. I feel it is hard to define what a decade is about and how it evolves but the first and last years are crucial – I have already looked at decade-ending albums. I am bringing to life this feature that celebrates albums that opened a decade with a mighty amount of quality and gave inspiration to those who followed. In this final part, I am focusing on 1980 and the best ten records from the year. We often feel the 1980s is a bit of a weak decade but, regardless of what you think of it as a whole, the first year was a pretty epic one and gave us so many terrific albums. Have a look at the selected ten and see how a maligned (but terrific) decade...

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 PHOTO CREDIT: @priscilladupreez/Unsplash

GOT off of the blocks.

ALL ALBUM COVERS: Getty Images

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Talking Heads Remain in Light

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Release Date: 8th October, 1980

Label: Sire

Review:

The album's single, "Once in a Lifetime," flopped upon release, but over the years it became an audience favorite due to a striking video, its inclusion in the band's 1984 concert film Stop Making Sense, and its second single release (in the live version) because of its use in the 1986 movie Down and Out in Beverly Hills, when it became a minor chart entry. Byrne sounded typically uncomfortable in the verses ("And you may find yourself in a beautiful house, with a beautiful wife/And you may ask yourself, well, how did I get here?"), which were undercut by the reassuring chorus ("Letting the days go by"). Even without a single, Remain in Light was a hit, indicating that Talking Heads were connecting with an audience ready to follow their musical evolution, and the album was so inventive and influential, it was no wonder. As it turned out, however, it marked the end of one aspect of the group's development and was their last new music for three years” – AllMusic           

Standout Track: Once in a Lifetime

Dire Straits Making Movies

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Release Date: 17th October, 1980

Labels: Vertigo/Warner Bros. (U.S.)/Mercury (Canada)  

Review:

Without second guitarist David KnopflerDire Straits began to move away from its roots rock origins into a jazzier variation of country-rock and singer/songwriter folk-rock. Naturally, this means that Mark Knopfler's ambitions as a songwriter are growing, as the storytelling pretensions of Making Movies indicate. Fortunately, his skills are increasing, as the lovely "Romeo and Juliet," "Tunnel of Love," and "Skateaway" indicate. And Making Movies is helped by a new wave-tinged pop production, which actually helps Knopfler's jazzy inclinations take hold. The record runs out of steam toward the end, closing with the borderline offensive "Les Boys," but the remainder of Making Movies ranks among the band's finest work” – AllMusic   

Standout Track: Romeo and Juliet

David Bowie Scary Monsters (and Super Creeps)

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Release Date: 12th September, 1980

Label: RCA

Review:

Elsewhere, however, many of the songs on Scary Monsters (and Super Creeps) were as challenging and unconventional as critics and discerning Bowie-philes could have asked for. The opening tune, "It's No Game," married a plodding dirge to Bowie's intentionally strangled vocals and a female narration of the lyrics in Japanese. "Up the Hill Backwards" commented on the singer's recent divorce over a lurching, 7/4 beat, and then the title track arose from a sinister Robert Fripp guitar figure, which was indicative of its subject's descent into madness – all before the aforementioned singles made their entrances.

Bowie's imagination continued to fly unchecked and unafraid on the second side, over the anthemic, "Heroes"-like march of "Teenage Wildlife," the intriguing chord changes that made "Scream Like a Baby" half-new wave, half-hard rock, a lush interpretation of Tom Verlaine's "Kingdom Come" complete with girl-group backing vocals, a densely arranged "Because You're Young" boasting windmill power chords from Pete Townshend and concluding with a "civilized" reprise of "It's No Game" that proved a Dr. Jeckyll to the opener's Mr. Hyde” – Ultimate Classic Rock

Standout Track: Ashes to Ashes                   

         

Peter Gabriel Peter Gabriel 3: Melt

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Release Date: 23rd May, 1980

Labels: Charisma (U.K.)/Mercury (U.S.)/Geffen (U.S./Canada)

Review:

Each aspect of the album works, feeding off each other, creating a romantically gloomy, appealingly arty masterpiece. It's the kind of record where you remember the details in the production as much as the hooks or the songs, which isn't to say that it's all surface -- it's just that the surface means as much as the songs, since it articulates the emotions as well as Gabriel's cubist lyrics and impassioned voice. He wound up having albums that sold more, or generated bigger hits, but this third Peter Gabriel album remains his masterpiece” – AllMusic

Standout Track: Games Without Frontiers

U2 Boy

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Release Date: 20th October, 1980 

Label: 4AD

Review:

As much as these were songs that Bono sincerely felt, he clearly wished that the world was a good enough place that it wouldn't require them. On gentle album closer "40" he returns to a refrain from "Sunday Bloody Sunday", saying "I will sing, sing a new song/ How long to sing this song," regretting the need to sing about the world's ills. The U2 we've known ever since had arrived on War, and even today it sounds vital. As much as cynical critics and listeners often swipe at U2 for their earnestness, it's still refreshing to hear a band that cares so much, wants to be heard by so many, and isn't afraid to show it. As if to hammer home the point, the reissues each include contact information for half a dozen activist charity organizations” – Pitchfork 

Standout Track: I Will Follow

John Lennon and Yoko Ono Double Fantasy

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Release Date: 17th November, 1980

Label: Geffen

Review:

Even as a bared-soul, one-man show on an LP like Plastic Ono Band, Lennon adjusted and perfected himself with clever production techniques. He didn’t view naturalism as attainable through austerity alone; it had to be painstakingly sought through trial, error, and education. And sleek professionalism characterized Double Fantasy to such an extent that the record’s isolated individual pieces never seem anything more than inchoate kernels in need of fleshing out. Double Fantasy Stripped Down tries to husk the album’s craft to expose the rubbed-raw honesty within, but it condemnably forgets that in 1980, beside wife and child, Lennon’s honesty was his craft” – SLANT

Standout Track: (Just Like) Starting Over

Joy Division Closer

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Release Date: 18th July, 1980

Label: Factory

Review:

Closer is even more austere, more claustrophobic, more inventive, more beautiful, and more haunting than its predecessor. It's also Joy Division's start-to-finish masterpiece, a flawless encapsulation of everything the group sought to achieve. The hypnotically abrasive "Atrocity Exhibition" leads to the relentless yet somehow still economical "Isolation", the group more capable in its playing and confident in the arrangements. The dirge "Passover" implies that the band is every bit aware of its morbid power, while "Colony" marks a return to the heavy riffage of Unknown Pleasures.

Then, after such an auspicious start, Closer really clicks into gear. "Means to an End" is death disco before the fact, buoyed by a surprisingly rousing (and wordless) chorus. "Heart and Soul" is a remarkable collision of atmosphere and minimalism, the stuttering drum beat, synth and Peter Hook's melodic bass lead linked to one of Curtis' most subdued performances. "Heart and soul," he sings, as the stark instruments intertwine and twist together. "One will burn."

"Twenty Four Hours" briefly tries to pry free from the album's looming inevitability before "The Eternal" and "Decades" draw the music back down and the listener back in to Curtis' world. "The Eternal" is the bleakest thing the band ever recorded, and if "Decades" comes off a relative respite in comparison, the lyrics quickly quash that idea. "We knocked on the doors of Hell's darker chamber," moans Curtis. "Pushed to the limit, we dragged ourselves in” – Pitchfork

Standout Track: Isolation

The Pretenders Pretenders

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Release Date: 7th January, 1980

Labels: Real (U.K.)/Sire (U.S.)

Review:

Hynde wasn't the Pretenders' only force of nature. Guitarist James Honeyman-Scott, a master of tone and time, was her ideal partner. He shunned soloing in favor of an effects-laden, textured approach that locked in with Hynde's feral snarls and tremulous stretched notes. Bassist Pete Farndon and drummer Martin Chambers made sure that, even on the slower numbers, Pretenders has an unstoppable, springy momentum. The band cut only one more LP before Honeyman-Scott fatally overdosed, with Farndon following suit less than a year later. But Pretendersstands as a stunning confluence of hooks, sonics and substance -- it's one of those rare albums on which every move turns out to be the right one”– Rolling Stone  

Standout Track: Brass in Pocket

Bruce Springsteen The River

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Release Date: 17th October, 1980   

Label: Columbia

Review:

Like many double albums, The River doesn't always balance well, and while the first half is consistently strong, part two is full of songs that work individually but don't cohere into a satisfying whole (and "Wreck on the Highway" is beautiful but fails to resolve the album's essential themes). But if the sequencing is somewhat flawed, Springsteen rises to his own challenges as a songwriter, penning a set of tunes that are heartfelt and literate but unpretentious while rocking hard, and the E Street Band were never used to better advantage, capturing the taut, swaggering force of their live shows in the studio with superb accuracy (and if the very '80s snare crack dates this album, Neil Dorfsman's engineering makes this one of Springsteen's best-sounding works). The River wasn't Springsteen's first attempt to make a truly adult rock & roll album, but it's certainly a major step forward from Darkness on the Edge of Town, and he rarely made an album as compelling as this, or one that rewards repeat listening as well” – AllMusic       

Standout Track: Hungry Heart

The Jam Sound Affects

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Release Date: 28th November, 1980

Label: Polydor

Review:

Weller’s lyrics were also more human and approachable. Several times he makes self-deprecating reference to his 'star' status (Boy About Town) and also the acceptance of the healing power of love (But I'm Different Now). Only on Set The House Ablaze (which sounds like an out take from their previous album, Setting Sons) does he sound like he’s treading water.

Ultimately Sound Affects shows a band that was being pushed by its leader slightly beyond their level of ability. Buckler and Foxton's propulsive acumen was already falling behind Weller’s ambitions. After the full-on soul revival of The Gift he was to abandon the three-piece for pastures new. But on this album you get to hear the Jam at their absolute peak” – BBC

Standout Track: Start!

FEATURE: The Dirty Dozen: The Most Underwhelming, Average and Just Plain Awful Albums of 2018

FEATURE:

 

 

The Dirty Dozen

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PHOTO CREDIT: @isaiahrustad/Unsplash 

The Most Underwhelming, Average and Just Plain Awful Albums of 2018

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THERE are a lot of lists out at this time of year…

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 PHOTO CREDIT: @kevin_1658/Unsplash

that celebrate the best albums and heap praise on moments of brilliance! You get the odd list that does the reverse – by going after sub-par and bad albums – but not too many! I have already listed my favourite records this year so thought I would bookend things by going down the other end of the spectrum. There were albums I had hopes would be good and disappointed (Muse and Animal Collective) and some very plain and insipid ones (from Justin Timberlake and Richard Ashcroft); the awful ones (from Mumford & Sons and Fall Out Boy) to those that need to be burned and erased (Lil Xan and Machine Gun Kelly spring to mind!). Here are a dozen albums that most people will not see on the ‘best albums of 2018’ lists and occupying much headspace next year. Maybe you will disagree with some choices – and feel more ‘deserving’ albums need to be included - but here are twelve records that, I feel, either promised much and failed; left no real impact on the mind or…

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PHOTO CREDIT: @freestock/Unsplash

LEFT a sour taste in the mouth.            

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Richard Ashcroft Natural Rebel

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Release Date: 19th October, 2018

Labels: BMG/Righteous Photogenic Association

Sample Review:

The one dimensional pace omnipresent throughout Natural Rebel doesn't help matters, and by the time it does pick up on closing number 'Money Money', a close descendant of 2000's 'Money To Burn' that's heavily inspired by Let It Bleed era Rolling Stones, interest has waned to the point of no return. Which is a crying shame when all's said and done, because despite Natural Rebel's many flaws, Ashcroft's legacy as a distinguished songwriter of some repute remains. Even if his most distinguished works are confined to the past.

Nevertheless, in an era where the likes of Idles and Sleaford Mods (whose frontman is actually a year older than Ashcroft) are kicking up a storm against the political and social injustice that surrounds them, there's never been a less appropriate time to say nothing than the present. Sadly, Natural Rebel oozes magnolia from every pore, and in the current climate that simply won't do” – Drowned in Sound

Saving Grace Track: Born to Be Strangers

Machine Gun Kelly BINGE

Release Date: 21st September, 2018  

Labels: Bad Boy/Interscope

Sample Review:

In an interview recently, Eminem said: “Now I’m in this fuckin’ weird thing, because I’m like, ‘I gotta answer this motherfucker’, and every time I do that it makes them bigger by getting into this thing, where I’m like ‘I want to destroy him. But I also don’t want to make him bigger.'”

Sadly, it feels that this is just what has happened with ‘Binge’. Rather acting as an gateway to an important conversation about excess, and becoming MGK’s moment to shine, it has sadly become an EP all about Eminem and, as he raps on ‘Killshot’, a work about “who can out-petty who.” It could have been so much more” – NME

Saving Grace Track: LATELY

Lil Xan TOTAL XANARCHY

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Release Date: 6th April, 2018   

Label: Columbia

Sample Review:

Bad lyrics don’t necessarily matter in pop-rap, and his intermittent facility for hooks means that some of the tracks succeed nonetheless – Wake Up will have you mumbling “I wake up, I throw up, I feel like I’m dead” all day – and there is some fine, gothic production from Mike Will Made-It and others. But Xan often struggles to create a unique timbre – Diamonds references XXXTentacion’s flow, while Far is uncannily similar to Post Malone – and he is shown up by his more talented guest stars, such as Rae Sremmurd, who helps make Shine Hard the album’s best track.

