TRACK REVIEW: Mi'das- If I Were You

TRACK REVIEW:

 

Mi’das

 

 

If I Were You

9.6/10

If I Were You is available at:

https://soundcloud.com/officialmidas/if-i-were-you?in=officialmidas/sets/all-inside-your-head-album-2016

The album, All Inside Your Head, is available at:

http://www.officialmidas.com/a-l-b-u-m

RELEASE DATE (iTunes): March 28th, 2016

GENRES: Soul; Pop

ORIGIN:

London, U.K.

TRACK LISTING:

Justice- 9.6

Sunshine- 9.5

If I Were You- 9.6

Twilight- 9.5

Too Little Too Late- 9.5

Feels Like Only Yesterday- 9.6

Now We’ll Never Know- 9.5

Grace (Feat. Nate Williams) - 9.5

Get On Up- 9.6

This Year (Make a Change) - 9.6

Everybody’s Changing (Live at The Troubadour Bootleg) - 9.5

DOWNLOAD:

Justice; If I Were You; Feels Like Only Yesterday; This Year (Make a Change)

STANDOUT TRACK:

If I Were You

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THE starlings are in the gardens and there is a general feeling of...

spring in the air.  I am glad winter is subsiding and the seasons are changing:  It brings the best out of human beings.  There are smiles on faces and a positive vibe floating around.  To reflect the mood, I have been seeking music that gets me dancing and happy.  I love reviewing artists who can reflect and take the listener somewhere personal:  A musician can do that and elicit plenty of verve, energy and dance.  Luckily, I know just the artists (who can answer my prayers):  It is good to be at the feet of Mi’das.  I shall come to him soon- and look into his new album- but am reminded of Soul music in general- and what is on offer- and our (Britain’s) best male solo artists- finishing with a bit about how to grab attentions and remain in the mind.  Just recently, I ran a feature about Stevie Wonder:  Focusing on his legendary album, Innervisions.  As part of my ‘Classics Series- a bi-weekly feature that looks at the best albums of the past- I immersed myself in Stevie Wonder’s greatest album (some would argue that honour goes to Songs in the Key of Life).  The reason I focused on that album was my love for Soul/Motown music:  We rarely hear artists that evoke Wonder’s spirit and genius.  Thinking about Innervisions- the hard-hitting subjects assessed and one-man band authority of the star- and you can tell how personal the album is to Wonder.  I guess there are some like-minded- those that have an air of Wonder- artists in the modern scene.  There is still a reliance and dependence on Pop music and fitting into a particular hole.  I fear artists are becoming too hesitant and ‘safe’:  Not wanting to push themselves or get out of their wheelhouse.  It is all very well talking about personal relations and wanting to seem everyman:  This does not mean you have to sacrifice sound, surprise and originality.  For every great Soul artist; there are waves of disappointing Pop/Folk/Indie artists who leave you fatigued and uninterested.  Soul and Pop are genres that have so much potential and cross-over flexibility:  Every music lover appreciates a good jam; some cutting song that can get the feet moving.  Among joyous notes you can easily incorporate tales of heartache and loneliness- without scaring the listener and compromising integrity.  Last year, Soul started to encroach into the mainstream more effectively.  In 2016, it (Soul) is a genre that has to fight for its place:  Not enough mainstream acts are incorporating Soul into their music.  If you look at albums by Leon Bridges (Coming Home) and Erykah Badu (You Caint (sic.) Use My Phone):  These were two of the most successful artists of the last twelve months.  Leon Bridges has been particularly successful and notable:  He is gaining huge acclaim and celebration.  Evoking shades of Sam Cooke and Marvin Gaye:  His ‘70s Soul sound is given modern production and a current-day kick.  With some big-hitters swinging for Soul and missing- Adele’s 25 was a massive disappointment; Sam Smith is on his way down- we need more artists that can keep Soul burning and bright.  Mi’das is a musician everyone needs to watch out for closely.  Matching the likes of Leon Bridges- for sheer quality and potential- his new album, All Inside Your Head, has been amazing listeners.  It is released on iTunes in a week- it is available via his official site and SoundCloud- and will see the London-based artist gain a lot of new fans.

Before I continue- looking at other themes- let me introduce Mi’das to you:

"Mi'das a.k.a Mike Davies creates soulful pop music infused with his trademark vocal and guitar playing. From busking the streets to performances with artists such as Leona Lewis, Jessie J, Rita Ora, Labrinth and Jamie Cullum, you could say the last 10 years have been quite a journey for this Brighton born soulful strummer. In 2015, Mi'das played a total of 60 shows to 20,000 people and memorable performances at venues such as the O2 arena, Royal Albert Hall, Hyde Park, and Kensinton Palace (In front of Prince William, Bon Jovi...) He also released a series of three EPs 'The Story so far' which was an eclectic mix of the soul and pop music he loves so much.

Quoting Bill Withers, Joni Mitchell, Elton John and Gregory Porter as strong influences the sound is rooted in timeless songwriting but is discernibly of our time. Speaking of his debut album, Mi'das states 'This album may be the most retro sounding album I'll ever make as a homage to those artists I've learnt from’.

His debut album 'All Inside Your Head' is a collection of songs which represents the last 10 years of his life. As for the meaning behind the name, Mi’das adds 'I called it All Inside Your Head as I've come to notice that most things in this life good or bad come down to something you can change yourself in your own mind without blaming anyone or looking for other reasons'. Mi'das will be going on a headlining tour across the UK in May".

I have ‘gone on’ about male solo artists quite a bit, recently:  I shall not bore people too much right now.  I am just aghast at the rather spotty quality coming out:  There are so few artists you can hang your hat on.  With every promising artist; time seems to distill their magic:  They might ignite at first only to whimper upon future releases.  I mentioned the likes of Sam Smith:  A musician who (I doubt) is going to last for a long time.  His debut album- In the Lonely Hour- showed enough promise:  I feel he will struggle to repeat success on a sophomore album (if one does come).  You have a few male solo artists that are making huge statements- I must mention Jamie xx and Kendrick Lamar again- but few others that really shout their intentions.  Mi’das is a singer that hits you right away:  You just know he is someone who will remain and develop.  Whether it is the sound-blend he evokes- that Soul-cum-Pop crossover- or the pure passion presented:  I know there will plenty more albums from the young star.  Having performed for a number of years now, Mi’das is hitting his stride and really blossoming.  All Inside Your Head is a bold and brilliant statement- I will go into more detail soon- that has no weak tracks at all.  The album bursts with colour and life:  There are myriad emotions and stories here; that sensational voice backed by trademark guitars and funky beats.  Mi’das’ album is one side to his impressive arsenal.  His official website- http://www.officialmidas.com/- is beautifully designed and easy to navigate.  All the photos information and links you could need are here.  Backed by Project Light Agency:  Mi’das seems fully-formed and in very safe hands.  I am doubtful how many current mainstream stars will remain:  There seems to be some uncertainty among critics and listeners.  What I do know, is this:  Mi’das will be hitting the big-time very shortly.  All Inside Your Head is all the proof you can need:  An album that no listener can ignore; a record you want to revisit and put you in a good mood- the music effortlessly elicits smiles and sing-along.

Mi’das is an artist who has transitioned from a busking hopeful to a musician on the brink of stardom.  He is not somebody who has appeared on talent shows and expects people to give him a recording contract:  He has worked tirelessly and been honing his craft for years.  Since the days of dreaming and (playing to street passer-bys); Mi’das has shown huge progression and consistency.  Prior to All Inside Your Head; songs like Be Strong and Call It Love- like the album; they are available on SoundCloud- emerged.  Each number displays that distinct Mi’das sounds.  Looking at redemption and the need to remain strong: Be Strong has a gorgeous Blues guitar lick that gives it a seductive charm.  Mi’das mixes guitar sounds- strumming acoustic and exhilarating electric- to propel his gorgeous voice.  A song that implores to a sweetheart:  He wants her back and lays his heart on the line.  Backing vocals add a Gospel element to the song:  In a way, the song is a hymnal deceleration of intention and love.  It is here you get a glimpse of that chocolate falsetto:  You honestly picture Stevie Wonder when hearing Mi’das in the zone.  Call It Love is a different beast, that is no-less impressive.  A more sedate and introspective number:  It gives a chance for Mi’das to let his acoustic guitar take centre stage.  Looking at new-found love- a new girl who he may have feelings for- there is confusion and uncertainty.  Friends tell (our man) he is in love with this girl:  Our man is less certain; he is just friends, you see.  Presenting a stunning vocal- that has bits of Jeff Buckley in the mix- it is another rock-solid and immense track.  Neither track appears on All Inside Your Head:  It just shows how strong Mi’das’ current material is.  The truth of the matter is this:  Both tracks would sound seamless on the album.  There was no need for improvement or change:  These early cuts are among his very best work.  Given the fact (All Inside Your Head) is an eleven-track album:  Perhaps there was no room for Call It Love and Be Strong.  Maybe, thematically, at least, the songs are not appropriate for the album.  Most artists are a little slight on their early songs:  No such fate here, sir.  All Inside Your Head is business as usual.