Lil Xan serves a purpose. At the risk of sounding like a funky supply teacher earnestly preaching from a flipped-around chair, rap is America’s folk music, constantly taking stock of the nation. Some rappers vocalise its troubles, but others, like Lil Xan and his SoundCloud brethren, reflect them – their violent misogyny, torpor and inarticulacy reveals as much about a rudderless generation as, say, Kendrick Lamar does. But that doesn’t mean it’s good to listen to. Like the much-memed Simpsons quote from Principal Skinner, it’s tempting to say the children are wrong about this” – The Guardian

Saving Grace Track: Betrayed

Fall Out Boy MANIA

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Release Date: 19th January, 2018   

Labels: Island/DCD2

Sample Review:

Instead of making Fall Out Boy seem fresh, these electronic inflections wind up hinting at the group's age, as this frenetic music never seems to come as easily as the familiar amped-up blue-eyed soul and heady punk-pop. That transparent sense of labor does indeed make M A N I A seem manic, with Fall Out Boy not so much chasing trends as demonstrating that they know something is happening, they just don't know what it is. All this feverish digital desperation makes the already clamorous M A N I A feel positively cacophonic: it may only be 39 minutes but it's one long ride” – AllMusic

Saving Grace Track: Champion

Vance Joy Nation of Two

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Release Date: 23rd February, 2018   

Labels: Liberation

Sample Review:

But a little of that naivety goes a long way, like a supermarket trifle, and the triteness of the metaphors grates. On Crashing Into You alone he offers “I was a bird, you opened my cage”, “You light up my days, my personal sun” and “you made me feel new”. It’s Hallmark greetings-card verse as song lyrics. Still, that’s better than when he tries to get thoughtful, on Lay It on Me: “Some things are simple and hard to ignore, they say, hmmm mmm, the truth is like that.” Which things are those? Who are they? Why is the truth like that? Expect to hear every track, everywhere, all through spring and summer” – The Guardian  

Saving Grace Track: Saturday Sun

Imagine Dragons Origins

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Release Date: 9th November, 2018

Labels: Kidinakorner/Polydor/Interscope

Sample Review:

However, love is deemed to be the cure for all of the world’s problems, from apathy to violence, on the listless Love.  “It’s been a long time comin’, feel like we’ve all been runnin’, feel like the Wild West gunnin’, listen to our elders shunnin’, flippin’ on the news be talkin’, all about the problems shockin’, we put on our headphones walkin’,” he sings, calling out our modern-day sins over a rolling beat before rushing into the handwringing chorus of “Where did we all go wrong?” A very valid question.

Misery finds a home on Origins and, while societal problems are laid bare, the solutions – like simply turning off our phones on Real Life if the constant bad news gets you down –  are as lacklustre as the songs.

For a band so concerned with losing their identity among the masses (or the charts), Origins fails to deliver anything distinctive; but, for a band that regularly sells out arenas and stadiums, the nothingness of their lyrics will be drowned out by the rest of their noise” – The Irish Times

Saving Grace Track: Natural

Justin Timberlake Man of the Woods

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Release Date: 2nd February, 2018  

Label: RCA

Sample Review:

Tunes-wise, Timberlake’s return to his roots is partial, as standout songs like Sauce and Filthy gyrate persuasively around Princely funk and bombastic, lubricious R&B. Midnight Summer Jam is the sort of busy party production that Timberlake has specialised in for years, abetted by the Neptunes (who produce again here).

From here on in an uneasy fusion ensues, however, in which Timberlake “gets his flannel on” (Flannel) and mostly fails to combine the rural with an edgy digital aesthetic – a particularly gnomic duet with country star Chris Stapleton (Say Something) is produced by Timbaland. Sometimes, though, new ground is broken. Wave is , blithe, downright ear-pricking ska just on the “yes” side of “what?” – The Observer

Saving Grace Track: Man of the Woods

Greta Van Fleet Anthem of the Peaceful Army

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Release Date: 19th October, 2018  

Label: Republic

Sample Review:

Blame it on GVF's desperate desire to hit their marks precisely. The group is so intent on recapturing the majestic lumber of Zeppelin at their peak, they dare not miss a step, letting the riffs pile up so they suggest epics. Sometimes, guitarist Jake Kiszka, bassist Sam Kiszka, and drummer Danny Wagner do work up a head of drama -- no swing, of course, because it's harder to replicate John Bonham's beat than approximate Jimmy Page's guitar army -- but they're undone by Josh Kiszka, a singer who is intent on singing with velocity that he can't muster. Josh may be the weak link, but he merely reveals how the whole band seem to have learned their moves from watching late-night concerts on Palladium while buying pre-worn vintage-styled T's at Urban Outfitters. For the band and audience alike, Greta Van Fleet is nothing more than cosplay of the highest order” – AllMusic

Saving Grace Track: When the Curtail Falls

Sting & Shaggy 44/876

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Release Date: 20th April, 2018  

Labels: A&M/Interscope/Cherrytree

Sample Review:

Perhaps the only shocker is that this Tommy Bahama shirt of an album isn’t even fun to laugh at. Sure, Sting drops awkward reference to “my good friend, Shaggy.” “Just One Lifetime” reggae-fies Lewis Carroll’s “The Walrus And The Carpenter.” One track is called, with no apparent self-awareness, “Sad Trombone.” (It’s about a sad trombonist.) But mostly, 44/876 is just unremarkable, limply competent reggae lite, designed for Sandals resort lobbies and Sting’s office” – The A.V. Club  

Saving Grace Track: Don’t Make Me Wait

Muse Simulation Theory

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Release Date: 9th November, 2018

Labels: Warner Bros./Helium-3

Sample Review:

Take a step back from the ins and outs of the record and ‘Simulation Theory’ stands as a ridiculous, bombastic stab of maximalism from one of the world’s biggest stadium rock bands. The chugging intro of ‘Algorithm’ is perfect for walking out to at a sold-out Wembley Stadium to, and it’s clearly been written with exactly that in mind. Single ‘The Dark Side’ is a suitably groovy aside from the album’s relative lack of danceability, and by the time you’ve stopped laughing at the frankly jaw-dropping robotic intro to ‘Propaganda’, you realise you’re toe-tapping to its ‘80s-indebted verse without even realising.

The highlight is ‘Get Up And Fight’, beginning with hints of tropical house (stay with us) and skipping along with confidence before throwing out the best chorus the band have written in a decade. ‘Something Human’ is almost admirable in its absurdity - the lawsuit from Atomic Kitten’s ‘Whole Again’ is in the post - and if a Muse album isn’t meant to make you laugh, gasp and double-take in its ridiculousness, then we don’t wanna hear it” – DIY

Saving Grace Track: Pressure

Mumford & Sons Delta

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Release Date: 16th November, 2018

Labels: Gentlemen of the Road/Island/Glassnote

Sample Review:

Perhaps this had a liberating effect on Mumford & Sons, allowing them to jam and create in ways both familiar and new, but it's hard to hear a kinetic spark on Delta. Rather, it's a measured and subdued affair, proceeding at a deliberate pace and unfurling at a hushed volume; even at its loudest moments, it seems quiet, even muffled. This kind of well-manicured production, when paired with a series of songs focused on internal journeys, ultimately has a lulling effect. There is a pulse, but it's soft and turned electronic. There is emotion, but it's been intentionally encased in a digital cocoon, one that flattens the group's bold accents (such as an embrace of vocoders) and turns Delta into soft, shimmering background music, ideal for any soothing setting you'd like” – AllMusic

Saving Grace Track: Guiding Light

Animal Collective Tangerine Reef

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Release Date: 17th August, 2018

Label: Domino

Sample Review:

Tangerine Reef is described as a “visual tone poem”, which goes some way towards explaining the droning gurgled vocals sounding like spoken word being read underwater. Through experimental sound sculptures of disorienting free-flowing tempos, wildly contrasting pitches and timbres, Tangerine Reef gives a musical voice to these alien coral creatures and their aquatic world. If only it were a more mellifluous voice.

Strip away the warped vocals and heavy reverb to reveal occasional glimmers of beauty and unnerving dissonance, and it could be a film soundtrack – part horror, part nature documentary. But the most beautiful thing about this is by far the luminous fluorescence of the swaying coral creatures of the accompanying film” – The Independent

Saving Grace Track: Hair Cutter

FEATURE: Are They Messiahs or Just Very Naughty Boys?! The 1975’s A Brief Inquiry into Online Relationships and Comparisons to Radiohead’s Epochal OK Computer

FEATURE:

 

 

Are They Messiahs or Just Very Naughty Boys?!

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ALL IMAGES/PHOTOS (unless credited otherwise): Getty Images 

The 1975’s A Brief Inquiry into Online Relationships and Comparisons to Radiohead’s Epochal OK Computer

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IT is not often you have these seismic albums arrive…

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 IN THIS PHOTO: The 1975 (photoed back in 2016)

that gets critics drooling and writing the sort of words usually reserved for life-changing records and biblical events! The 1975’s latest new album, A Brief Inquiry into Online Relationships, is out on Friday and, as the name suggests, seems to suggest an investigation into modern trends; the way we communicate and how we can be too drawn into the machine. The Manchester band is just about to release their third record (another is already planned for next year) and ever since 2013’s The 1975, the band have grown in stature and confidence. 2016’s i like it when you sleep, for you are so beautiful yet so unaware of it split critics; not just because of its long-winded and odd title but the material was not as sharp as it could have been – in places, that is. It seems modern life and politics has played a bigger role into A Brief Inquiry into Online Relationships and that sense of understanding, emotion and revelation has wowed critics! In this interview with NME; lead singer Matt Healy spoke about the Internet and its dangers:

“Understand that the internet is an attention economy,” says Matty. “Become aware that the thing on Twitter where you scroll and it waits to update is a slot machine technique, an addiction-based mechanism. We’re not in 2004, it doesn’t need to do that. It’s there to keep you excited and to keep you off Facebook. And Facebook has an infinite scrolling feed to keep you off Twitter. And YouTube does automated videos at the end to keep you off Netflix. And Netflix lets you skip the intro to so you don’t get bored and then plays another fucking thing. In the real world they’re vying for your money, online they’re vying for your attention”.

 

He noted how technological change has made us more depressed...

When text messaging first came about, it was still a one-to-one negotiation: I propose an idea or something to you, you exchange back to me,” says Matty. “When you get to 2010/2011, this new model of communication that exists is that you put something out there into the world and then you wait for a reaction. Now, if you look at the depression rates amongst young men, the correlation between these two things is very measurably concise, and amongst young women it’s insane”.

Technology and its changing role in our lives is being noted by many bands and, in a year that has seen observant, observational and hugely inspiring records like Joy as an Act of Resistance (IDLES) arrive; it is understandable bands like The 1975 are incorporating more impressions on modern love, technology and mental-health into their work. What makes their new record so varied and appealing is that blend of traditional love songs and heartbreak together with deeper, modern-day subjects. Healy, if the album is to be viewed as a work of genius, is not sure whether music itself makes us more happy:

It’s a myth that people make music to be happy,” Matty said back then, in the West London offices of Dirty Hit. “Like, what’s even the point in happiness? It doesn’t serve anything you know? A good analogy is people working in the early days of radioactive material, exposing themselves to lethal levels of radiation in order to achieve a goal. Happiness isn’t involved in it. My creative pursuit doesn’t elicit that much happiness because a lot of the time it’s about the darker side of me. And that’s not a depressing thought, I think a lot of the time that’s the way it should be, if you’re really really challenging yourself. But yeah, it’s fucking torture”.

The album, conducted by Dan Stubbs, delved into the creative process and how the album came together. Healy’s addiction issues clouded the early recording stages and it seemed like A Brief Inquiry into Online Relationships could easily have derailed before it even begun. There was therapy and recovery and, whilst he enjoys the odd fag, it seems the lead has cleaned up and is sober. You can hear a man going through these changes and wrestling with himself; trying to find real love and, at the same time, battling against the machine and its role in the world. A Brief Inquiry into Online Relationships is out on Friday but, from the songs we have already heard, we get a good impression of what the record is about:

If you’ve been following the band’s campaign, you’ll know that the songs they’ve put out so far create a picture of an utterly unknowable album: ‘TooTime…’ is bouncy piano house, ‘Give Yourself A Try’ is fuzzed-up pop and ‘Sincerity Is Scary’, released last week, is glitchy neo-jazz. There seems to be no theme; where ‘TooTime’ is wilful fluff (“I’m at a point in my life where I love anything that just makes me feel good,” says Matty), another pre-release track, ‘Love It If We Made It’ is a towering and ingenious protest song. It casts no opinion on anything, but simply describes images and soundbites of the modern world: “Poison me daddy… A beach of drowning three-year-olds…

It’s a bit of a… what’s a good word for curveball? It’s the least kind of on-the-nose, sticky record that I’ve ever done, there’s no theme, there’s no gags. In fact, no, there are shitloads of gags, but it’s not like so self-aware and so ‘am I a rockstar or am I a dickhead or am I an egomaniac?’ this time. It’s just really honest. But it’s not weird, because what would be a weird 1975 record is if we brought out something like that Arctic Monkeys record that was very different for them but has a consistent sound. I don’t know how to do that, that’s a skill I do not have”.

One reason why IDLES’ latest album has won plaudits and towering reviews is its relevance and fearless tones. The band tackle toxic masculinity and depression; they look at Brexit and how the country is changing and, because of that, people have these ersatz leaders who are speaking the truth and understand what we are all going through. It is that important step away from mainstream and cliché subjects – band talking about love and the same old crap – that has captivated people. Even when The 1975 talk about relationships and hearts on A Brief Inquiry into Online Relationships they are doing so in a way like very few others have done.

It is clear critics have been caught and dumbstruck by what they have heard on A Brief Inquiry into Online Relationships. Stereogum provided their take:

Whether people like it or not, there’s a real chance the 1975 are on track to be one of the defining names of the decade, a real chance they have a true generation-defining classic in them. There is a noble cause in their work so far, a young band not looking back as they careen headlong into all kinds of treacherous territory. That’s what makes the 1975 what they are, what makes them worth paying attention to as they mutate and try and find their way to the next sound. Because somewhere within this band, there is something that is indeed very in tune with our times”.