I wanted to highlight If I Were You because it seems to bring all the album’s themes/strengths into a single song.  The album’s title itself (All Inside Your Head) made me curious and wonder.  Maybe- speaking to friends and lovers- their troubles and woes are all self-made and not there.  Perhaps it is something more personal and introspective.  I know Mi’das has his own story about the album.  It is about recognizing bad and good things that swirl about the mind.  You do not have to blame anyone or ascribe reasons (for the bad):  It is in your head and you can tackle it alone.  If I Were You begins with plenty of electricity and mesmeric swing.  The percussion rolls and kicks with intention and sass.  The keys and strings evoke a confidence and swagger that will win you over and get the smile on the face.  I know I keep mentioning Stevie Wonder- and Innervisions a lot- and it is not meant to distill Mi’das’ touch.  It is meant with all the flattery and compliment I can muster.  I do not compare artists to Stevie Wonder for the sake of it.  When If I Were You began, it was as though Innervisions’ best moments were being updated for the modern audience.  That sturdy and immediate introduction are something of real beauty.  You wonder what direction the song will take and what themes will be addressed.  When our hero comes to the centre; we hear about “Mr. Perfect” and how (Mi’das) would never disobey him.  There is a certain tongue-in-cheek delivery that suggests the sentiments are not completely honest.  Although “You’re worth it”- the loyalty and obedience- are done from Mi’das’ own back.  I was fascinated from the moment these words were delivered.  Just who is the man being documented?  There is that mix between admiration and dissatisfaction.  Maybe a friend and compatriot are being investigated:  Maybe a politician or public figure?  Whoever compelled the song; you start to imagine and create your own story.  Although you can hear Stevie Wonder’s influence; Mi’das is his own man and unique artist.  If I Were You has been chipped and sculpted over many months.  You can tell how much craft and attention has been paid.  Every note and line sound well-rehearsed and perfected- it does have a looseness; never sounds too polished.  Few musicians take the time to nail songs and put that much passion in- fearing critics and listeners will forget them if they do not rush music- and avoids disposability.  Mi’das brims with passion and commitment at every juncture:  A musician’s musician that wants songs to be as strong as they can be.  “You tell me that black is white”- and “everything between is wrong”- it is claimed.  Wrong answers and poor mathematics are being taught- “2+2+2 is nine”- and the mystery deepens.  I grow more curious as to the song’s origins and influence.  Just who is this person being addressed?

Complexities and life-swap are addressed in the chorus.  If roles were reversed- and the subject was transposed- would (our hero) be right or wrong?  Would things be done in the same way?  There are underlying anger and annoyance within If I Were You.  Keeping things upbeat and funky:  The keys swirl and jive whilst the beats are tight and sharp.  It is near-impossible ignoring the chorus and its insistence perseverance.  The composition grabs you and ensures you get those feet moving!  Mi’das keeps asking questions and probing for answers.  “Would I be right all along?’ is one of the most pertinent questions introduced.  Maybe some false advice has been given (by the subject):  Following poor idols and misguided advice has brought this song to light.  Of course, our hero knows the answer to these imponderables and queries.  He knows who has motivated his momentum:  It is wonderful guessing and picking the song apart.  The lyrics throughout mix simplicity and intelligent:  They are easy to quote but you admire the thought that has gone into them.  If you (the song’s subject) saw things from the other side:  Would they say the same things and be who they are?  I can sense that conflict and dissatisfaction manifest itself in a direct and urgent vocal.  Not content to let the lyrics alone shine:  That stunning voice possesses such power and caramel-smooth delight.  The juddering, hips-dancing composition makes everything sound completely exciting and alluring.  A wonderful blend of ‘70s synthesisers and modern studio values:  The intergenerational comingling works wonderfully throughout.  Feelings are being guarded and sublimated:  There is a distinct air of bubbling tension that threatens to explode into something fierce.  Just as Mi’das’ voice is near-explosion, the composition steals some focus.  Cool-as-ice electric guitar swoon in and steals some spotlight.  Bonding with electronics and beats:  The combined elements lift the song up and give it another kick to the stratosphere.  By the closing notes- with our hero having said all he can- you luxuriate in the divine composition and a magnificent song.  Even when things end, you are left wondering about it:  Just what drove Mi’das to write the song?  Personally, I do not want to know the answer.  Every listener will have their own views and believe their own take.  Mysterious, upbeat and hugely addictive; one thing is for certain:  If I Were You is All Inside Your Head’s finest track.

British Soul has representatives that are doing their best to succeed.  Leon Bridges has shown the best of U.S. Soul- a native of Texas- but we have few homegrown acts that rival him.  He (Bridges) has a fascination for vintage Soul and Motown acts- from Marvin Gaye to Sam Cooke- and mixes their legacy inside modern-sounding tracks.  One of the criticisms levied at Bridges at this:  The music sounds a bit too old-fashioned and sound-alike.  Given the attention Bridges is experiencing- and the fact he has detractors- you have to wonder just how far Mi’das can go.  It is rare to find a white artist that recalls the majesty of Stevie Wonder:  It is hugely impressive when someone gets it just right.  Of course, Mi’das is his own man:  The stories, compositions and vocals are very much a unique standpoint.  In every song, you get a little hint of the likes of Stevie Wonder, Prince and Michael Jackson:  A holy trinity of Soul/Pop legends.  It is no exaggeration when I say this:  Mi’das is one of the finest artists we have in the U.K., regardless of genre.  Struggling to find many great male solo artists:  It is rewarding finding someone who lives up to expectations and eases the mind.  I get fed-up with the ‘mainstream-approved’ artists who are really not up to scratch.  From B.B.C.’s ‘Ones to Watch’ lists- occasionally there are a couple of acts who are worth time- I am getting a little tired.  London’s Mi’das is gaining acclaim and fans but he deserves more good fortune.  It may be early days still, but you just know he will go on to massive things.  That silky and spine-tingling voice should not just be reserved to SoundCloud and small venues:  I can see Mi’das packing arenas and touring internationally.  All Inside Your Head is a confident and consistent album that will leave you a little speechless.  Feels Like Only Yesterday- the latest single from the L.P. - has been lauded and applauded by the music media.  Mi’das does not want to feel throw-away- so many modern musicians are- and touches on something deeper and more long-lasting.  The single looks at the innocence of youth- looking back on a care-free time- inside a song that has resonated with listeners around the globe.  Excited to delve deeply into All Inside Your Head:  There are many more treasures to be discovered.

Justice opens the album with enticing keys and a smooth seductiveness.  Reminding me of Innervisions-era Stevie Wonder:  You get treated to luxurious and heart-hitting vocals.  Looking at problems and wells running dry- there’s “no end in sight”- our man looks at wider issues and injustices.  Taking is all people seem to do- the world is being messed around- and there is a fight against that.  The day will come- when justice “will be done”- and things are put right.  The lead vocal has an intensity and drive that makes you stand to attention- listen to every word closely.  Backing himself on vocals:  The layered chorus leaves you tingling and makes the mind wander somewhere magical.  The composition is fairly sparse- piano and percussion for the most part- which allows the lead vocal to shine and campaign.  Mi’das shows the range of his voice- from growled lows to Heaven-sent highs- and addresses deep issues and important concerns.  Rather than open with a song about love and heartache- like everyone does- you get a conscientious track that looks at society and asks questions.  Towards the latter stages you get some sweet and eyes-closed wordlessness- our hero lost in his own beauty- that perfectly concludes Justice.  An opener that sets the tone splendidly:  It is one of the album’s finest moments.