NME echoed that and provided their thoughts regarding the band’s album:

‘Mine’ is a breathtaking piece of work, and one of many here that proves that The 1975’s core songwriting team of Matty Healy and George Daniel are not just the most accomplished and creative duo working in pop right now but the closest thing we have to a present-day Lennon and McCartney, a pair whose golden touch makes them near-enough unassailable. Clever and profound, funny and light, serious and heartbreaking, painfully modern and classic-sounding all at the same time, ‘A Brief Inquiry Into Online Relationships’ is a game-changing album, one that challenges The 1975’s peers – if, indeed, there are any – to raise their game...

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PHOTO CREDIT: Danny North for NME

So Healy had set out to describe his own experience, but in doing so has produced an artefact that sums up millennial life, a magpie pop masterpiece that could only be made right now and right here. And for every stupid joke you’ve heard about avocados and house prices and safe spaces and jazz hands, this is a piece of art that shows another side to a generation, one of achievement, wit and humanity in the most confusing of times. Clever boys”.

Consequence of Sound gave their viewpoint:

A Brief Inquiry into Online Relationships stretches the definition of what a rock album can be in 2018. Through empathy and a willingness to engage, Healy, a self-described “millennial who baby boomers like,” writes songs for a largely misunderstood generation without playing into the trap of lambasting an entire group of people”.

The Line of Best Fit also commented on the Radiohead similarities:

The album ends on a self-consciously euphoric note, with the carefully constructed soaring indie of “I Always Wanna Die (Sometimes).” It could be read as the natural end point of the album’s commitment to earnestness, or a high-concept song designed for end-of-encore sing-alongs: a final Britpop goodbye in the world’s dying embers, because we all want to go out to the sound of something familiar. That it could be read as either of these things – sincere or meta – is what makes The 1975, and this record, so compelling...

 

Comparisons will be made to Radiohead’s OK Computer, another era-defining third album that examines the internet’s effects on our interpersonal lives. But A Brief Inquiry actually resembles Kid A’s best two tracks, “How to Disappear Completely” and “Motion Picture Soundtrack” – music that wrenches magnificence from the barest bones of humanity. By interrogating the strategies we employ to keep on living in an impossible world, this astonishing album has become one”.

It is a rather bold claim comparing The 1975’s latest with something as revered and titanic as OK Computer but many critics are going there. Like Radiohead’s epochal and genre-fusing masterpiece; The 1975 are able to mix the simple and traditional with something a little unexpected. Talking with Pitchfork; Matty Healy was asked about the band’s U.K. Garage stab in How to Draw/Petrichor. Radiohead, on OK Computer, has raw rockers like Electioneering; it is seems The 1975 were keen to open their palette when it came to writing a song like this:

Growing up in the UK, if the radio was on past 7 o’clock, it was dance music. It’s the soundtrack to nighttime, to being up too late, to being a kid. So it’s not so much us trying to pay homage to the records we were into as teenagers as much as it was the sound of being young to me. That’s why “How to Draw” is really easy for us, because that’s our identity. That’s where we come from”.

Love It If We Made It has a political edge and it is a song that seems to be very of-the-moment and represents what many of us are all thinking – with lines including Donald Trump and Kanye West:

Basically, every day post-I Like It When You Sleep, I got [Dirty Hit Records product manager] Ed [Blow] to pick up the tabloid newspapers on the way into the office so I could eventually, after a year, have every single tabloid headline and write a song about that”.

Not only are the lyrical themes impressive and wide but the compositions are varied and eye-opening. This is not a traditional Pop/Rock album in any sense. A Brief Inquiry into Online Relationship, in the same way as Radiohead experimented on OK Computer in 1997 and Kid A in 2000, steps in different directions and uses traditional instruments, effects and genres like Jazz. Sincerity Is Scary features the brilliant Roy Hargrove. That recording experience, evidently, was impactful:

“...So intense. You’d get him in the room and you’d be so scared. He did the trumpets on D’Angelo’s Voodoo, which is the most iconic brass section for us ever. He was the greatest musician I’ve ever been in a room with, by a mile”.

The Man Who Married a Robot/Love Theme is close to one of Radiohead’s OK Computer cuts, Fitter Happier. Although Radiohead’s song features a computer voice programmed used by Professor Stephen Hawking; The 1975 used a more modern and accessible technology: ‘Siri’:

This is a spoken word track recited by Siri about a lonely man who falls in love with the internet. How much do you identify with that character?

Probably more than I’d like to. It’s just pointing out how fucking weird things are by that removal of the human experience—just hearing a robot saying “cooked animals” on this track is a bad vibe, right? Why is it a bad vibe? This is the question I’m asking. It’s the acknowledgement of an already existing dystopian reality. It sounds like a warning of what a future could be, but you realize it’s exactly what we’re living in”.

There are tales of rehab, recovery and personal pains that weaves its own narrative around an adjacent one concerning modern life, politics and touring. The 1975 tackle touring America and tackle politics; they discuss machines and there are personal scars to be found. Radiohead took a spacey angle on Subterranean Homesick Alien and a near-fatal car accident on Airbag; they were simple on Let Down but created an anthem; Electioneering related to an anonymous but desperate politician whereas No Surprises seemed to encapsulate the exhaustion and malaise of modern life in a haunting and strangely resigned song. Thom Yorke sung about a plane crash on Lucky and Paranoid Android – their multi-part epic – looked at coke-snorting, Gucci-wearing “piggies” and all sorts of f*cking chaos. The 1975 have a comparable song on their album and they tackle the same sort of topics; their compositional variety is as ambitious and realised and, against all expectations, there is a lot of Jazz influence – more fitting of Kid A than OK Computer, one feels. Mine – a standout from the album – has an intense vocal but seems to be the band’s Jazz standard...did they expect to do that?

Me neither. It came from our love of Coltrane. I always use the magpie analogy: A magpie will collect a diamond or a piece of glass or a piece of foil—it doesn’t matter, as long as it’s shiny and attractive. It’s the same thing with us—as long as it’s beautiful. And I wanted a standard, because imagine writing a new Gershwin song, imagine a new one of those existing. That hasn’t happened since—it’s difficult to say. Was it Mariah Carey’s Christmas song? That’s probably the last one. “Hey There Delilah?” That was big. [laughs]”.

Given the fact A Brief Inquiry into Online Relationships looks at the modern age with raw honesty and grace; many would not have expected relief and lightness. Like OK Computer; The 1975 bring Britpop tones (Lucky, I guess, was Radiohead’s uplifting, if bitter, track) to end the album with – I Always Wanna Die (Sometimes), despite its less-than-joyous title, has a lot of pomp and anthemic quality. Matty Healy did not expect to write a Britpop-esque song when he went into the studio:

Well, it did. But then, in the production, I was actually quite clever, because it sits in the middle. It’s not a “Bittersweet Symphony” or an Oasis song really, because it’s not as dark. But lyrically, vocally, it’s so Manchester. But then I got David [Campbell], who did the strings for “Iris” by Goo Goo Dolls, to do the strings for it. I was thinking, “I have the potential for this to be cinematic. Why not do a gritty, English ‘I Don’t Want to Miss a Thing’?” It just made a lot of sense. As I was putting the strings on it, I was like, “Is this our big song?

Not only does one seem some mirroring, conscious or not, regarding themes and emotional balance but, when looking at the reviews OK Computer received and how critics raved; it seems like The 1975 have achieved a lot of the same things and struck a similar tone:

OK Computer received widespread critical acclaim. Critics in the British and American press generally agreed that the album was a landmark and would have far-reaching impact and importance,[149][150] and that its experimentalism made it a challenging listen. According to Tim Footman, "Not since 1967, with the release of Sgt. Pepper's Lonely Hearts Club Band, had so many major critics agreed immediately, not only on an album's merits, but on its long-term significance, and its ability to encapsulate a particular point in history"[151]... 

In the English press, the album garnered favourable reviews in NME,[97] Melody Maker,[152] The Guardian,[80] and Q.[93]Nick Kent wrote in Mojo that "Others may end up selling more, but in 20 years time I'm betting OK Computer will be seen as the key record of 1997, the one to take rock forward instead of artfully revamping images and song-structures from an earlier era."[75] John Harris in Select wrote: "Every word sounds achingly sincere, every note spewed from the heart, and yet it roots itself firmly in a world of steel, glass, random-access memory and prickly-skinned paranoia."[153]

The album was well received by critics in North America. Rolling Stone,[147] Spin,[42] Pittsburgh Post-Gazette,[154] Pitchfork[146] and the Daily Herald[155] published positive reviews. In The New YorkerAlex Ross praised its progressiveness, and contrasted Radiohead's risk-taking with the musically conservative "dadrock" of their contemporaries Oasis. Ross wrote that "Throughout the album, contrasts of mood and style are extreme ... This band has pulled off one of the great art-pop balancing acts in the history of rock"[156].

I guess there are a few reasons why The 1975’s latest album is being compared to OK Computer. Both seem to represent the times we are in and have that relevance. In 1997, we saw Tony Blair become Prime Minister but there was a lot of uncertainty and dread before then. Radiohead sensed the changes and need for betterment! Now, twenty-one years later, we have a precarious and fraught country where we need to see political evolution and a new order.

Similar to 1997, music was changing and Britpop, I guess, was all but done. The hubris, joy and togetherness of being British was fading and a new, American sound was creeping into a lot of bands’ work – look at Blur’s eponymous album of 1997 and how different it sounds to 1994’s Parklife! Pop and the mainstream is changing and genres like Grime are playing a bigger role. Stormzy has been booked as a Glastonbury headliner and groups like IDLES are producing the most striking and memorable albums right now. Pop still holds relevance but artists who are succeeding are writing something much more deep and interesting than the usual fare. Radiohead moved from the slightly more conventional sounds of The Bends and brought in new elements and genres into OK Computer. The 1975 has progressed their sound and, through fifteen tracks, their lyrics and sounds go in all sorts of directions! A Brief Inquiry into Online Relationships can gain comparisons with Radiohead’s 1997 opus because, in many ways, the country is in the same place as it was then! Thom Yorke’s mindset and mentality during the recording of OK Computer was quite fragile and he was not in a great space. Not burdened by addiction like Matty Healy; both leads drew from personal demons and a rather uncertainty time and harnessed that in their lyrics.

A Brief Inquiry into Online Relationships is very much 2018’s OK Computer in many ways. That classic album has a couple of less-than-genius songs and you cannot see it is faultless! The reasons it resonated back then were because of the leap Radiohead took and how the sounds/tones seemed to reflect a changing political and musical landscape. It was the clash of the past Pop and modern seriousness; the frail government being replaced and the need for something better. Maybe this wave of critical excitement and hyperbole is a reaction to the ambition of The 1975 and how they have made something staggeringly bold, varied and unusual. Whilst I maintain the God-like status being conferred on them is a little rash and premature; A Brief Inquiry into Online Relationships is an album that seems to speak to every single person. You have tales of addiction and heartache that will strike many; the cross-pollination and musical endeavour is thrilling and themes around the Internet and modern celebrity are fresh and of-the-moment. It is that blend of the contemporary and classical; the deeply personal and widespread-global that seems to make the record such a complete, daring and luminous beast.

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The greatest test will be whether the record can sustain and influence down the line. OK Computer’s influence is clear and extraordinary:

The release of OK Computer coincided with the decline of Britpop.[note 3] Through OK Computer's influence, the dominant UK guitar pop shifted toward an approximation of "Radiohead's paranoid but confessional, slurry but catchy" approach.[200]Many newer British acts adopted similarly complex, atmospheric arrangements; for example, the post-Britpop band Travis worked with Godrich to create the languid pop texture of The Man Who, which became the fourth best-selling album of 1999 in the UK.[201] Some in the British press accused Travis of appropriating Radiohead's sound.[202] Steven Hyden of AV Clubsaid that by 1998, starting with The Man Who, "what Radiohead had created in OK Computer had already grown much bigger than the band," and that the album went on to influence "a wave of British-rock balladeers that reached its zenith in the '00s".[195]

OK Computer's popularity influenced the next generation of British alternative rock bands,[note 4] and established musicians in a variety of genres have praised it.[note 5] Bloc Party[203] and TV on the Radio[204] said they were formatively influenced by OK Computer; TV on the Radio's debut album was titled OK Calculator as a lighthearted tribute.[205] Radiohead described the pervasiveness of bands that "sound like us" as one reason to break with the style of OK Computer for their next album, Kid A.[206]

Although OK Computer's influence on rock musicians is widely acknowledged, several critics believe that its experimental inclination was not authentically embraced on a wide scale. Footman said the "Radiohead Lite" bands that followed were "missing [OK Computer's] sonic inventiveness, not to mention the lyrical substance."[207] David Cavanagh said that most of OK Computer's purported mainstream influence more likely stemmed from the ballads on The Bends. According to Cavanagh, "The populist albums of the post-OK Computer era—the Verve's Urban Hymns, Travis's Good FeelingStereophonicsWord Gets AroundRobbie WilliamsLife thru a Lens—effectively closed the door that OK Computer's boffin-esque inventiveness had opened"[9]

When we listen on Friday and have a chance for everything to sink in and play without barriers then that will give a bigger and clearer impression. I think it will take a few years to see whether A Brief Inquiry into Online Relationships holds the same sort of importance and legacy as OK Computer – and whether The 1975 can impact the next generation in such a way – and whether it is ranked alongside the best albums of all-time. I do not think we can easily compare the two right away but, in terms of the immediacy and mind-blowing lyrical, compositional and production aspects; it would be quite justified comparing The 1975 with Radiohead. The latter followed that gauntlet with Kid A and Amnesiac in 2000 and took their sound in a more Electronic and Experimental direction.