   Sunshine opens with finger-picked acoustic and finger-snapped percussion.  A sunny and tranquil opening- taking your mind to a beach somewhere far-off- our hero looks at “dark clouds” remaining.  Perhaps there is negativity and unhappiness (inside Mi’das); it seems his girl is bringing the sunshine.  One of the album’s pure love songs:  Once more, I get flickers of Stevie Wonder.  Innervisions packed in a few earnest and stunning love songs- the tenderest Wonder created- and provided thematic balance and contrast.  Rather than present another high-energy jam- that sounds like Justice- Mi’das brings it down and lets his heart speak.  The girl in question is medicinal and soul-lifting.  Her smile “before I go to sleep” is just what is needed:  Eradicate the rain and bring something more positive in.  Weather metaphor is not a new influence in music- many artists have employed it before- yet our hero finds new meaning and potential.  The lyrics have simplicity and straightforwardness to them that means every listener will be able to relate.  The vocal remains pretty firm and level- never rising and falling too sharply- which gives the song accessibility and control.  A beautiful and personal revelation:  You hope Mi’das found happiness in the end.  A good old-fashioned love song with no cynicism or needless overcrowding (in terms of sound and production).  It is bare-boned and soulful:  Another impressive song from a tremendous singer.

  Twilight begins (again) with tender strings and reflectiveness.  River-flow strings are met with echoed electronics that take you between sun and moonlight.  Life has “taken its toll”- our man has been “here and there”- and this song is looking back on a life lived.  One of the most thought-provoking songs on the record; we look at growth and achieving goals.  Maybe our hero has not done everything he should have done:  He has to reconcile his life “somehow”.  Many of us wonder if we are living life right:  Mi’das tackles this quandary head-on.  One of the more introspective tracks across All Inside Your Head:  Little shades of Ed Sheeran and modern Pop royalty can be found in this track.  The days are tumbling and our hero is trying to take everything in.  Unsure what has motivated the track- a logical chance to assess achievements and goals- it is impressively mature and inspiring.  Many listeners will relate to the lyrics and force themselves to think more deeply.  It is a song that is as far from shallow and throw-away as you get:  There are wisdom and home truths here; deep and life-affirming questions tangling.  A track that stands up to multiple spins- you come back time again- it shows just how many sides Mi’das has.

Too Little Too Late arrives with intriguing strings and a sense of stately pride.  The more you try, it is said, the easier it does not get.  Our hero has been trying and plugging:  He has nothing to hide and is out of ideas.  Whether looking at finding a special relationship- or making big moves in love- it might be too late to succeed.  In the “next life” he will not hesitate, it seems.  You feel empathy for a soul that is yearning for something meaningful and happy.  Backed by punchy beats and a detailed composition- backing vocals and beautiful piano; electric guitar stabs- it is a full-bodied and complete track.  Every musical and lyrical strength is exploited and represented it.  Mi’das is at his most deep and thoughtful here.  Letting his voice fly and entrance:  Here is one of the most stunning songs on the albums.  Like a good Mi’das chorus, you get heavenly choral vocals.  Bringing other singers into the fold- it sounds like a Gospel choir on this one- you get tingles a-plenty.  Our hero’s voice is at its most agile and authoritative on this number.  In terms of guiding points and sounds; there are a few different influences at work.  That blending ‘60s and ‘70s Soul can be heard here- Otis Redding, Marvin Gaye and their contemporaries- with ‘80s Soul/Pop- Stevie Wonder especially.  That is not to say Too Little Too Late is a song stuck in the past.  The production, vocal and composition are very much the sound of 2016.  It is a modern, crisp and current sound that brings in classic flavours to add to the mix.

Feels Like Only Yesterday begins with a tape being played.  You get a rampant drum beat- sounding like a bygone band- that transforms into something rushing and instant.  When our hero approaches the microphone; he looks at simplicity and tender days.  When a youngster; stresses and responsibility were miles away:  Just living in the moment and being a child.  Those days seem pretty recent- there is a yearning to the voice- and perhaps a need to return to that state.  One of the most effusive and celebratory tracks across the album:  It is a jam that every listener can tap their feet to.  A simple and hugely effective chorus ensures the song sticks in the mind for a long time.  Following a few ‘calm’ or slower numbers:  This is Mi’das back in full-on Soul mode.  Bringing energy and rush back into the album, you have a song that shimmers, jives and moves at every moment.  Funky and cool-edges electric guitars come in past the half-way mark.  Putting me in mind of Steely Dan- and their finest moments- Jazz-Rock mixes inside Soul.  An instant hit that can win the steeliest of hearts:  It is another album highlight that shows just what Mi’das can achieve.  His lyrics never focus on one theme or love:  You get so many sides and aspects to this remarkable songwriter.  Maybe life is more complicated and challenging.  Our hero wants to return to those times and forget strife:  Embrace something that seems so recent and fresh.

Those looking for a bit of stomp and march will be pleased by Now We’ll Never Know.  The opening beats are foot-stomped and intense.  You get a real sense of an army marching in time.  Electronics and percussion step and pace forward.  When Mi’das comes through, you are already intoxicated by the stunning mix of synthesiser (forgive me if it isn’t) and beats:  They blend superbly and sound incredible.  The song looks at life being complicated and the need to change.  “Could we change?”  is a question repeated and probed.  Whatever has happened- between our hero and his girl- they won’t have the chance to alter things.  Maybe there are too many obstacles and struggles:  There is that burning desire to transform things.  While Mi’das’ voice is at its very peak- high and low notes tangle with beauty and naturalness- it is that composition that stays in the brain.  It is fascinating to find what inspired Now We’ll Never Know.  It is clear there is something love-based and painful being assessed.  Maybe our man has had his heart broken or going through a separation.  Aside from that addictive composition- that gets stronger and more impressive by the second- the vocals shine again.  You get more backing vocals- similar Gospel vibe to previous tracks- and one of the most committed vocals on the album.  Mi’das is at his most focused and meanimgful here- this song clearly has a lot of personal relevance.

  Grace beings Nate Williams into the album and shows another sonic shift.  The opening sees trippy vocals- wordless and processed- introduce Mi’das.  The song’s heroine- whether a former love or current concern- uses white lies to “cover the black” and believes the “world is flat”.  Those choppy backing vocals- Williams adding something strange and wonderful- our hero is at his smooth and serene best.  In spite of all the problems and troubles:  The girl’s face is in the mind (of Mid’as) and hard to forget.  This grace might lack sense- there might be no logic to these feelings- and there are some mixed emotions on display.  You wonder whether the relationship is solid and ongoing:  Perhaps Mi’das is reflecting on a time past.  One of the album’s shortest tracks (it is short of the three-minute mark) it is also one of the sparsest.  The backing consists of Williams and piano by-and-large.  No other compositional elements are needed.  A naked and bare track:  The focus in on the lyrics and voice.  All shades of blues and green are seen- the heroine’s sadness and envy perhaps- with that abiding loyalty and love.  Grace is a mystical and complicated thing.  Its enigmas and oddities are perfectly translated by a musician in the form of a lifetime.  At this point, there have not been two tracks that sound alike.  Every song shows new influence and inspiration.  Too many artists stick with one theme and sound- structurally rigid and showing little malleability- whist Mi’das keeps everything fresh and changeable.  In spite of the varied and impressive songwriting; you always get that core:  The stunning voice and wonderful authority.

With a title like Get On Up; you might expect something James Brown-esque.  It might not be that far from the truth.  The opening claps rush and compel you to move the feet:  Mid’as’ opening vocals (“Well, well, well”) have huge intention and promise.  Buoyed by that clapping percussion; our hero concentrates on a certain someone.  Maybe a former lover or friend- a composite of several people, perhaps- the aforementioned says how hard life is.  Nothing is free in life- you got to “go out there and claim it”- and there is truth in those words.  Perhaps the song’s subject has been moaning and exaggerating things.  Mi’das knows you will struggle to make things from life:  It is a fight everyone has to go through at some point.  Album songs have looked at everything from love to reflections of youth:  You get another window into a busy and variegated creative mind.  Get On Up implores fight and embracing what life throws.  Listeners can relate (once more) to a song that delves deep and addresses something very relevant and sage.  There is no spite and accusation in Mi’das’ voice.  The girl in question (presuming it is a female subject) is capable of so much more.  They are squandering opportunities and being a bit lazy.  Rather than making our hero glad:  They are making him quite mad.  This life has one shot- one that is being wasted by the heroine- and the song casts its net wide.  Many people will take few risks and see days go by.  Whether it is a girlfriend or close friend- maybe a guy who is not fulfilling potential- you are helpless to ignore the driving composition and soulful vocal.  Mi’das shows what an instrument he has at hand.  Straying away from direct Stevie Wonder comparisons; he comes into his own.  A modern-day Soul man with an amazing voice:  It gets a mighty workout throughout the song.  The composition still has elements of ‘70s Soul:  The synthesiser, keyboards and beats remind you of the greats of old.