The 1975 have promised us Notes on a Conditional Form next year and one wonders whether they will repeat A Brief Inquiry into Online Relationships – like a two-part tale – or it will go in another direction. I cannot wait to see how their careers progress and where they head next. The band has already been confirmed as headliners for Reading and Leeds 2019 and one suspect they will duke it out with IDLES for a headline spot at Glastonbury. The five-star, hugely vacillating reviews A Brief Inquiry into Online Relationships suggests we are witnessing something generation-defining and revolutionary. It will be a long time before we can legitimately and securely compare something like A Brief Inquiry into Online Relationships to a heady masterpiece like OK Computer but, given the state of the world and comparisons to 1997 then who is to say?! We have been lucky enough to receive several charged, 2018-defining and political/socio-political records this year – from Chris (Christine and the Queens) and Hunter (Anna Calvi) to Joy as an Act of Resistance (IDLES) – and The 1975 end 2018 with another slice of gold! I am always uneasy comparing modern albums to the iconic examples of the past because I like to think the past is better…and modern music cannot compete! Maybe I need to rotate my dish and accept that, every now and then, records today will be able to rub shoulders against the classics. Maybe A Brief Inquiry into Online Relationships will not quite earn the same respect, legacy and future-impact as OK Computer but it is clear that The 1975 are not merely very naughty boys. They might be, in a real and relevant way...

MODERN-DAY messiahs...

FEATURE: From the Typewriters to the Social Media Titans: Are Celebrities More Influential Tastemakers Than Traditional D.J.s/Journalists?

FEATURE:

 

 

From the Typewriters to the Social Media Titans

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 PHOTO CREDIT: @rawpixel/Unsplash 

Are Celebrities More Influential Tastemakers Than Traditional D.J.s/Journalists?

__________

I was reading an article today…

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 IN THIS PHOTO: boygenius (Phoebe Bridgers, Lucy Dacus and Julien Baker)/PHOTO CREDIT: Lera Pentelute

that posited a rather terrifying future. Mark Beaumont, writing for NME, observed how celebrities and the Instagram elite like Kendall Jenner are pushing a greater number of people towards new music. He observed how, when giving a shout-out to the splendid boygenius;  the female trio increased their fanbase and a lot of Jenner’s followers were checking them out. I am not sure whether Phoebe Bridgers, Lucy Dacus and Julien Baker are actually called ‘boygenius’ or it is their E.P. title but, in any case, let’s put semantics away and think about what Beaumont observed:

At the very top of the pile (or thereabouts) sits Kendall Jenner, queen of vacuous celebrity-for-celebrity’s-sake culture and a selfless proponent of the millennial dream of becoming fabulously rich by having the best cheekbones on a shit TV show. Kendall’s the ultimate symbol of the blind devotion that’s now paid to the stunning yet pointless. Social media allows her followers to feel as though they’re somehow involved in her life, despite having the same level of personal, one-on-one relationship with her as I have with Pizza Hut’s monthly discount code generator.
Now we’re facing a future where individual A-list influencers like Jenner become out-of-control ultra-Peels. To be honest, part of me thinks that leaving Insta big-shots like Huda Kattan and Cristiano Ronaldo in charge of pop music can’t be any worse than the current algorithm system, which just gives you more and more of what you like already...

 I’ve been experimenting with clicking endlessly on whatever video is ‘Up Next’ on my YouTube feed and it turns out I’m never more than five clicks away from a Muse video, usually via several screenings of ‘Fever’ by something called Balthazar, who have presumably shelled out the big bucks to clog up my internet feeds for the foreseeable future. It’s all further proof that entertainment technology is tantamount to cultural surveillance. The other day Spotify started playing Tony Orlando’s ‘Bless You’ when I sneezed, and I only had to mention to a work colleague that I was considering listening to the new Mumford & Sons album and suddenly Facebook started showing me adverts for Dignitas”.

I guess, from a purely mathematical and observational standpoint, if any big celebrity plugs an artist or suggests a brand then, soon enough, people will flock that way. There is something obviously very controlling and inescapable about social media. I have never met Stephen Fry but love his work and, if on social media, he recommended eating a pinecone, I’d seriously have to hold myself back from having a nibble! In music terms, yeah, I am quite susceptible and malleable. I look out at music magazines and the traditional tastemakers and put them first but what is a big artist or celebrity tipped a new artist? If I trusted a celebrity and had no reason to doubt their recommendation then I would follow that tip.

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 IN THIS PHOTO: Kendall Jenner/PHOTO CREDIT: Gisela Schober/Getty Images

Those with millions and millions of followers can make an artist with a single tweet or Instagram photo. It is scary to think how much power they wield but, as much as anything, it is the unreserved trust that followers hold – this sort of idol-worshipping culture where the likes of Kendall Jenner has countless teenagers idolising her and would do anything she says. I am not suggesting social media is a form of brainwashing but I also feel like, unheard, she could push a lot of people the way of certain artists. One might think that there is no issue. You are not forcing them to listen and people can make their own minds up; if they are good then you have done a great thing. The thing is the power that these big names have. Look at the likes of Jenner, Kim Kardashian and any number of celebrity vloggers, Instagram stars and YouTube icons and they have legions of fans. They can get online and post a comment; they can recommend musicians and have more sway than most of the D.J.s out there. One reason why I was caught by Beaumont’s theory and post was that notion: the fact we are seeing a break from the established tastemakers and a nudge to these Internet personalities. The nature of what a music journalist is right now is changing.

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 PHOTO CREDIT: @chrisspiegl/Unsplash

I have written pieces asking whether we still value the opinions of journalists and read critical reviews. Why read an album review by some broadsheet writer when we can go onto Spotify and listen to it ourselves?! Are we going to listen to a range of different tips and artist suggestions when this celebrity gives us the one name – and they have many more followers than all of those journos combined! We are relying more on our own opinions and the Internet as opposed the old guard of music D.J.s. Consider the iconic and peerless John Peel. During his lifetime, his radio show played host to hundreds of artists and his infectious personality and enthusiastic curiosity made us all feel we had this wise elder who knew the game and was giving us a rare insight into artists about to hit the big time. So many, myself included, revered the man and I discovered The White Stripes through him. He would receive records through the post and have a play – putting the ones he liked and felt has legs on his show. It was a ritual listening to him and hearing these artists perform for him. Now that radio is so widespread and music media is vast; do we ever really have the opportunity and time to focus on this all-conquering tastemaker? Do they even exist anymore?!

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 IN THIS PHOTO: John Peel/PHOTO CREDIT: Getty Images/The John Peel Archive

I listen to certain D.J.s and tend to find I am more influenced by stations and publications rather than specific people. My own reviews and interviews attract some response and influence but I wonder how powerful my recommendations are. I think the times of the printed music press guiding our thoughts and stalwarts like Peel guiding our tastes are gone. I still think, mind, artists value the backing and guidance of ‘traditional’ channels – radio and music press – rather than these celebrity endorsements. I have just heard the BBC Radio 6 Music albums of 2018 rundown and their top album is IDLES’ Joy as an Act of Resistance. The band are honoured to receive that accolade and the relationship between radio and artists is pure. I am called a ‘tastemaker’ and there are some who follow my advice. I realise my scope and power is limited and do not have the same muscle and impact as big celebrities. Kendall Jenner is not the only Instagram star that is able to sway opinion and get a music act a swarm of new fans. The murky world of paid sponsorship; the link between brands and celebrities is nothing new. This article, from two years ago, looked at how it can be controversial when celebrities endorse products – and whether they are being paid:

But the murky rules of the relatively new form of advertising means that many celebs and lesser known fitspo, foodie and fashion 'influencers' do not always make it plain when they've been paid to post… 

FEMAIL caught up with the CEO of social media influencer app, TRIBE, Anthony Svirskis, to find out the dos and don'ts when it comes to making money from being a social influencer.

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PHOTO CREDIT: @bneale87/Unsplash 

According to the popular influencer app, TRIBE, posters are not required by law to disclose a sponsored post in Australia. However, TRIBE writes on their website that: 'We strongly recommend you do'.

The app's founders recommends adding #spon, as is the law in other countries including the US and UK, next to a photograph you have been paid to promote so that your followers can reasonably identify branded contact. 

When it comes to some digital influencers, including the likes of fashion blogger, Chiara Ferragni from the Blonde Salad and celebrities such as Taylor Swift and Selena Gomez, their followings are higher than some of the biggest international publications.

The power of click-throughs from their Instagram promotions, from Coke to Calvin Klein, has never been stronger”.

There is the danger that artists, small or big, could find themselves paying big Instagram and social media stars to plug their music and pushing people their way. You get that problem with quality and whether financial profit is the motivator rather than genuine interest. Mark Beaumont, in his article, worried whether the lure of money and personal gain would be a bigger motivator than the music:

At least influencers might plug something unpredictable or challenging. But since they’re all so buyable, I suspect we’ll see the high priority acts queuing up to pay their way into the latest industry fast-track, another way for the money men to secure the ramparts of success. And what of those with a tighter budget? Will the musical landscape become defined by the level of internet star each act can afford to endorse them? Will rising rock bands start bunging Scarlett Moffatt a couple of grand for an Insta shot in their T-shirt, in the hope it’ll get them enough exposure to land an afternoon slot at Bestival? Will glamorous pop hopefuls shove a monkey Piers Morgan’s way in return for a sexist diatribe about their naked poster campaign, thereby bagging five minutes on Graham Norton’s sofa?

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 IN THIS PHOTO: John Peel/PHOTO CREDIT: Getty Images/The John Peel Archive 

I do like how the Internet allows for a broader conversation and greater choice but, when it comes to music, it should be kept away from paid hands and bigger stars. We might not have someone as titanic as John Peel helping us decide the good and long-lasting but there are some great radio stations and presenters who place the quality and originality of music above everything else. If you read the great music websites out there and have a solid rotation then you will get consensus and you’ll find people who are on your wavelength. Whilst somebody like Kendall Jenner might tip a great artist once in a while; I think there is that murkiness regarding paid promotion, the influence these huge stars have and how they can take power away from the more established and ‘proper’ critics. Some might argue everyone is entitled to their opinions and there is no real right or wrong but I do worry why certain stars are motivated to promote certain musicians. The fact boygenius might have gained a bigger push towards the mainstream because of Jenner suggests celebrity is more important than the music itself – even through their music is excellent. The biggest problem is how easy it would be for so-so artists to jump the queue and get to the mainstream quickly whereas someone decent who has been working for years does not have that advantage.

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 IMAGE CREDIT: NME/Getty Images

I am not so much worried about my position as a journalist and impact; how others – such as music websites and D.J.s – will be affected and whether they will lose influence. The problem revolves around the mega-stars who can make an artist so easily. You not only get this quick-fix-style career but the quality is questionable. This concern extends to products and businesses. Big musicians, celebrities and actors are using social media to plug who-knows-what and are getting paid to lend their voices to these companies. Music needs to be that safe and unpolluted industry where artists get where they want to head because of talent alone. I can see the temptation of paying an Instagram star for a boost or following the word of these stars but it is a rather unfair and singular opinion. What about the music press and listening to the voice of critics?! Even if you do not feel music critics hold as much relevance as years past, they have passion and work tirelessly to find the best music. Following the views and posts of your favourite star is alright but we can assume the more followers they have the better their music knowledge is. Confusing taste and genuine passion with popularity and celebrity is something that could threaten the role of critics in the future. I do not feel the traditional music journalist will be silenced and have a reduced role but cases where online stars have helped hugely boost an artist so easily makes me fearful...

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 PHOTO CREDIT: @erik_lucatero/Unsplash

HOW we will view music tastemakers of the future.  

 

FEATURE: The Compilation That Seduced a Nation... Now That’s What I Call Music! at Thirty-Five: Twelve Essential Editions You Need to Own

FEATURE:

 

 

The Compilation That Seduced a Nation...

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Now That’s What I Call Music! at Thirty-Five: Twelve Essential Editions You Need to Own

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ONE might feel that this is a bit overkill…

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 IN THIS IMAGE: The cover for the latest Now That’s What I Call Music! (released last Friday)

to make such a fuss over a compilation series – not even including the offshoots from the ‘pure’ strand – but you cannot deny Now That’s What I Call Music! is a glorious thing! It is thirty-five on Wednesday and I am one of those people who grew up with the series. I was actually born the same year as Now That’s What I Call Music! and am a bit too young to remember the first edition the first time around. Looking back; I can only imagine the excitement and thrill of hearing this new album come out, in 1983, that collated all the biggest chart hits of the year and put them into one place. There was no Internet and Spotify back in 1983 so the only way people were listening to music was on vinyl and cassette. The C.D. had only been introduced to the world the year before so there was this preciousness and exclusivity owning the first Now That’s What I Call Music! If you have an original edition in your palms then one imagines it is worth quite a bob or two! The fact there was a second instalment meant the public were reacting to its unique and populist edge – songs from Culture Club and Duran Duran on the first edition meant people wanted more and a nice way of gathering the best hits of the day.

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 IN THIS PHOTO: Ariana Grande (one of the artists included in the current Now That’s What I Call Music! compilation)/PHOTO CREDIT: Getty Images/Press

The success of the series was instant and there were three further editions in 1984 – people could not get enough and that idea of having more than one Now That’s What I Call Music! in one year. Maybe the charts were more relevant in the 1980s but even now, thirty-five years after its birth; we cannot get enough of the eclectic and brilliant Now That’s What I Call Music! The latest edition, released last Friday, has everyone from George Ezra and Ariana Grande featured and it is amazing to think how far music has come since 1983. The fact we have that zeal and interest in a compilation album – given the fact we can make our own playlists – is amazing. As the Now That’s What I Call Music! series reaches its thirty-fifth birthday; a lot of folk will be looking through their old copies or going online and streaming memories of great days. I feel, like music in general, we all have specific memories ties to Now That’s What I Call Music! I first encountered the series in 1993, on the twenty-fourth edition, and call recall the songs and how it made me feel hearing everything flow. Listening to a favourite edition is not just about the songs but what you were doing at the time and how music made you feel.