This Year (Make a Change) is the penultimate cut and shows our man with a plan.  Previous years have (perhaps) been wasted to an extent.  I got little touches of Rufus Wainwright- might be odd to say- in this song and something less Soul-based; more Pop-natured.  The grand piano lines highlight the sensitivity and depth of the song.  Mi’das is trying to forget the bad memories and embrace a new way of thinking.  You get back “just what you will give” and there is that need for self-improvement and embrace the new.  The fear will be expunged and a new man will be born.  It is one of the album’s most inspiring and strong songs.  Few artists look at self-improvement and making themselves better.  This Year (Make a Change) will inspire other songwriters and make listeners find a change in their life.  That nature of change is repeated and reinterpreted throughout the song.  Enforcing the necessity and urgency of the theme:  Change is the mantra shouted and proffered with ecstatic necessity.

Completing All Inside Your Head is Everybody’s Changing.  Recorded at The Troubadour:  It is a live track that gives the album another side and a wonderful swansong.  Haunting and soft beginnings get you hooked and fascinated.  You can really transport yourself inside the venue- the production is bare and brings you right to the fore- and the vocal is impressive throughout.  More a ‘bonus’ song that anything:  It demonstrates how effective Mi’das is in the live arena.  I would love to see the track in a studio setting to see how different it could be.  As it is, it shows a lot of promise and power.  The central vocal is raw and hugely intense.  The hero looks at people changing and a slight fear with that.  Not changing “you and me”- our man and his lover- there is that need to hang on and keep things as they are.  My favourite live album ever is Jeff Buckley’s Live at Sin-é.  Recorded in a New York coffee house in 1993:  It showed the young star just before he recorded Grace.  I love that album because it was recorded in such a small location.  With just a small number of people, you hear coffee spoons dropped and a real intimacy.  Everybody’s Changing has a similar vibe to it and made me think of a young Buckley.  Bringing All Inside Your Head to a majestic close, it goes to show just how…

GOLDEN Mi’das is.

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TRACK REVIEW: Dannii Barnes (feat. Ace)- No Fear of Falling (Live at Sound Technology Sessions)

TRACK REVIEW:

 

Dannii Barnes (feat. Ace)

 

 

No Fear of Falling

(Live at Sound Technology Sessions)

9.7/10

No Fear of Falling is available at:

https://www.youtube.com/watch?v=0yhR5r1UxKo

RELEASED: 23^rd February, 2016

GENRES: Alternative-Pop

ORIGIN:

Surrey, U.K.

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FRESH from reviewing a London-based Pop/Electro. duo (MissDefiant), I…

am stepping away from an ‘ordinary’ review and looking at a live performance- a song that was originally recorded by another artist.  I make a general rule never review a cover version:  It is near-impossible finding new insight- something someone else has recorded- and I always yearn for original compositions.  Whilst this review will be a shorter one, it is perhaps no-less relevant than most:  A great young talent is emerging in the underground.  The point of this blog is to review musicians who deserve wider attention and focus:  My featured artist has the talent and voice to make a big impression on the music scene.  Before I come to her- and look into her music and current offering- I wanted to talk about music coming out of Surrey; artists that begin in music schools- finishing off with a bit about solo female artists.  Being based out of Surrey- around Guildford- I often spend a lot of time looking at London artists and bands coming from the capital.  To be fair, my mind often wanders there:  Daydreams of wandering Covent Garden and tramping through Hackney:  Along Piccadilly and getting lost in the tranquility of Hyde Park.  As a music journalist, the musicians (of London) provide an equal sense-assault and mind-melting pleasure.  You have the Grime rush of East/South London; some wonderful duos coming through; brilliant Rock bands who will be future stars- able to fill venues and headline festivals.  With spring upon us- it is the first official day of spring, today- I am seeking the bright and hopeful:  Those who will be making footprints in music and capturing the imagination.  I have got a little ‘band fatigue’ at the moment:  Having reviewed them for so long; it is tough finding one (a band) that stands aside from the crowd.  Being a Surrey-born fella; I have a certain loyalty to musicians based in the county.  While many are emigrating places larger/more exciting- lots to Brighton; others up to London- there is a loyal band that is putting Surrey on the music map.  Hungry bands- like Vinyl Staircase- are doing good business:  There are some phenomenal young solo acts pressing hard.  Following the success of Emma Stevens- a Radio 2- championed solo act who started life at A.C.M. (more on them later) - there is energy in the local community.  Being so close to London:  It is unsurprising Surrey is generating quite a few hot and eager artists.  There are some great local stations- the fantastic Brooklands Radio, for one- that constantly playlist the best Surrey has to offer.  The Academy of Contemporary Music is based out of Guildford and is among the U.K.’s most impressive and noteworthy music schools.  Whilst I am a bit of a music purist- preferring musicians to develop through feel and intuition; rather than teaching and direction- I cannot fault the quality that is being produced.  Emma Stevens is just one example- from an exceptional school- and not a one-off fluke.  Chess- A.K.A., Francesca Galea- is on my review list:  She is about to launch her debut album, 1869.  While I am looking to move to London as soon as possible- emigrate somewhere exciting and more lively- it is the local music that is keeping me rooted (in addition to financial restrictions).  A.C.M. is one of the most reputable music schools around the country.  Some of my social media friends- from Shaydes’ Marisa Rodriguez and Elena Ramona- have extolled the virtues of a wonderful house for young talent.  Taking time to nurture and guide wannabe musicians:  The music world is being treated to the best graduates A.C.M. provides.  In addition to the aforementioned names- female musicians that are going to be making great shapes in 2016- you can add Dannii Barnes.  You might not have heard of her before- unless you have proximity and connections- but you will in time to come.  A ‘house band singer’ for A.C.M. - showing just what talent and reputation she has- the stunning young singer packs a hell of a punch.  Bold, confident and soulful:  Barnes has one of the most captivating voices I have heard in a while.  With Boileroom just down the road (from A.C.M.) I can see Barnes taking to the just-around-the-corner stage:  Bringing bodies in and giving new ears a chance to hear her do her thing.  If you want to discover a worthy and nuanced female singer- I am always looking out- then the Internet is perhaps not that helpful.  Unless you have great social media contacts- or are a music journalist- it can be tough unearthing the best female talent out there.  Over the last week, I have unearthed two of Britain’s most exciting up-and-coming singers:  Brighton’s Vanessa Forero- I shall stop mentioning her soon- and now Dannii Barnes.

At the moment, (Barnes) seems contented and comfortable at A.C.M.:  Enthralling and exciting crowds with her gripping and beautiful voice.  No Fear of Falling sees Ace collaborate with Barnes for a Sound Technology Sessions exclusive- Ace is Head of Creativity Industry Development at A.C.M.).  The song in question first appeared on Ace’s 2003-album, Still Hungry.  While that album might have slipped under-the-radar:  The Skunk Anansie guitarist’s song sounds reborn and revitalised.  Barnes gives the song a vigour, intensity and dreaminess (the original lacked slightly).  Ace and Barnes seem like quite a natural combination:  They melt together wonderfully and have a connection and intuition.  When listening to the performances- I shall go into more depth- each performer drives the other.  Barnes is in her musical infancy- climbing the ladders and learning her craft- but already has a certain star quality.  Blessed with incredible beauty and an incredible voice:  She is one of the most jaw-dropping singers playing right now.  I know (Barnes is) being well looked-after by A.C.M. but it would be good to see an official website. Having that central hub- a Dannii Barnes music homepage- would put her covers/music in one place; make it easy for journalists and fans to discover her.  On that note, augmenting her social media profile- an official Twitter account; a bit more depth in the Facebook account- would make her music more accessible and available.  Barnes is a passionate and determined young woman- having a sneaky-peek of her Twitter feed- and someone who takes music incredibly seriously.  Given the feedback No Fear of Falling is generating- accruing views on YouTube and getting a good response- it is just the start of things.  I would love to meet Barnes as she seems someone in-love with music and eager to transcend to the mainstream.  That gorgeous voice and enchanting power make every song (she covers) sound her own:  She can make everything sound utterly natural and self-penned.  No Fear of Falling shows the young singer give her heart and soul completely.  I hope Dannii Barnes records an E.P. sometime soon- not that I’m trying to push her- whether it is a covers-only album or set of originals.  On that side of things:  I think Barnes has some great stories and songs inside her.  Let’s hope they make it onto tape soon:  Hear that voice tackle of varieties of subjects and avenues.  Barnes is a mobile and adaptable talent that would sound tremendous backed by a band- maybe a Rock-y sounding group; maybe Ace could join the ranks?- or out-front as a Blues/Soul-cum-Pop chanteuse.  I shall not race ahead- sounds like I am pitching to be her manager- but I can see her going the way of luminaries Emma Stevens and Marisa Rodriguez.

It is in this part of a review I look at past works (an artist has performed):  Seeing how they have developed and whether they have progressed.  Dannii Barnes is a singer who is very much in the sapling stages of her career.  On her YouTube channel; there are a handful of cover versions for people to hear.  Barnes is a singer who has an affection and affiliation towards Pop and Soul.  Under the umbrella of A.C.M. - where a lot of their students favourite a more mainstream sound- I would love to see her employ some more edgy and Rock-inspired vocals.  Barnes is very natural when covering Pop/Indie tracks:  She has an authority and range that means her voice perfectly suits mainstreams acts (like Lily Allen).  I am not sure whether schools (like A.C.M.) mould singers to sound like someone else- the need to construct artists to sound like mainstream Pop stars- but past graduates have subverted these fears.  Barnes strikes me as a singer who could cover a wide spectrum of genres and sounds.  When listening to No Fear of Falling- covering Ace’s original composition- I hear the variety and contours (of Barnes’) voice.  She has a wonderful rawness to her:  I could well see her transition into a more Rock-driven sound.  That said; Barnes has soulful undertone- affection for older Blues and Soul singers- that could soundtrack Amy Winehouse-esque numbers.  The best singers are those who are not too restricted and narrow.  I see too many artists- usually playing in the Pop mantle- that are either sugar-sweet or have a slight huskiness.  Because of this, there is little room to maneuver and surprise.  On the basis of a few performances- most notably on No Fear of Falling- I can tell Barnes has a lot at her disposal.  It makes the proposition of an E.P. quite exciting.  I am not sure if she has considered it- I do hope she (at least) puts it in mind- but Barnes could create a wonderful, multi-layered E.P.  Maybe mixing in a couple of covers- that are most personal to her- she could bring in some original material (if she is writing at the moment).  Able to partner easily with musicians- Barnes and Ace blend with natural ease- Barnes certainly is in the right place- no shortage of potential cohorts at A.C.M.  Whether Blues band rampancy- scoring a soulful classic- or a tight, Rock band performance- where our heroine lets her inner-vixen loose- who knows?

No Fear of Falling was a song that appeared on Ace’s- guitarist with Skunk Anansie- album, Still Hungry.  That version saw Shingai Shoniwa lend her stunning voice.  The Noisettes’ lead- an Indie-Rock band who did not get the acclaim they deserved- gives a wonderful performance on the 2003 version.  I am a fan of the original so was keen to hear what Dannii Barnes could do with the song.   Hosted by Sound Technology- where they give a platform for talented young musicians to shine- Ace opens the song with gentle, riparian finger-picking.  Plucking his Larrivée D-50E:  It is an entrancing and seductive opening that beckons for a beautiful vocal.  When Barnes starts to sing, you are somewhat startled:  Not quite expecting that voice to come through.  Most like-minded singers- music school singers and Pop-based artists- have a very defined sound and vocal definition.  Dannii Barnes is a bona fide star who just radiates and burns with passion.  Our heroine is tongue-twisted and caught in knots- I am going to define/assess this song as though it comes from Barnes’ mind- and has fallen for a particular charm.  “You are my weakness” is an (opening) line performed with eyes-closed intensity and a spine-tingling husk.  Smoky and sensual- almost sexual in its delivery- you transport yourself into the song itself.  The lyrics start to paint pictures and present something tangible and visible.  With reason abandoned and her mind contorted:  Barnes lets her voice soar and weave around the lyrics.  Unable to see reason in the moment- whether saying goodbye to a sweetheart or going through a hard time- Barnes instantly bonds with the song.  She is not a singer trotting a song out for the sake of exposure.  You can tell how much each word means to her.  Every note rings with emotion and (shows Barnes) intoxicated and haunted in equal measures.  I am not sure the original interpretation of the song- what compelled its creation- but in Barnes’ hands, it becomes a transcendent hymn that makes you sit silently- that voice washes over you like a cooling ocean.  A sly smile is being delivered- “Screw your pride”- and my mind looks towards love and romantic what-ifs.  Maybe mistakes have been made in the past- the heroine has rushed in or been overly-cautious with regards love- and is getting over herself.  That fear and hesitancy seem to be vanquished:  She is ready to take a chance and follow her heart.  Maybe I have misinterpreted- Ace could shed some light- but Dannii Barnes turns (No Fear of Falling) into a revelation:  A personal insight into a passionate young woman.  Guided and supported by Ace’s sweet arpeggio- a gorgeous progression of tender notes and emotive ripples- and the song gets straight inside the mind.

As authoritative and commendable as Ace is- the author knows the song better than anyone else- it is Barnes’ voice that evokes the biggest reaction.  Not resigned to deliver a one-note performance- fearful of ruining the song- she trusts her own instincts and abilities.  As such- and with confidence showing- powerful and emotive mixes with crystalline and child-like.  When the mood calls for it (Barnes), you get blood-lusting power and knee-buckling rise.  With nary an indication; that power then dips to something serene and soft.  Able to kiss and seduce:  Barnes then lets her emotions out and reaches towards the sky.  Lesser singers would struggle to discipline themselves and control so many strands.  Barnes is a studied singer who is effortless and captivating.  Our heroine wants to close her eyes and has no fear:  She does not want to fall; be taken to new places and take on the night.  Throughout the performance- going to extraordinary places and abandoning an old way of life- hitting the right vocal notes can be quite a challenge.  I have heard plenty of singers- tackling similar-sounding songs- present ululation, histrionics (too much) and over-emotiveness.  Barnes puts me in mind of (A.C.M. former students) Chess and Marisa Rodriguez.  Both singers are making waves and gaining huge applause- Chess has a huge fan-base; Rodriguez fronts the Reading-based band, Shaydes- so I can relate to Dannii Barnes directly.  Whether she is enraptured and pained- aching and desperate for some escape- or allowing her chocolate-rich tones to rule- she always keeps the listener fascinated and hooked.  Ace is by no means a bystander and lesser player.  His shimmering notes propel Barnes and raise her performance to rarified heights.  Both artists have push one another- the vocal sharpens the guitar-playing; the guitar inspires vocal experimentation- resulting in a wonderful collaboration.