Maybe the bosses and boffs behind the compilation will do some reissues on a bigger anniversary but it would be good to see the full series on cassette, C.D. or vinyl. Maybe that would be a big undertaking but, perhaps, having the chance to order one of the series and choosing your format would be great. It is nice being able to access all the songs from all one-hundred-and-one compilations online; nothing beats the thrill of having a double-C.D./cassette and having the insert; a vinyl that you could spin from, say, 1985’s Now That’s What I Call Music! editions and casting your mind back to the music of the day and what we were listening to. As much as anything; the series acts as a documentation of tastes and music that dominated the charts. You can see how genres like Pop have evolved and how our tastes have altered in the ensuing years! Many claim the first Now That’s What I Call Music! is a bit light on quality but I feel it stands up well – the fact it is the very first means its importance cannot be understated. In honour of thirty-five years of Now That’s What I Call Music! excellence; I have selected the twelve finest, must-own editions that really hit the mark! Perhaps you will disagree but I think you’ll agree there is some true quality to be found. Have a look at these twelve select Now That’s What I Call Music! sets and maybe you’ll have your own...

THOUGHTS and arguments.

ALL IMAGES: Getty Images

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Now That’s What I Call Music!: The Big Bang

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Release Date (U.K.): 28th November, 1983

Number of Tracks: 30

Number-One Single on the Day of Release (U.K.): Billy Joel Uptown Girl

Number-One Album on the Day of Release (U.K.): Culture Club Colour by Numbers

Download/Stream: Heaven 17 Temptation; Paul YoungWherever I Lay My Hat (That’s My Home); The CureThe Lovecats

Classic Track: Culture ClubKarma Chameleon

Now That’s What I Call Music! 8: Proving the 1980s Boasted Some True Quality

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Release Date (U.K.): 24th November, 1986

Number of Tracks: 32

Number-One Single on the Day of Release (U.K.): The Housemartins Caravan of Love

Number-One Album on the Day of Release (U.K.): Various Artists Hits 5

Download/Stream: Steve Winwood Higher Love; Janet Jackson What Have You Done for Me Lately; Peter Gabriel (feat. Kate Bush)Don’t Give Up

Classic Track: Run–D.M.C.Walk This Way

Now That’s What I Call Music! 19: Trip-Hop Alongside the Pop

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Release Date (U.K.): 25th March, 1991

Number of Tracks: 34

Number-One Single on the Day of Release (U.K.): Chesney Hawkes The One and Only

Number-One Album on the Day of Release (U.K.): R.E.M. Out of Time

Download/Stream: The KLF feat. The Children of the Revolution 3 a.m. Eternal; Massive AttackUnfinished Sympathy; FreeAll Right Now

Classic Track: SealCrazy

Now That’s What I Call Music! 24: My Personal Favourite

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Release Date (U.K.): 16th April, 1993

Number of Tracks: 37

Number-One Single on the Day of Release (U.K.): The BluebellsYoung at Heart

Number-One Album on the Day of Release (U.K.): Suede - Suede

Download/Stream: SnowInformer; The Stereo MC’sStep It Up; Duran DuranOrdinary World

Classic Track: Take ThatCould It Be Magic

Now That’s What I Call Music! 26: Pure Genius (and Julia Roberts Is on There!)

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Release Date (U.K.): 15th November, 1993  

Number of Tracks: Forty

Number-One Single on the Day of Release (U.K.): Meat Loaf I’d Do Anything for Love (But I Won’t Do That)

Number-One Album on the Day of Release (U.K.): Meat LoafBat Out of Hell II: Back into Hell

Download/Stream: DJ Jazzy Jeff & The Fresh Prince Boom! Shake the Room; The Cardigans My Favourite Game; The Spin DoctorsTwo Princes

Classic Track: RadioheadCreep

Now That’s What I Call Music! 31: The Underrated Giant of the Series

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Release Date (U.K.): 31st July, 1995   

Number of Tracks: 40

Number-One Single on the Day of Release (U.K.): The Outhere Brothers Boom Boom Boom

Number-One Album on the Day of Release (U.K.): SupergrassI Should Coco

Download/Stream: Pulp Common People; Supergrass Alright; WeezerBuddy Holly

Classic Track: PortisheadSour Times

Now That’s What I Call Music! 37: A Perfect Cocktail of Genres and Tastes

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Release Date (U.K.): 14th July, 1997 

Number of Tracks: 41

Number-One Single on the Day of Release (U.K.): Puff Daddy (feat. Faith Evans & 112) I’ll Be Missing You

Number-One Album on the Day of Release (U.K.): The Prodigy The Fat of the Land

Download/Stream: The Cardigans Lovefool; En Vogue Don’t Let Go (Love); BlurOn Your Own

Classic Track: SupergrassSun Hits the Sky

Now That’s What I Call Music! 41: Another Titanic Year from a Stellar Decade

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Release Date (U.K.): 23rd November, 1998  

Number of Tracks: 42

Number-One Single on the Day of Release (U.K.): Cher Believe

Number-One Album on the Day of Release (U.K.): George Michael - Ladies & Gentlemen: The Best of George Michael

Download/Stream: Jennifer Paige Crush; The Cardigans My Favourite Game; Sheryl CrowMy Favourite Mistake

Classic Track: StardustMusic Sounds Better with You

Now That’s What I Call Music! 44: It Is the Best-Selling of the Lot for a Reason…

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Release Date (U.K.): 22nd November, 1999   

Number of Tracks: 42

Number-One Single on the Day of Release (U.K.): Robbie Williams She’s the One/It’s Only Us

Number-One Album on the Day of Release (U.K.): StepsSteptacular

Download/Stream: Lou Bega Mambo No. 5 (A Little Bit of...); Sixpence None the Richer Kiss Me; SupergrassMoving

Classic Track: Britney Spears – ...Baby One More Time

Now That’s What I Call Music! 45: Beginning the New Millennium in Style

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Release Date (U.K.): 17th April, 2000

Number of Tracks: 45

Number-One Single on the Day of Release (U.K.): Fragma Toca’s Miracle

Number-One Album on the Day of Release (U.K.): Moby Play

Download/Stream: Honeyz Won’t Take It Lying Down; FragmaToca’s Miracle; Basement JaxxBingo Bango

Classic Track: MolokoThe Time Is Now

Now That’s What I Call Music! 50: One of the Few Genuine Standout Collections from the 2000s

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Release Date (U.K.): 19th November, 2001

Number of Tracks: 44

Number-One Single on the Day of Release (U.K.): Blue If You Come Back

Number-One Album on the Day of Release (U.K.): Steps Gold

Download/Stream: Kylie Minogue Can’t Get You Out of My Head; Nelly FurtadoTurn Off the Light; Groove ArmadaSuperstylin

Classic Track: Destiny’s ChildBootylicious

Now That’s What I Call Music! 100: The Milestone

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Release Date (U.K.): 20th July, 2018 

Number of Tracks: 44

Number-One Single on the Day of Release (U.K.): The Lightning Seeds, David Baddiel & Frank Skinner Three Lions

Number-One Album on the Day of Release (U.K.): Drake Scorpion

Download/Stream: Years & Years If You’re Over Me; OasisWonderwall; Kylie MinogueCan’t Get You Out of My Head

Classic Track: Spice Girls Wannabe

FEATURE: Starting the Decade in Style: Part IV/V: The Finest Albums of 2010

FEATURE:

 

 

Starting the Decade in Style

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PHOTO CREDIT: @alexiby/Unsplash 

Part IV/V: The Finest Albums of 2010

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THE reason I am putting together this feature…

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PHOTO CREDIT: @guillaume_t/Unsplash

is to shine a light on the albums that started a decade with a huge deceleration. I feel it is hard to define what a decade is about and how it evolves but the first and last years are crucial – I have already looked at decade-ending albums. I am bringing to life this feature that celebrates albums that opened a decade with a mighty amount of quality and gave inspiration to those who followed. In this fourth part, I am focusing on 2010 and the best ten records from the year. Many assume music sort of peaked before 2010 but, as the list shows, there were some truly wonderful albums coming out. I have chosen a selection of them but, if you need reassurance the 2010s was going to begin with a real explosion, then here is all....

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 PHOTO CREDIT: @mensroom/Unsplash

THE proof you need.

ALL ALBUM COVERS: Getty Images

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LCD Soundsystem – This Is Happening

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Release Date: 17th May, 2010

Labels: DFA/Parlophone/Virgin

Review:

Perhaps the rumor that this is his last LCD album is behind that newfound urgency. If true, it’s a shame, as the band’s Krautrock/Talking Heads-funk fusion has never sounded livelier. (Here, it’s doused in the blaring, off-key synths and jet-engine guitars of Bowie’s Berlin period.) And with the exception of the plodding, “Nightclubbing”-nicking “Someone’s Calling Me,” it never fails to yield satisfying new discoveries. But even if, as Murphy sings, his own “desire for discovery has been used up,” at least he’s given us three great albums to help us keep discovering each other” – The A.V. Club     

Standout Track: Dance Yrself Clean

Arcade Fire The Suburbs

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Release Date: 2nd August, 2010

Labels: Merge/City Slang/Mercury

Review:

The anxieties of Neon Bible still lurk in some of these songs – the unease of the "Modern Man" is rendered with the deceptive naivety of Talking Heads, and the futile search for "the places we used to play" in "Sprawl 1 (Flatland)" is beautifully evoked by shimmering strings. But part of the band's appeal derives from its ability to balance music and emotions in poised equilibrium while grasping confidently for the future, so the misgivings are forever being swept aside by hope.

Playing the character of a trapped suburbanite with unfulfilled dreams, Regine Chassenet sings in "Sprawl 2 (Mountains Beyond Mountains)" about how "these days my life, I feel it has no purpose; but late at night these feelings swim to the surface". As if to suggest those lurking ambitions, it's sung over cycling synthesisers, in the manner of some self-assertive Euro electro-diva. Despite it all, she will survive” – The Independent  

Standout Track: Ready to Start

John Grant Queen of Denmark

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Release Date: 19th April, 2010

Label: Bella Union

Review:

Backed by superfans Midlake, these are songs of impossible love, near-suicide and redemption, with an air of vastness and contemplation recalling Dennis Wilson's masterpiece, Pacific Ocean Blue. With pianos and flutes, songs such as I Wanna Go to Marz and Where Dreams Go to Die combine a surreal, David Lynch, sideways look at capitalist America with choruses most artists could only dream about. The jauntier Silver Platter Club and JC Hates Faggots brutally poke fun at rich jocks and Grant's time as a gay child in a religious household respectively. But the emotionally wringing ballads – the witheringly honest Queen of Denmark and Jeff Buckleyesque Caramel – most suggest a man whose time has come” – The Guardian

Standout Track: Caramel                                

Laura Marling I Speak Because I Can

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Release Date: 22nd March, 2010

Label: Virgin

Review:

The new Marling is darker and more sophisticated. She opens proceedings with a drunken, midnight maypole dance of a song. Devil’s Spoke builds from a shadowy portrait of pastoral loneliness into an increasingly frenzied, banjo-spun romance ending with lovers “eye to eye, nose to nose/ripping off each others clothes in a most peculiar way”. Whereas so much music coming from the “nu-folk” scene sounds like nature recollected in safety, by the glowing fire of some Olde Taverne, Marling’s sounds starkly exposed to the English elements. Her songs are simple yet complex, weird but quotidien like hedgerows – twisted, full of thorns, fruit, life and death. You can hear a thrill at the savagery as well as the sweetness of our landscape in the unflinching alto that sings: “I’ll never love England more than when covered in snow.”

Many of the songs struggle with Marling’s conflicted yearning for both traditional monogamy and unfettered independence. “I tried to be a girl who likes to be used,” she sings on Goodbye England, “I’m too good for that/ There’s a mind under this hat.” Elsewhere she gazes back into Greek mythology for female companionship, addressing the marriage goddess Hera and conjuring the spirit of Odysseus’ patient wife Penelope. I Speak Because I Can is my favourite release of the year so far – and certainly an album worth sailing home for” – The Telegraph

Standout Track: Goodbye England (Covered in Snow)

The National High Violet

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Release Date: 10th May, 2010 

Label: 4AD

Review:

Less outwardly aggressive than even the relatively restrained Boxer, and yet big and grand enough to fill the large theaters The National finally occupy after spending a decade slowly building an audience, High Violet is carefully considered without being labored, richly detailed without being fussy. “Bloodbuzz Ohio” and “Anyone’s Ghost” satisfy the band’s quota of driving, brooding pop songs, but the breathtaking “England” rises to an unprecedented climax that puts the band squarely in Arcade Fire territory. “Afraid Of Everyone” is another landmark for The National, with Berninger taking on a potentially trite subject—being a new father—and making listeners feel the sledgehammer pounding of a scared (but committed) man’s heart. With High Violet, The National has graduated from being a critic’s band. Now it belongs to everyone” – The A.V. Club

Standout Track: Bloodbuzz Ohio

Robyn Body Talk

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Release Date: 22nd November, 2010

Label: Konichiwa

Review:

Sweden has long punched above its weight with music, but Robyn deserves a special spotlight. Swedish House Mafia are mangling early ’90s dance and setting it as the solid cornerstone of today’s UK pop-rap phenomenon; their sound is merely Robyn turned up with added oldskool sentiment. Production hype will come and go; Robyn knows when and how to associate with it, but then she leaves it behind.