I have mentioned how No Fear of Falling sounds like a Dannii Barnes song:  Insight from a young woman seeking happiness, answers and a comfort net.  Perhaps not what Ace had in mind- you’d hope not anyway! -but that is the mark of a great cover:  Making it indistinguishable from the original; like it is your own creation.  The 2003 album version elicits shivers- a different take but no-less awe-inspiring- but Barnes sounds completely in-love with the song.  Despite the fact Barnes is her own singer; you get touches of other artists.  Little bits of Nelly Furtado- not sure if she is a fan- and her Whoa, Nelly! work.  Blues and Soul strands emerge- bits of the ‘70s queens- whilst there are shades of U.S. Pop stars (including Christina Aguilera).  When there is a notable (guitar) key change- Ace introduces a new parable and stage- Barnes’ voice is ready and right there with him.  It is that understanding- a near-telekinetic bond- that makes the performance so engrossing.  From wordless coos- Barnes sounds deliciously dreamy- to near groans:  She runs a gamut of emotions and ensures the listener is pulled straight into her mind.  A lot of live performances have a sterile aspect and seem rather un-affecting:  Dannii Barnes’ emotive performance ensures every lyric and scene are projected with colour, boldness and black-and-white (you get contrasts and juxtapositions).  Adding nuance in unexpected places- the chorus sounds more relevant each time it is delivered- your heart goes out to our heroine.  Such is the intensity and commitment through No Fear of Falling:  It seems like a confession from Dannii Barnes to us.  Ace keeps perfect timing- not rushing too much or too demure- which spurs Barnes to deliver her most memorable vocals.  It is the second-half performance that provides the biggest chills and reactions.  Almost scatting at one point:  Barnes is at the precipice of desires and her voice seems to provide supernatural ability.  Effortlessly transmogrifying and exhilarating:  She contorts and confesses like she is stood atop a mountain:  Screaming down at the world and ensuring everyone hears her.  In terms of comprisable singers; I get shades of Bjork.  The Icelandic legend is renowned for her cinematic and planet-straddling voice.  If you check out albums like Debut and Post:  These seem like albums that have inspired Dannii Barnes (subconsciously or directly).  If you think about songs like Human Behaviour- and the album Post in a wider sense- it was lauded hugely (renowned as one of the best albums of the ‘90s).  It wasn’t the idiosyncrasies- tics, growls and yelps- that resonated with critics:  It was the emotions they conveyed and how they move the listener.  Barnes has a similar talent at her disposal:  She moans and growls- not sexually but sensually- and blows your away with the raw emotions coming out.  An enchanting singer whose impish-cum-everyman contrasts make No Fear of Falling such a revelation.  Barnes combines alien-like vocals- few other singers can match her range and abilities- with a sexiness and girl-turned-to-woman sense of discovery.  That Bjork essence- apologies if Barnes dislikes Bjork- seems to have been transplanted into our heroine.

Dannii Barnes has a voice that can see her amass an army of followers.  I have stipulated there are some everyman touches to it:  Singers like Chess and Marisa Rodriguez (two A.C.M.-trained singers) have similar tones and gymnastic abilities.  That is where the comparisons end, really.  What you get from this Sound Technology Sessions video is a singer to watch very closely.  Many will hail Barnes based on looks alone- she is a stunningly gorgeous woman- and ignore the talent that she possess.   I hope the media/fans- the worst traits they display- just listen to that voice and close their eyes.  When you do, you are in for a huge treat:  A true star with an impressive confidence on display.  Maybe it is where she is based- being an in-house singer at A.C.M. - that means she is chiseled, practiced and assured.  Many young singers (of her age), come across a little uncertain and nervy.  Dannii Barnes is as confident and convincing as any singer out there.  This assurance and ability mean No Fear of Falling is a song you want to listen to time and time again.  Ace marries his assiduous strings with a passion drive:  He bonds spectacularly with Barnes.  The duo does not make eye contact (in the video:  Barnes is sat in front of Ace) but you can feel them vibing from one another:  There is an unspoken connection that elevates the song to healingly heights.  I was unfamiliar with Barnes as recently as one week ago.  I am not dedicated to following her career and making sure she can go as far as possible- an artist I would love to interview one day.  Whatever her short-term plans- staying at A.C.M. or looking to release an E.P. - she will win new hearts and followers.  If you have not heard of Dannii Barnes now:  You will in a very short space of time!

Having been contacted by Lizzie Cooley- P.R. Executive at A.C.M. - I am glad I have the chance to expose a wonderful rising talent.  I have waxed lyrical and vacillated quite a bit- hopefully, Barnes will forgive me- but Surrey often plays second-fiddle when it comes to the best of new music.  Sound Technology- and their wonderful live sessions- have seen a rotation of pure talent show what they are made of.  Dannii Barnes and Ace must rank among the most memorable performances, for sure?  The two have a simpatico and connection that channels into a scintillating performance.  Just watching the video- for the live performance- so many things stand in the mind.  Barnes is a captivating woman to see:  Lost in the music, she closes her eyes and seems to go somewhere wonderful and magical.  Not to sound too pious/wanky:  She’s a woman who commits her soul to music.  Ace- decked in leather and James Bay-esque hat- is the epitome of cool and calm.  The two have this fire-and-ice relationship:  That burning hot voice is perfectly controlled by disciplined and emotive strings.  Ace’s 2003 song is given a work-over that makes it sound like a Dannii Barnes original:  She owns the song and uses it as an exercise to highlight her vocal strengths.  I genuinely hope Ace keeps playing with Barnes- I am not sure where he is based out of- as they fit like hand-in-glove.  As for the voice behind the song:  What can you really say?  The fact she is a matter of metres down the road from me- I walk past A.C.M. most days- I must commit to seeing Barnes play in the future.  I opened by recommended she get an official website drawn-out and formulated- I know a designer who could do a bang-up job!  There are a lot of local joints- from The Star to Boileroom; The Stoke’ (my gaff) that would happily house her.  I have a bittersweet relationship with Guildford- dismayed at the negatives but proud of the young music breed- but I am glad A.C.M. is in town.  I have grown weary of the ‘best’ the mainstream has to offer.  There are some cracking singers emerging:  Robyn Sherwell and Elle King have enough intimacy-and-power contrast to them.  In terms of the boys, Wild Nothing and Kano are among my current highlights.  A couple of real (deep-rooted) problems linger within music.  There is a lot of indeterminate at the moment.  From Iggy Pop- his farewell album, Post Pop Depression- to Alessia Cara’s debut:  There are too many two and three-star albums.  Music- the mainstream at least- is struggling to throw up terrific newcomers and consistent mainstays.  With every passing year, you really have to dig hard to discover some genuinely great albums:  Something that is probably scaring a lot of under-the-radar artists.  The second problem is this:  Brilliant young singers have to struggle to get their names heard.  I would love to see a site that brings together all the young artists emerging:  Breaks them down by genre and location; makes it easy to discover fine talent.  Right now, there is a lack of discipline, support and leading-by-example music.

I feel Dannii Barnes will be able to negotiate and hurdle every obstacle.  There is a sea of determined singers electioneering:  Barnes ranks among the most impressive and stunning of them all.  Under the mantle of A.C.M. - her current school and artist-in-resident location- I can see her career blossoming and growing.  Let’s hope the local pubs and music venues open their doors- hopefully, she has a manager who is taking care of that- I know a lot of people who would pay to come see her.  I witness too many musicians who have so-so voices or overly-cliché songs.  Barnes has proven herself an exceptional interpreter with a huge feel for the material:  Someone who can take a song (from another act) and turn it into something near-transcendent and majestic.  She is still a young woman, so there is not a great deal of pressure:  Original material and E.P.s will surely come in time.  Given the passion, potential and personality inside her:  That could well translate into an ear-catching and brilliant selection of original material.  It is great seeing a Surrey musician- although Barnes hails from Essex- showcase such incredible talent.  There is a rabble of competition- even around Surrey- with everyone showing something slightly different.  Among a throng of same-sounding solo artists, Barnes has a unique flair and a real edge to her.  You get beauty and tenderness at the one moment:  She can switch to primal and sky-scraping without any warning.  Such agility and ability mark her out as one-to-watch.  The future is very much hers, so let’s hope she takes her music as far as possible.  Make sure you keep informed of Sound Technology:  Their live sessions are promoting a lot of great young musicians.  It is great seeing Ace back in the spotlight too- I have been a fan of Skunk Anansie since the ‘90s- and going strong.  With Skunk’ still playing- their latest album (Anarchytecture) was released in January- I am pleased to see the guitarist in fine form.  I am not sure how Ace and Barnes came to join forces- I shall have to ask that question- but I beg it is not a one-off.  Dannii Barnes has covered artists from Passenger to Lily Allen.  She is a singer who has a wide range of influences and idols.  Effortless across a range of genres:  The seeds are being planted for a wonderful future.  No Fear of Falling shows Barnes in full flight:  A song that seems perfect for her inimitable voice.  Given the wide range of singers vying for attention and longevity; Dannii Barnes is a performer who could…

VERY well top them all.

[youtube https://www.youtube.com/watch?v=0yhR5r1UxKo&w=560&h=315]

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Follow Sound Technology Sessions:

https://www.youtube.com/channel/UCbqpJ2LdZBn4fWtH_zRhE_w

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Follow Dannii Barnes:

 

Facebook:

https://www.facebook.com/DanniiBarnesMusic/?fref=ts

SoundCloud:

https://soundcloud.com/dannii-barnes1

YouTube:

https://www.youtube.com/channel/UCs3oyScPCGqrQExaGv9Cwyw

TRACK REVIEW: MissDefiant- 133T

TRACK REVIEW:

 

MissDefiant

 

 

133T

9.5/10

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RELEASE DATE: April 1st

GENRES: Alternative; Pop; Electro.