She has done cuddly R&B and now she’s grown into a manga pop star. However the sound of today evolves, she’ll do it first and keep rolling. Body Talk shows just how easily she can churn out hits more frequently than labels can process production teams. Robyn deserves her success. As Body Talk (Part Three) ends with the lyrics “You and me together/Stars forever” to a bouncing house beat, it’s impossible to think of a better pop communicator for our time” – musicOMH

Standout Track: Dancing on My Own

Kanye West My Beautiful Dark Twisted Fantasy

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Release Date: 22nd November, 2010

Labels: Def Jam/Roc-A-Fella

Review:

The contrast in “Devil in a New Dress,” featuring Rick Ross, is of a different sort; a throwback soul production provided by the Smokey Robinson-sampling Bink, it’s as gorgeous as any of West’s own early work, yet it’s marred by an aimless instrumental stretch, roughly 90 seconds in length, that involves some incongruent electric guitar flame-out. Even less explicable is the last third of the nine-minute “Runaway,” when West blows into a device and comes out sounding something like a muffled, bristly version of Robert Fripp's guitar. The only thing that remains unchanged is West’s lyrical accuracy; for every rhyme that stuns, there’s one deserving of mockery from any given contestant off the The White Rapper Show. As the ego and ambition swells, so does the appeal, the repulsiveness, and -- most importantly -- the ingenuity. Whether loved or loathed, fully enjoyed or merely admired, this album should be regarded as a deeply fascinating accomplishment” – AllMusic    

Standout Track: Dark Fantasy

Deerhunter Halcyon Digest

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Release Date: 28th September, 2010

Label: 4AD

Review:

The topical ground covered here is inspired, too: "Revival", a sort of Southern gothic folk-rock baptism, embraces religion. "I'm saved, I'm saved!" Cox exalts, "I felt his presence heal me." Recorded to four-track, "Basement Scene" "dream[s] a little dream" that soon turns nightmarish: "I don't wanna get old" quickly becomes "I wanna get old" as Cox weighs the alternative. And first single "Helicopter" is a beautifully watery electro-acoustic farewell that uses a tragic Dennis Cooper story about a Russian prostitute (graciously reprinted in the liner notes) to support its emotional bleakness”– Pitchfork

Standout Track: Fountain Stairs

Vampire Weekend Contra

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Release Date: 11th January, 2010  

Label: XL

Review:

The band’s longest-ever song, ‘Diplomat’s Son’, mixes dancehall reggae, Tetris bleeps and MIA’s vocals (hypnotically sampled from ‘Kala’’s ‘Hussel’), all of which beautifully underscores a sprawling narrative of love and double-crossing, played out against the backdrop of the US’ similarly convoluted overtures towards Nicaragua’s Contra rebels back in the early ’80s. ‘I Think UR A Contra’ wraps things up with a hymnal warning about the dangers of needlessly stirring up raw emotions.

It’s fair to say that with so much going on ‘Contra’ is much less immediate than its predecessor, requiring a bit of patience to uncover its true shades, contours and charm. But it’s certainly worth sticking with, because with their second album Vampire Weekend have escaped their collegiate niche without sacrificing their true essence. Two more years, and they can do it all over again. No problem
” – NME      

Standout Track: Holiday

Beach House Teen Dream

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Release Date: 26th January, 2010

Label: Sub Pop

Review:

The songwriting is also more focused, using Devotion songs such as “You Came to Me” and “Heart of Chambers” as templates for the album's elegant longing. Like Teen Dream's title, these songs are wry and wise enough to know better about idealizing love, and romantic enough to still believe in it. “Zebra” positively swoons, while “Walk in the Park,” with its graceful coda and chorus lament “In a matter of time/it will slip from my mind/In and out of my life/you would slip from my mind,” makes losing sound beautiful, even if it's anything but a walk in the park. Despite the wintry sorrow that dominates Teen Dream and songs like “Used to Be” and “Better Times," in particular, Beach House lets a little hope into the album before it closes with “10 Mile Stereo” and “Real Love.” Though it's not as eclectic and whimsical as their earlier work, Teen Dream is some of their most beautiful music, and reaffirms that they're the among the best purveyors of languidly lovelorn songs since Mazzy Star” – AllMusic

Standout Track: Silver Soul

FEATURE: ‘YES’: John and Yoko’s Early Bloom (1969-1971): A Spirit the World Would Do Good to Take to Heart Today

FEATURE:

 

 

‘YES’

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IN THIS PHOTO: John Lennon and Yoko Ono during their ‘bed-in’ at the Presidential Suite of the Hilton Hotel, Amsterdam in 1969/PHOTO CREDIT: Keystone/Hulton Archive/Getty Images 

John and Yoko’s Early Bloom (1969-1971): A Spirit the World Would Do Good to Take to Heart Today

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I was among many who sat down and watched…

the John and Yoko documentary, Above Us Only Sky. The title comes from a line in John Lennon’s famous song, Imagine (which was co-written with Yoko Ono). One of the best revelations from the documentary was how John and Yoko met. The exact date of their meeting is unknown but, as Lennon said in the documentary; he was looking at an exhibit of Yoko’s in the Indica Gallery, London, and saw this tiny ceiling painting. Scaling the ladder placed underneath it, he was curious to see what was written on the painting – the word ‘YES’ was what he saw. He was gripped by the oddity of the scene but the affirmative message compelled him to meet the artist (it would have been around 1966). The fact someone would paint something with a positive word and get people to climb a ladder to look at it, in many ways, set the course for their relationship and how John and Yoko would write. Last night’s documentary seems to have hit a major chord with critics. The Telegraph provided their thoughts:

This wasn’t so much the untold story of the making of a classic album as a fascinating addendum to an iconic story which had already been told in the companion film released by Lennon, Yoko Ono and director Steve Gebhardt in 1972, and fleshed out even more in Andrew Solt’s tribute Gimme Some Truth...

 

Here director Michael Epstein took the story further. He had access to Lennon and Ono’s personal archive and, for obsessives, unearthed previously unseen film footage of recording sessions, interview material, and early run-throughs of Imagine, Jealous Guy and How? But what this film really did was provide context. Not only in the words and memories of people who contributed musically to the album – drummers Jim Keltner and Alan White, bassist Klaus Voormann among others – but also friends, hangers-on, assistants, photographers and journalists who captured a precise moment in the personal and creative lives of Lennon and Ono.

More than anything, though, this film sought to give Ono the equal credit many (including Lennon in a 1980 interview replayed here) said she should have had for her contribution to Imagine’s title track. As a result, what emerged from what might otherwise have been just a gentle retrospective was a remarkably rounded picture of two emotionally fused and radically engaged talents working together to condense their thoughts on art, politics, love and music into one of the best-known and commercially successful protest songs ever.

In so doing, it also reminded us of how and why Lennon’s – and Ono’s – central message of peace, love and people-power remains so potent to this day”.

It was a compelling story that used footage from various stages of their relationship. A lot of the feature concentrated on the album, Imagine, in 1971 but there were interviews with Lennon and Ono and contemporary viewpoints from people who worked with the couple. One of the biggest realisations from the documentary is how potent and meaningful that message of peace is today; how John Lennon and Yoko Ono wanted people to come together and how much we need to take that to heart today.

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 PHOTO CREDIT: Iain Macmillan © Yoko Ono

I was moved by the intimacy between Lennon and Ono and how naturally the former Beatle put these masterful songs together. It was wonderful looking in the studio and that mix of casual and serious. Players (such as George Harrison) and producers were milling and smoking; shooting ideas around by there was always that professional atmosphere. Lennon’s serious tone and commitment to the work was essential – to ensure the very best work was coming forward. There are myths and exaggerations regarding Yoko Ono’s role in breaking up The Beatles. Many assume her close bond with Lennon divided the band and meant his focus was away from the band and he was more committed to her. Yoko Ono, throughout her relationship with John Lennon, was subjected to racist abuse and misconceptions. After The Beatles’ split I 1970, it was only natural the two would start making music together. To be fair; their start was a little ropey. The conceptual trio of albums they put out in the late-1960s was not well-received by critics. Unfinished Music No. 1: Two Virgins featured that famous cover of the two naked – the results, as critics noted, was a disaster. The second edition, Life with the Lions, featured actual silence and all sorts of weirdness and conceptual guff. It was slayed by critics and the third piece, Wedding Album, was simply two tracks/sides – John & Yoko and Amsterdam – that tested even the most ardent John Lennon fan. It was a rather sorry end to the decade for Lennon and one suspects the guidance and influence of Yoko Ono defined the tone and concept of these albums!

The 1970s, the first part of the decade, was when the work of John and Yoko really shone. Their peace-loving attitude and humanity was affecting the work more but, as much as anything, after an unstable and testing time for John Lennon; Yoko Ono was having this stabilising and positive impact. 1970’s John Lennon/Plastic Ono Band was an album of self-recovery and reflection. Lennon and Ono, before the album, undertook primal therapy and it was a way for both to channel and expunge childhood traumas – as opposed more conventional therapy methods. Although there was a lot of peace and togetherness in the album; there was the odd shot against his old band, The Beatles. God features a dig – “I don’t believe in Beatles” – and Paul McCartney would be the subject of future songs. Reviews for John Lennon/Plastic Ono Band were extremely positive. AllMusic provided their thoughts:

It was a revolutionary record -- never before had a record been so explicitly introspective, and very few records made absolutely no concession to the audience's expectations, daring the listeners to meet all the artist's demands. Which isn't to say that the record is unlistenable. Lennon's songs range from tough rock & rollers to piano-based ballads and spare folk songs, and his melodies remain strong and memorable, which actually intensifies the pain and rage of the songs. Not much about Plastic Ono Band is hidden. Lennon presents everything on the surface, and the song titles -- "Mother," "I Found Out," "Working Class Hero," "Isolation," "God," "My Mummy's Dead" -- illustrate what each song is about, and chart his loss of faith in his parents, country, friends, fans, and idols. It's an unflinching document of bare-bones despair and pain, but for all its nihilism, it is ultimately life-affirming; it is unique not only in Lennon's catalog, but in all of popular music. Few albums are ever as harrowing, difficult, and rewarding as John Lennon/Plastic Ono Band”.

 

Mother, one of Lennon’s most beautiful tracks, addressed both of his parents. He was abandoned as a child and his mother, Julia, was hit and killed in a car accident in 1958. It is an emotional and revealing song that showed a different light to the icon. A lot of the later Beatles songs by Lennon were cynical and not at his usual standard. The first three albums by Yoko Ono were weak and this was the first time John Lennon was able to break away from The Beatles and create something masterful. Working Class Hero is Lennon’s most revolutionary and political song; a look at how working-class people are processed into the machine and overlooked. Isolation is about the disillusion and detachment Lennon felt after The Beatles split; how he turned to drugs and the reaction he and Yoko Ono were receiving. God, one of the album’s most striking songs, looks at false idols and people he doesn’t believe in – including Hitler and Jesus – and how, if there is a God, then we are all in it/him. The impact and legacy of the album, as told here, is undeniable:

The results put a period on everything that came before, even as they made clear the safety he found in his relationship with Ono. The act of walking away from the Beatles' dizzying celebrity on "God" may have gotten the headlines, but Lennon ends up naming and then discarding all of his earlier talismans – only to follow with a quiet affirmation of his affection for Ono. As with so much of this cathartic, utterly remarkable project, even that came from a deeply honest place...

Still, Plastic Ono Band remains Lennon's most consistent, and most important, solo work. Every part of his convoluted genius – Utopian dreamer, angry brawler, lonesome orphan, naked provocateur – is found here, and it's laid bare inside the most stripped-down, revelatory setting of his solo career”.

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IMAGE CREDIT: Getty Images

This first bloom of John Lennon and Yoko Ono’s partnership was transforming this troubled and isolated songwriter and transforming him back to his very best self. Although the real heart of the Lennon/Ono peace explosion would take place later; the brilliance and chemistry that defined John Lennon/Plastic Ono Band was defining Lennon’s next phase. The introspective and open tone of the record, I feel, has Yoko Ono all over it and allowed Lennon to move (John and Yoko were accompanied by The Flux Fiddlers) onto Imagine and start this revolution; a chance of peace and a genuine movement that caught the world’s attention. 1971’s Imagine was a more elaborate and ambitious effort than the previous year’s work and, with new confidence, the songs were among John Lennon’s very best work. The album was written during a bad period where there was tension between John Lennon and Paul McCartney. How Do You Sleep? Is a rather harsh and direct attack against McCartney following his jab against Lennon on the album, Ram. Lennon explained, in subsequent interviews, how the two were still hanging out and it was more creative rivalry than hatred.

Imagine’s title anthem is Lennon’s defining moment and seems to be the distillation and definition of the love he and Yoko Ono shared. Although writing credit has been changed to include Ono – it used to be credited solely to John Lennon – her fingerprints are in there and you can sense this man yearning for equality, unity and harmony throughout the world. The song, alongside the bed-in and protests that followed- pricked governmental ears and Lennon was seen as someone who could lead a hippe revolution against the then-U.S. President Richard Nixon. One reason why last night’s Channel 4 documentary got to me was because of the genuine desire to change things and spread the message of peace. Imagine did feature songs with bitterness and plenty of anger but it was tracks like Imagine and Jealous Guy that showed this tender, inspiring side. Jealous Guy started life of Child of Nature – on The Beatles’ 1968 eponymous album – and is one of the most revealing and stunning songs in Lennon’s cannon. Many cannot connect with a song like Imagine because they feel it is hypocritical. Lennon, as a millionaire, was talking about having no possessions and there being no God. The thing with attacking Lennon on those grounds is the overriding message is one of peace and harmony.

He would have given everything away to see that happen and millions of pounds does not buy peace or give you power. Lennon’s personal wealth has nothing to do with what he was trying to deliver: a paen to a new world and a change in the wind. I see the period of 1969-1971 as being especially memorable and inspiring. One might say the musical height of John Lennon and Yoko Ono, on their two titanic records, did not do much to halt the Vietnam War and bring about unity. What they did in 1969, as this article explains, was revolutionary:

It was the year 1969, 14 years into the deep morass of the Vietnam War. Richard Nixon had been in the White House for two months, and San Francisco’s “Summer of Love” was all but a fading memory as American troops continued to drop bombs on Vietnam and Cambodia. But despite all this, a fervent push for peace and utopianism was percolating over 5,000 miles away—in a hotel room in Amsterdam.

In late March of that year, the press received word that Beatles star John Lennon was “holding court about something or other” in Room 902 at Amsterdam’s Hilton Hotel, overlooking a wide canal, as a reporter remembered years later. Lennon and his partner Yoko Ono, an artist associated with the Fluxus movement known for making art out of everyday life, had married in secret five days earlier in Gibraltar. Now they were planning to use the inevitable press frenzy that would follow to spread the message of love, “like butter,” as Lennon would later put it to reporters...

 

From March 25th through 31st in Amsterdam—and then from May 26th to June 2nd at the Queen Elizabeth Hotel in Montreal, Canada—Lennon and Ono received visitors between the hours of 9 a.m. and 9 p.m. They coddled babies, sung with rabbis and Hare Krishnas, played with Ono’s daughter Kyoko, argued down conservative media figures, and dispensed advice on how to resist the establishment, urging onlookers to get their hands dirty for the cause. Sometimes their advice came straight from Beatles song titles and lyrics: “Come together” or “All you need is love!”

They expounded on the importance of unity and the shared bonds of humanity, and broadcast a .it’s an achievement to brush your teeth,” Lennon would say during the couple’s second “Bed-In.”

At the time, the “Bed-Ins” attracted mixed reviews. “Beatle Lennon and his charmer Yoko have now established themselves as the outstanding nutcases of the world,” ran one headline, Kruse notes, while Rolling Stone was considerably more supportive: “A five-hour talk between John Lennon and Richard Nixon would be more significant than any Geneva Summit Conference between the U.S.A. and Russia.”

Years later, Ono would reflect back on her role as one part of Mr. and Mrs. Peace, as Lennon referred to them. “John and I thought after ‘Bed-In,’ ‘The war is going to end,’” she recalled. “How naive we were, you know? But the thing is, things take time. I think it’s going to happen. I mean, that I think we’re going to have a peaceful world. But it’s just taking a little bit more time than we thought then”.

There were some scrappy moments, musically and politically, by John Lennon and Yoko Ono between 1969 and 1971 but they were sensing something needed to change and trying to bring about peace. Aside from the Imagine album and the bed-in; it was a huge part of Lennon career where he transitioning from the break-up on The Beatles and creating some of his very best work. The biggest impression and takeaway from the Lennon/Ono golden years is the message of peace and that need to come together. Lennon’s voice is needed more than ever and we need this musical guidance. Alongside the incredible music and passion between Yoko Ono and John Lennon was this dream of stability in the world. We are so far from what they were preaching in the late-1960s and early-1970s and, at a time when there was the war in Vietnam and a corrupt U.S. government; people wanted things to be better and the violence to end. A lot of parallels remain and I wonder what John Lennon would make of today’s world. The quality and striking nature of the music he was making back then was a reaction to wars. There was this global carnage and division but there was a personal one, too. He was adapting to life outside of a band and undergoing therapy so that he could try and come to terms with harrowing memories and demons. Few expected much musical genius after the ill-conceived and ridiculous trio of albums between John Lennon and Yoko Ono but they managed to combine their powers and create two remarkable albums in John Lennon/Plastic Ono Band and Imagine. It was a wonderful and hopeful time and one we need...

SO desperately today.

FEATURE: Starting the Decade in Style: Part III/V: The Finest Albums of 2000

FEATURE:

 

 

Starting the Decade in Style

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PHOTO CREDIT: @emmafranceslogan/Unsplash

Part III/V: The Finest Albums of 2000

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THE reason I am putting together this feature…

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 PHOTO CREDIT: @iampatrickpilz/Unsplash

is to shine a light on the albums that started a decade with a huge deceleration. I feel it is hard to define what a decade is about and how it evolves but the first and last years are crucial – I have already looked at decade-ending albums. I am bringing to life this feature that celebrates albums that opened a decade with a mighty amount of quality and gave inspiration to those who followed. In this third part, I am focusing on 2000 and the best ten records from the year. The 2000s (the first decade of this century) was a great time for music and I think the years 2000-2005 provided some of the best albums of all-time. Have a look at ten decade-starting albums that show how sensational....

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 PHOTO CREDIT: @all_who_wander

2000 was.

ALL ALBUM COVERS: Getty Images

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Radiohead Kid A

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Release Date: 2nd October, 2000

Labels: Parlophone/Capitol

Review:

The experience and emotions tied to listening to Kid A are like witnessing the stillborn birth of a child while simultaneously having the opportunity to see her play in the afterlife on Imax. It's an album of sparking paradox. It's cacophonous yet tranquil, experimental yet familiar, foreign yet womb-like, spacious yet visceral, textured yet vaporous, awakening yet dreamlike, infinite yet 48 minutes. It will cleanse your brain of those little crustaceans of worries and inferior albums clinging inside the fold of your gray matter. The harrowing sounds hit from unseen angles and emanate with inhuman genesis. When the headphones peel off, and it occurs that six men (Nigel Godrich included) created this, it's clear that Radiohead must be the greatest band alive, if not the best since you know who. Breathing people made this record! And you can't wait to dive back in and try to prove that wrong over and over” – Pitchfork

Standout Track: How to Disappear Completely

PJ Harvey Stories from the City, Stories from the Sea

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Release Date: 23rd October, 2000

Label: Island

Review:

Harvey’s delighted at getting Yorke to sing, “Night and day I dream of making love to you now baby”, too. More than ever – check the snarling ‘Good Fortune’ and ‘You Said Something’ – she’s indebted to Patti Smith. Here, Harvey’s adopted her mentor’s positivity, so that the urban vignettes are filled with a lust for life. If the roar of ‘This Is Love’ represents the album’s sexual climax, the still moment in ‘One Line’ where she sings, “And I draw a line to your heart today, to your heart from mine/One line to keep us safe”, is its brilliant emotional fulcrum.

You could quibble Harvey has absolved her responsibilities by making an album earthed in the New York sound of 20 or 30 years ago. But when rock is so invigorating, so joyous about love, sex and living, all arguments are null and void. Hey, take a walk on her wild side” – NME

Standout Track: A Place Called Home

Queens of the Stone Age Rated R

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Release Date: 6th June, 2000

Label: Interscope

Review:

That might alienate listeners who have come to expect a crunchier guitar attack, but even though it's not really aggro, R is still far heavier than the garage punk and grunge that inform much of the record. It's still got the vaunted California-desert vibes of Kyuss, but it evokes a more relaxed, spacious, twilight feel, as opposed to a high-noon meltdown. Mark Lanegan and Barrett Martin of the Screaming Trees both appear on multiple tracks, and their band's psychedelic grunge -- in its warmer, less noisy moments -- is actually not a bad point of comparison. Longtime Kyuss fans might be disappointed at the relative lack of heaviness, but R's direction was hinted at on the first QOTSA album, and Homme's experimentation really opens up the band's sound, pointing to exciting new directions for heavy guitar rock in the new millennium” – AllMusic   

Standout Track: Tension Head                      

D’Angelo Voodoo

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Release Date: 25th January, 2000

Labels: Cheeba Sound/Virgin

Review:

Such advances don’t negate the romance stance that made him a star — his falsetto just may serve as women’s answer to Viagra. ”Send It On” is a stately soul ballad like they just don’t make anymore, while his cover of Roberta Flack’s ”Feel Like Makin’ Love” remains a sweet, sticky delight. Only a crudely misogynistic rap from guests Method Man and Redman on ”Left & Right” upsets the organically sensual vibe. Still, what’s most thrilling about Voodoo is that D’Angelo is unafraid to tamper with his successful formula: This is elastic, impressionistic music that doesn’t cater to radio formats. If you’re looking for an antidote to the processed-cheese disease that’s infected today’s pop, a little bit o’ Voodoo is just what the witch doctor ordered” – Entertainment Weekly   

Standout Track: Playa Playa

Ryan Adams Heartbreaker

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Release Date: 5th September, 2000 

Label: Bloodshot

Review:

As for the original album, Adams’ ramshackle confidence still amazes, belying the fact that it was his first solo shot. He proved right off the bat that he could find that sweet spot between Bob Dylan’s brattiness (“To Be Young (Is To Be Sad, Is To Be High”) and Gram Parsons’ tenderness (“My Sweet Carolina.”) It’s also interesting to hear Adams at a time when he didn’t narrowcast his albums; Heartbreaker finds room for departures like the Elliott Smith-like intensity of “Amy” and the wild rumble “Shakedown On 9th Street.”

What’s also striking is how convincingly Adams played the role of sensitive ne’er-do-well even then; others have spent careers trying to cultivate that stance and can’t approach the authenticity he had right out of the gate. Heartbreaker gets all the bells and whistles it deserves in this deluxe edition, but the fact that it contains some of the earliest and best examples of Adams’ prolific, prodigious talent means it really doesn’t need any extras to be worth it” – American Songwriter

Standout Track: To Be the One

OutKast Stankonia

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Release Date: 31st October, 2000

Labels: LaFace/Arista

Review:

"Ms. Jackson," meanwhile, is an anguished plea directed at the mother of the mother of an out-of-wedlock child, tinged with regret, bitterness, and affection. Its sensitivity and social awareness are echoed in varying proportions elsewhere, from the Public Enemy-style rant "Gasoline Dreams" to the heartbreaking suicide tale "Toilet Tisha." But the group also returns to its roots for some of the most testosterone-drenched material since their debut. Then again, OutKast doesn't take its posturing too seriously, which is why they can portray women holding their own, or make bizarre boasts about being "So Fresh, So Clean." Given the variety of moods, it helps that the album is broken up by brief, usually humorous interludes, which serve as a sort of reset button. It takes a few listens to pull everything together, but given the immense scope, it's striking how few weak tracks there are. It's no wonder Stankonia consolidated OutKast's status as critics' darlings, and began attracting broad new audiences: its across-the-board appeal and ambition overshadowed nearly every other pop album released in 2000” – AllMusic   

Standout Track: Ms. Jackson

Madonna Music

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Release Date: 18th September, 2000

Labels: Maverick/Warner Bros.

Review:

“...So, yes, thank you, you do like her acid rock. It’s not that, as cynics suggest, her discovery of dance music was the equivalent of a jaded millionaire’s rejuvenating lamb foetus injections at a Swiss sanatorium; rather, her contributions splice precious pedigree pop cells into raw new matter. ‘Music’ is a bionic record, a triumph of advanced mechanics and the faultless design of a consummate superstar. Only now, the act is vanishing” – NME   

Standout Track: Music

Doves Lost Souls

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Release Date: 3rd April, 2000

Label: Heavenly Records

Review:

These two songs alone chart new and comely shores of melancholic psychedelia. 'Rise' is a volcanic explosion of melodically lovely sadness, while 'Lost Souls' is like having your face brushed with warm and brightly coloured light as Jimmy Goodwin dolefully intones,"Every little thing that I say you just can't ignore/She consoles/For she cries for all the lost souls" over fluttering organs and drums.

Gulp.

Do the sums (Mancunian melancholia + woozy psychedelia + sonic whoosh) and you're left with the first great debut album to come from Manchester since 'Definitely Maybe'. Doves may not have any of the attitude, youth or sartorial influence of their forebears but, by God, they make being sad after drugs sound great”– NME

Standout Track: Catch the Sun

The Avalanches Since I Left You

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Release Date: 27th November, 2000  

Label: Modular

Review:

It's no cloyed nostalgia trip, pieced together humbly by Aussies who are probably telling you the truth when they say they listen "to a little bit of everything." The unflinching mix offers plenty of tempo variety, knowing just when to change the pitch before hitting overkill. The second half features a subtle lull that builds up in time for "Live at Dominoes," possibly the strongest cut. There's little doubt to Since I Left You's status as one of the most intimate and emotional dance records that isn't vocal-based. Working on a mystical level, don't be too surprised if a future dig through the wallet unearths a membership card to the Summer Break Funk Association” – AllMusic     

Standout Track: Since I Left You

Eminem The Marshall Mathers LP

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Release Date: 23rd May 2000

Labels: Aftermath/Interscope

Review:

I'm willing to lay money on the fact that the vast majority of people reading this have already heard this album and made up their minds. If you haven't you pretty much missed out on the most culturally important musical event since grunge - maybe even since punk. Nevermind though. (Pun intended.) And it's for that reason that I'm not sure what score to give this album. It's not perfect (the 3 skits and Under The Influence could be slashed from this album without any caring), and thus doesn't deserve 5 on that scale. Not to mention, it is an immensely opinion-dividing album, and one blamed for offending as many people as it delights. And yet, a 5 denotes an album that everybody should hear and should own - and I believe that to be true of this album. Even if you ignore the album's importance, it remains a truly special album, unique in rap's canon, owing its spirit to rock and its heritage to rap, in a way I've rarely heard. How can I give it anything less” – Sputnik Music

Standout Track: Stan

FEATURE: Real-to-Reel: Vague: Why Previous Attempts at a Full Madonna Biopic Have Been Flawed...and Why an Authoritative, Career-Spanning Project, with Madonna’s Backing, Would Triumph

FEATURE:

 

 

Real-to-Reel

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 IN THIS PHOTO: Madonna in her 1982 ‘lollipop’ photoshoot/PHOTO CREDIT: Deborah Feingold 

Vague: Why Previous Attempts at a Full Madonna Biopic Have Been Flawed...and Why an Authoritative, Career-Spanning Project, with Madonna’s Backing, Would Triumph

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THERE is a lot of division when it comes to the music biopic…

and whether we should see them on the screen. I have written about the biopic and the great and bad, it seems there is that clear division between those artists whose lives have been brilliantly brought to life through the viewpoint of an actor and those, sadly, whose career has been given a bit of a blow. A couple that have been making the news revolve around Freddie Mercury and Amy Winehouse. The former left us twenty-seven years ago and the biopic that has just been released, Bohemian Rhapsody, did receive some bashing and negative remarks - but many have thrown praise its way. Those who were indifferent to the film felt a lot of Mercury’s personal life was omitted and (the film) skirts around some of the singer’s more arresting moments. You can never please everyone and it is very hard making a film about someone very known and loved and getting it right. The Queen lead was an enigmatic and contrasting figures whose personal life was very different to what he projected on the stage. It is hard to find that perfect balance between the iconic showman and who Mercury was in private. Maybe there are some flaws but there has been a lot of love put the way of Bohemian Rhapsody. Whether Mercury would have approved of the film and loved everything is something we will never know. It has been good to see this legend projected through film and, let’s hope, reach new audiences.