ORIGIN:

London, U.K.

LABEL:

AWAL

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IF you want to remain a hot force in the music industry...

there are a few considerations that need to be taken care of.  In addition to consistency- a gold nugget that few artists can ever unearth- there needs to be originality, passion and graft.  These are words I throw around a lot- never wantonly and lazily- and for very good reason:  The artists that (will) remain in music are those who go the extra mile.  I know the music industry- the realities of success and the work needed to obtain it- can be gut-wrenching and utterly exhausting.  With every passing week, floods of bright-eyed artists are emerging on the scene:  All eager to seduce listeners and get their music played on radio and social media.  In the course of my reviews- the years I have been doing this- I have heard a lot of great musicians emerge:  There have been quite a few- a worrying amount actually- that fade from the memory pretty quickly.  I feel new musicians- not all, but many- are playing things a bit too safe and cautiously.  Too many solo artists are lacking that necessary distinction and original intent:  Many are too content to replicate the mainstream-approved artists of the moment.  With regards groups, there is a little more fortune:  I am still witnessing too many (bands) that are depressingly uninspired and lazy.  Fortunately, I am with a duo who can never be accused of slothful unoriginality or lacking passion:  The girls of MissDefiant are ticking all boxes and making a very hard charge.  Before I introduce them to you- and bearing their music and objectives in mind- I am compelled to talk about duos and changing Pop music; addressing important themes within songs- completing with a bit about broadening horizons (when it comes to musical tastes).  While I scan around for some distinguished new bands- it can be a hard task; worth the effort- there have been some wonderful solo artists fall under my radar- including Brighton-based, Colombian-British musician, Vanessa Forero.  Every week, I ‘discover’- or someone brings to my attention- a wonderful young solo artist with a terrific sound.  When it comes to duos, you do not see them represented as fairly- mainstream media and blogs tend to favour bands and solo artists.  That is not a reflection on numbers and representation:  There are a lot of duos coming through; they are struggling to get their names heard.  From two-boys Rock duos- inspired by the work of Royal Blood- are emerging around the nation.  Yorkshire has the likes of Knuckle whilst the Black Country has God Damn:  Two wonderful- and hirsute- duos that are worth keeping your eyes out for.  In London, Electro.-Pop duo Them & Us mix Game of Thrones epics- they have a cinematic and panoramic sound- with club-ready sharpness and wonderful lead vocals (from Ami Carmine).  That is just the tip of a huge iceberg of do talent in the U.K.:  Acts that deserve wider acclaim and grander focus.

I love duos because the central chemistry is always stronger and more engaging- compared to that of a band.  Whether sweethearts or friends:  You always get something kinetic, electric and wonderfully intriguing.  I find too many bands sterile and going-through-the-motions:  The chemistry is not quite right whereas the music can appear too singular- not all the band members get in on the writing process.  Duos tend to be more collaborative, by nature:  You get the sense (in duos) both parties contribute to the music being put forward.  In terms of sonic variation:  Duos tend to be more adventurous and less rigid with regards their music (a generalisation, perhaps, but there is truth to be found).  This brings me to MissDefiant:  A stunning two-piece who become stronger and more urgent with every new release.  Before I address new themes, I shall introduce MissDefiant to you:

“Since launching in April of 2015 MissDefiant have created an online storm around their catchy music, fun content and engaging social media posts. MissDefiant have already performed at prestigious music venues such as The O2 Academy in Islington and the Brixton Jamm. They have also recently received a social media sponsorship from MAC Cosmetics due to their growing popularity on Twitter and Instagram.

Born in Battle, East Sussex, Emily Rose Adams has had a passion for music from an early age. Trained as a classical soprano, she moved to London at the age of 16 where she met Jordan Cather. Emily has toured the UK and Europe in musical theatre and opera shows such as Carmen, Sopranos vs tenors and Aladdin. She has also had acting roles in popular TV programmes like Broadchurch, Holby City and Grantchester.

Jordan, originally from Plymouth, has danced with artists including Charli XCX and Years & Years, inspiring her to pursue a career in singing and songwriting. Jordan is currently studying music production at BIMM London, and together with Emily started to write music to release as MissDefiant. Jordan has also modelled for London Fashion Week, danced with comedians such as John Bishop and Paddy McGuinness and taught commercial dance classes at Pineapple Studios.

Mike Tournier, brings musical experience to the girls raw and electric sound, having previously helmed bands Fluke and Syntax. Fluke's first release was in 1989, with their music being featured on soundtracks to Tomb Raider and Sin City 1 and 2. When signed to Virgin, Fluke released 6 albums, performed at Glastonbury and toured with David Bowie and Prodigy. He then went on to start Syntax in 2000, signing to Sony in 2002 which made music that featured on soundtracks to The OC, Nip Tuck, Bones, Conviction, Driver 3 and the In Time trailer. His highlights of Syntax were appearing on Top of the Pops and touring with the Scissor Sisters. Mike enjoys working with Emily and Jordan who hope to emulate the success of bands that Mike has remixed in the past like the Rolling Stones, Bjork, Smashing pumpkins, New Order, Talk Talk, Frankie goes to Hollywood, Yellow and Simple Minds”.

133T is a new song from a duo who are picking up waves of fans and a lot of press attention.  Hearts, minds and ears are being turned onto stunning music that packs energy, dance and gritty edges.  Working within the Electro./Pop realms:  The girls have stunning voices and a clear commitment to what they perform.  With every track, you get impassioned performances and a real nuance:  Words, ideas and lines keep popping into the brain (long after the song has finished).  A lot of modern Pop/Electro. leaves me a little cold, to be honest:  The music might be bracing, yet the messages are rather juvenile and immature.  MissDefiant are a duo that has maturity and a social consciousness to their music.  Their latest single is not only a memorable and get-to-your-feet jam:  Its core messages touch-upon very important issues and problems.  Hooking up with Über-producer Mike Tournier:  The girls look at the nefariousness of drug culture and the glamorisation that occurs.  In a society where late-night binges and hedonistic behavior is celebrated- the stupidity of the human race- it is refreshing seeing musicians rebel against this habit.  MissDefiant are determined to change perceptions and embrace something safer, purer and far less dangerous:  133T delivers its messages with punch and huge memorability.  The girls’ latest track is almost a political manifesto:  It contains an important plea that is intended for the masses.  Unlike a political manifesto, they are not bull-sh****** and dull-as-dishwater.  There is no preaching and sanctimoniousness:  Every word and vocal is portrayed with genuine spirit and authority.  MissDefiant are a duo that has a terrific future ahead.  Jordan Cather and Emily Rose Adams are just starting out but are making huge impressions:  They get stronger and more compelling as the months elapse.  I cannot wait to see what this year holds for them:  Whether an album is forthcoming- that would be amazing- it is worth keeping your eyes on this phenomenal duo.

133T is the most arresting and memorable track MissDefiant has created.  It is great there is a logical progression and growing confidence.  They are not your average Pop act that has a team of writers behind them- penning cliché love songs- and very little imagination.  With every MissDefiant song, you get something new and stunning.  Mess With You (released last year) saw the girls at their sauciest and more sensuous.  Backed by pinging beats and processed vocals- for effect rather than necessity- the track owed more to modern-day acts like Lady Gaga than anything else.  An impressive track, it showed the girls had plenty of passion and urgency to their music.  To my mind (Mess With You) did not do the girls full justice.  Whilst the lyrics had tongue very much in cheek, there was just something lacking:  It felt too similar to the current mainstream.  Fortunately, subsequent releases saw the girls embrace their own voice more.  With less Auto-tune and static electronics:  Get Out was a more energised and impressive cut.  Perhaps straying close to the current crop- that breakthrough hadn’t happened yet- the girls were experimenting more and sounding more confident and engaging.  It wasn’t until the release of Venus & Mars (about a month ago) that the girls started to hit their peak.  Maybe it is Tournier’s influence- bringing in a tougher and tighter sound- that has brought the best from MissDefiant.  I would like to think it is a combination of subject matter and production.  The girls toured quite a lot- between the release of ‘older’ songs and Venus & Mars- and were picking up new influence and momentum.  133T is another step in the right direction that proves my point.  Their latest track shows great social awareness and wins points with originality alone.  There are no tales of heartbreak and fantastical:  It is a slamming track that attacks drug glamourisation and the ‘elite’ that proffer its ills.  The vocals are stronger and more natural- processing is gone, which gives the song more authority- and the compositions stray away from the radio-friendly vibe of Lady Gaga et al.  Their latest cuts show how evolving and varied (the girls are).  It is the introduction of ‘80s sounds- a bit of Madonna and Kylie Minogue- that gives the track charm and evocation.  Marry that to very modern production values and relevance and you have a multi-layered song that shows the girls in peak form.  Given their progression and rise:  It will be fascinating to see what future tracks contain.  Few modern Pop artists experiment with subjects and go deep enough.  For that reason, MissDefiant deserves some serious acclaim.