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 IN THIS PHOTO: Amy Winehouse in 2009/PHOTO CREDIT: Alex Lake

The reason people make biopics is because, well, they want to see that artist’s life on the screen but ensure their life and magic is introduced to fresh generations. A lot of biopics, to be fair, concern dead artists. It makes senses to cinematically revive a musician but there is that issue of consent and appropriateness. Another artist who is getting the big screen treatment is Amy Winehouse. I can see the lure and desire to see Winehouse’s life projected on screen. The details, at the moment, remain brief:

Just days after Amy Winehouse‘s estate revealed plans to tour a hologram of the singer, her family also announced that a big-screen biopic about Winehouse is in the works. The Winehouse family will serve as executive producers on the upcoming biopic, which will begin filming in 2019, the Guardian reports. Proceeds from the film will reportedly benefit the Amy Winehouse Foundation.

“We now feel able to celebrate Amy’s extraordinary life and talent,” the singer’s father Mitch Winehouse said in a statement. “And we know through the Amy Winehouse Foundation that the true story of her illness can help so many others who might be experiencing similar issues.”

Monumental Pictures’ Debra Hayward and Alison Owen, the mother of fellow British singer Lily Allen, will also produce the film, with Kinky Boots writer Geoff Deane on board to script Winehouse’s life story”.

You have to consider a number of factors when approaching the film. Do you focus on the tragedy and alcoholism or, in a way, omit the darker details. Did the story of Freddie Mercury look at his sexuality and AIDS? A great biopic tackles the personal lows and highs and I do not think you can cherry-pick. Winehouse is regarded, rightly, as a modern icon so there will be a lot of her incredible music and loveable personality. She was, away from the tabloid gaze, a humble and honest woman that was, in a way, tortured by the pressure of fame. Who do you get to play her and will they sing her songs – something that is quite sacred and hard to equal! Will we get her early life and life before music and will we end with her sad death in 2011? If you miss any of these questions out, before it has even hit the screen, you have a critical failure. Fans will want to see Winehouse fairly portrayed but focus more on the music. It is a hard balancing act and, for that reason, I am a bit reluctant about this one. The fact Winehouse’s music has been exploited to an extent – posthumous releases and the fact a hologram version of her will tour – and it takes away from the purity of her work. The fact she was only twenty-seven when she died limits the scope of the film and will there be enough to keep people gripped and invested?! It is easy to see why music biopics have a hard time succeeding.

It can be hard telling an artist’s story legitimately and fairly if they do not get a say. The problem is one that was put at Madonna’s feet. My notion regarding a biopic is not a fresh one: there has been long-talk of a biopic, Blond Ambition, doing the rounds. I do not know whether it is being produced and when we might see it – if at all. When the biopic was suggested and its details revealed, the Queen of Pop was not best pleased:

Madonna’s claws are out. To be fair, they’re probably always out, given Madge’s proclivity for quick comebacks and cutthroat takedowns. But this time, her claws are sharper, shinier, and adamantium-strong, and sinking into a surprising new victim: a biopic called Blond Ambition. Universal recently snapped up the rights to the script, which is a retelling of Madonna’s early life and career. However, the singer greatly disapproves of the story, even more so now that she’s read the screenplay.

“Why would Universal Studios want to make a movie about me based on a script that is all lies???” she wrote in a now-deleted Instagram post, per The Hollywood Reporter. “The writer Elyse Hollander should write for the tabloids.”

Hollander’s screenplay, which follows a young Madonna struggling “to get her first album released while navigating fame, romance, and a music industry that views women as disposable,” shot to the top of the Black List last year. Michael DeLuca (Fifty Shades of Grey) of Brett Ratner’s RatPac Entertainment is set to produce the film, alongside John Zaozirny of Bellevue Productions...

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IN THIS PHOTO: Madonna in Greenwich Village, 1982/PHOTO CREDIT: Peter Cunningham

The pop superstar continued trashing the project, singling out specific script details like a scene in which a young Madonna tells Dick Clark on American Bandstand that she was born in Detroit and dropped out of high school.

When news of the biopic originally broke on Tuesday, Madonna immediately took to Instagram to voice her disapproval. She posted a photo of herself in all her 80s splendor, with the caption: “Nobody knows what I know and what I have seen. Only I can tell my story. 📚Anyone else who tries is a charlatan and a fool. Looking for instant gratification without doing the work. This is a disease in our society. ✍️🙃”.

I can see why there was some rankling and anger from Madonna. If you are not purporting the facts and doing something very lazy regarding the truth; how is that going to reflect the artist? The fact Madonna is alive and can have creative input, if approached, is a bonus. I am not sure whether that film has been made or what is happening but I do wonder whether an opportunity was squandered. Why focus on the early career rather than focusing on her entire career? Why not consult Madonna and negotiate? Surely a less hurried and more personal biopic is better than none or one that does not present things as they really transpired?!

It seems, in terms of documentary, it is easier to get things right and strike that balance – as the facts and woman herself is telling her own story to a degree:

“...But a documentary? On Monday, the first trailer for Madonna and the Breakfast Club, a documentary about the same early period of the Queen of Pop’s life as Blond Ambition, was released. Despite apparently treading some of the same territory, this is not the same film that so inflamed Madonna last year. Described as a “docudrama feature film about Madonna’s pre-fame days in New York with her first band”—the titular Breakfast Club—the documentary features interviews with Madonna’s collaborators from the era as well as what look to be pretty substantial reenactments of key scenes with actor Jamie Auld, perfectly cast in her first role, playing the musician. (A quick browse of Auld’s Instagram only confirms what’s in the trailer: The actor is a definite doppelgänger for the now-60-year-old soccer mom.)”.

As a big fan of her work; I am keen to do something revolving around her work – maybe a documentary would be the best first step. I feel Madonna’s beginnings and story has Hollywood and the cinema written all over it. The fact she left Bay City and worked her way to become the Queen Pop is a remarkable achievement and one that would inspire generations. It need not be a single film: a multi-part drama/comedy-drama would passionately and faithful chart her entire career and would allow people to see how she managed to transform music.

One could start in her early life and that desire to head to New York and create its first big chapter with her debut album in 1983. There is this ongoing career where she has evolved and managed to create such huge artistic works; a private life that has been put through the tabloid mill but, when you listen to the woman speak without misguidance, she is not like she’s portrayed. To me, seeing the young Madonna fight for artistic control and independence is the biggest key. Many overlook the way she was determined to guide her own work and how Madonna’s singular vision is what has led us to now. She worked with other producers and writers but it was the determination and strength from Madonna that ruled. I can understand why Madonna would feel slighted if someone made a biopic and it was not to her satisfaction. There is no other artist, I feel, that would be able to tell such a compelling story. You have all the different albums and how she transitioned from her 1980s heyday and reinvented herself in the 1990s; the big tours and iconic fashion changes; the way she is still making music and has inspired countless other artists. I do not feel she’s object unreservedly to any project regarding her life. As the trailer for Madonna and the Breakfast Club shows; it is possible to tell her story right and get her backing – it is the story/documentary of Madonna’s struggling days in New York with her first band, The Breakfast Club, and the period leading to her first solo record.

The best way to go about an authentic and proper Madonna biopic is to, first, approach her and her label, Interscope, and her management, Maverick, and not make a single move until everyone has sat down. A T.V. serial/multi-part would avoid Hollywood hands and duplicitous studio hands and, if funded by someone like Netflix or Amazon, it would have the budget but have a sense of independence – or not as controlled as you’d get from a bigger Hollywood studio. You would not need to glamorise details or overly-sexualise her life. She is an honest artist and her sexuality is part of her progression. The personal facts are the most important aspect. Regarding her high-school life and when she left Bay City; whether she wants to mention her marriages and any sexual past – going ahead without her consent risks alienating the one person you are trying to please the most. You would need to establish the tone of the series and whether it is going to have elements of her relationships and controversies – especially around her Erotica-Sex period in the 1990s – or whether you want to focus purely on her musical rise. Having an approved and malleable production company on board is the biggest step. Finding a director, female preferably, who could bring her story to life and ensure Madonna loved it would be easier than you’d think. You’d need the writers to work with Madonna and, if she had an executive producer role, it would mean details would go through her without her necessarily controlling every aspect of production.

A biopic/series that offends the subject is a failure and that is why there is an ethical quandary when telling the stories of artists who have already passed – would they want their story to be told at all?! Madonna is going to be without us an awful lot longer and there is no huge rush to throw something out without her understanding and backing. If you put something to her and she says ‘no’ then ask if there is something that can be done to get her involvement. If she shuts down every approach then it is best to leave things but that is not what has happened before. There is so much to unpack and concentrate on so I do not think you can sufficiently get to grips with the real Madonna with a two/three-hour film. It would look great on a big screen but I think something more detailed and thorough is only right. I spat out the title, Vogue, because that song (from 1990’s I’m Breathless) seems to be a particular peak. The word evokes fashion and cool and would be a good title. I do not know but, in any case, most production companies would want the involvement of Madonna herself. The script and story would be good to tell and something someone like me would love to see. You need to get inside the woman herself – in a non-smutty way! – and what drives her.

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 IN THIS IMAGE: The cover for Madonna’s eponymous debut in 1983/IMAGE CREDIT: Getty Image

If Madonna was on board and was invested in the project, I think it could genuinely be a huge hit. Biopics involved deceased artists can be risky and if you try and guess what they would want told and how they actually lived then you are taking a gamble. By having the Queen of Pop with us and producing music still, there is this huge interest and lure. We all want to know what Madonna will bring next and, at sixty, I feel she has a lot more to say. My favourite periods from her career are her debut in 1983; the period between 1992 and 1994 when she released Erotica and Bedtime Stories (respectively) and rode a wave of flack; her 1998 album, Ray of Light, and where she is now. Madonna’s eponymous debut is a landmark album and one of the best introductions. By 1994, she had undergone changes and creative shifts and, with tongue in cheek, was apologising for her raunchy and indiscreet album/book beforehand. By 1998, nobody expected her to produce something like Ray of Light. It is her musical evolutions and reinventions that make her the Queen of Pop. The personal side of Madonna is important and cannot be overlooked. There are marriages and tabloid tackling; we know about her huge live shows and it would be good to see what happened behind closed doors and get a glimpse of the Madonna that few of us have ever got to see.

There is a lot of Madonna documentary and interview material to cull from and getting the right actress is essential. You’d be looking at Madonna from the age of around sixteen and following her career up until now, aged sixty. Whether you’d keep one actress and age her or employ several is a problem but I feel having several actresses playing her is best. They would need to learn her speaking voice and mannerisms but the studio recordings do not need to be replaced. I feel getting someone to re-record her songs would be a mistake and you need to keep them as they are. There are so many different areas to investigate and how she got involved with every part of the process – from writing and producing to music videos and hiring dancers for her tours. Some might say Madonna having too much say would make it subjective and gloss over some aspects but I feel her aim would be to have her life told as she actually lived it. There is a demand to see her life on screen and you cannot look at the epic career of Madonna and not feel it would be perfect and brilliant on T.V./film. As we have seen; going ahead and producing something that is half-truth risks the subject herself create distance and feel offended so the only realistic Madonna biopic would need her complete involvement and direction.

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 IN THIS PHOTO: Madonna in her 1982 ‘lollipop’ photoshoot/PHOTO CREDIT: Deborah Feingold 

I think her music videos, songs and interviews are a great legacy but having this single/multi-party story would bring everything together and provide a chance for rare details and revelations to come into play. Many people idolise Madonna and a drama/film would show how she took a risk and got into music; how she rose to where she is and could bring in messages around sex, feminism and creative control. It is a modern-day story that is needed in music and, given the lack of icons, talk of #MeToo and sexism in music; having one of our finest-living artists tackling this retrospectively and currently would make a big impression. You cannot argue with the fact there is nobody like her but, if her life and career was put on film and was told truthfully; who is to say somebody out there who aspires to be like her could not take a similar path and create history?! It is exciting to see but I wonder whether previous attempts – whether they get past the green light and emerge into the light of day is unsure – will stump another pitch. I cannot believe Madonna would be opposed to ANY biopic or dramatic interpretation. As we saw in the article near the top of this piece; she wants things to be accurate and as experienced and telling lies is not a good strategy.

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IN THIS PHOTO: Madonna at the Met Gala 2017/PHOTO CREDIT: George Pimentel via Getty Images

A documentary would be less risky and would not necessarily need Madonna’s input because you are collating what is already out there and the portraying the facts. Films, biopic or otherwise, always tend to bend the truth to a degree and there is the temptation to exaggerate and scandalise Madonna. You do not need to do that as her life and career is fascinating and screen-worthy without distorting the facts. It would be brilliant to have the Queen of Pop giving the go-ahead for a new/proper biopic because I, for one, would be able to bring a lot to it. Maybe we will see an upcoming biopic – not approved by Madonna – but I hope any projected or half-finished idea will not see the light. A gorgeous, touching and powerful telling of Madonna, from the teenager to the established icon she is today would bring in huge viewer figures and would provide people to see the Pop icon’s story as told by the woman herself. Not many artists have that opportunity so I hope, if the right idea came her way (I have a great one that would be perfect), she would get behind it and see something personal and honest...

DELIGHT millions.