133T starts out with immense urgency and vibrancy.  A huge electronic rush vibrates and stridulates with volume, power and immediacy.  There is no time to bed-in and wait for the build-up:  You get that hit right from the first second.  Representing club music and the chaos of the floors- the headiness and sweatiness among the noise- the listener is shocked by the buzz and drill of the rush.  There are elements of Lady Gaga to the early sounds.  In past releases, MissDefiant would have used this- the sounds of ‘Gaga- without irony and employ it fairly heavily- understandable given her popularity and influence.  In this case, any suggestions of Lady Gaga are used as backdrop and scene-setting- the sounds you might hear in every club- and less to do with their current ideals.  That swirling and canine bark is the backdrop on which the girls work from.  When arriving at the microphone, the messages and clear and unfettered.  “You don’t want that stuff” is an anti-drug message without mystery and misinterpretation.  Delivered with half-sarcasm- a moody teen swagger- and plenty of oomph:  That vocal alters and shifts within a few seconds.  Keeping the song moving and nimble- just like a dancer at a night club- the vocal shifts to a more Rap-like delivery.  Young people want to “get in with the hype”- take drugs because it’s seen as cool and must-do- and surrender themselves to something they know nothing about.  In urban parlance, ‘133t’ means ‘elite’:  It is used by ‘script kiddies’ to make themselves feel like hackers.  It is a clever and appropriate name to give to drug-peddlers and fakes:  Those who push pills and spike drinks without any conscience.  Our girls are not impressed by what they are seeing.  Being approached by some random guy:  “That’s not me, Charlie” is the spiky retort.  There are some that want to get off their face and commit to a life unpredictable and insane.  In the early stages, you are not allowed breath and reflection.  The buzzing, pulsating beats create a whirlwind that you are helpless to resist.  You will not be able to avoid moving your feet and nodding along to the insatiable, rushing electronics.  The vocals see MissDefiant at their most confident and unique.  Gone are electronic processing and any distortion:  These are messages that are vital and need to come through clearly.  133T is a song that shifts and develops with every passing second.  When one phase is done; another duly arrives in its wake.  It- the changeable nature of the dynamics- is almost like an embodiment of the club life.  People go from person-to-person:  New conversations are heard and it is a conveyor belt of changeable sounds, sensations and sights.

Following the scat-sharp delivery of before:  A mantra is unfolded with pace and punctuation.  “irrational, passional, fashionable, international, impractical, fanatical, mechanical, supernatural” are smart and to-the-point words that define the drug culture we are witnessing.  Bering part of this so-called ‘elite’ is irrational and fashionable:  There is no logic behind everything; many participate because others are doing so.  The girls ensure this irony and stupidity is given appropriate delivery:  There is a sense of anger and boredom to the lines which shows annoyance and bafflement.  When the girls delivered the coda “Get in with the hype” you get recollections of Something Kinda Ooooh (Girls Aloud’s 2006) single only with more relevance and depth.  Unlike Girls Aloud, MissDefiant are event more vibrant, passionate and memorable.  Like Girls Aloud- teaming with Xenomania for that cut- the girls create a head-spinning song that ranks them among Pop’s finest.  Those lunging, racing electronics- the type you might do Zumba to- bond ‘80s music with modern-day Dance.  The resultant coming-together creates such a huge amount of force and conviction.  You are still helpless to stay motionless:  The beats and electronics implore you to get off your feet and lose yourself in the rush.  After the clamber and compositional highlight, the voice is very much back into focus.  With a sassiness in the voice, Instagram, Snapchat and ‘selfies’ are brought into view:  Club-goers and elite-chasers hashtag-ing “I’m so wealthy”.  While some U.S. stars champion this lifestyle- the pouting photos and deplorable, money-chasing, shallow souls- here there is no such approval.  MissDefiant are tired of the plastic princesses and worst aspects of modern life.  Once more- and packing a huge chorus in- the opening themes are reintroduced.  The coda- drugs life being “pasional” and “fashionable”- meets with that stand-out kiss-off- “That’s not me, Charlie”.  133T is conversely complicated and simple.  The girls reintroduce themes and ideas- making it memorable and easy-to-remember- but there is so much going on, too.  The composition has so many colours and elements:  Swooping, swaying and endlessly hypnotic.  The vocals switch between distorted and quick-fire:  Sneered put-down and defiant boldness combine and ensure the song is constantly engaging and addictive.  These ‘august’ people- that subscribe to the 133t life- are being given sage advice and warning.  As we ride to the conclusion, there is no let-up in energy and potency:  133T remains focused and resounding to the very last.

MissDefiant are on a hot run of form that sees them deliver their most electric song to date.  133T clearly means a lot to the London duo:  Every line comes with urgent delivery and meaning.  The girls are addressing a subject- those chasing a bad way of life- that is rarely touched-upon in modern Pop.  With certain musicians portraying a contrasting viewpoint- celebrating the fools that indulge too much- our intrepid duo is on a noble quest.  Cather and Adams are at their most impressive and determined, here.  The vocals are free from electronic clutter largely:  It means the words and sentiments come through boldly and with huge resonance.  Mixing club-packing dizziness- the rushing electronics are endlessly compelling- with ‘80s-and-‘00s blends (Girls Aloud with Madonna, strangely) there is so much to recommend.  I believe MissDefiant are going to follow 133T with equally impressive moves very soon:  This is not a one-off, fluke of a song.  Cather and Adams want to emulate the success of some huge bands:  They are not thinking about calling it quits at any point; they want to grow and inspire.  Mike Tournier- who has an impressive reputation- brings the best from the duo.  Augmenting that edgy and boldness the girls have always displayed:  Tournier brings all their assets the fore and ensures the listener is treated to something special.  Tournier has remixed artists including Bjork, The Rolling Stones and New Order:  A man with a fantastic pedigree and knowledge of the music industry.  I hope the trio- Cather, Adams and Tournier- continue on and collaborate across future releases.  Together, you have an epic force that is among modern music’s most solid, assured and promising.  133T arrives in a matter of day:  When it is released, there will be a rush for reviews (a few have arrived already) and fans will be satisfied, for sure.

It is crystal-clear Cather and Adams have a wonderful connection and affection.  The girls have very different childhoods:  Adams’ East Sussex upbringing saw her tour in musical theatre productions; Cather’s path has been different, but no-less impressive.  Coming together in London- where their friendship blossomed- it is clear they are kindred spirits.  I am not suggesting bands lack that friendship and solidity- many are among the most galvanised musicians I have seen- but the duos tend to have that closeness and commitment.  The fact- a lot of these duos- are lovers speaks for itself:  You would expect to detect connectivity and bonded souls.  It is this building block- the close-knit friendship- that makes MissDefiant such an infectious and effect proposition.  I have been following their music for a while- noticing the progression between songs- and just know they will go onto big things.  With a great team around them- including producers like Mike Tournier- MissDefiant are among the most agile and arresting duos in the U.K.  On paper, you must assume they are another made-for-the-charts-random-Pop-act- with no substance and distinction.  That is far from the case here:  The London-based duo are a genuine force that will mix-it-up with the very best.  Venus & Mars- the last effort from the girls- impressed me for a number of reasons.  The breezy and beautiful vocals put me in mind of ‘80s Pop leaders:  The likes of Madonna, Kate Bush and Kylie Minogue came through in the vocals.  The busy and multi-layered composition brought together ‘80s Pop with modern-day Electro.-Pop urgency.  133T has that consistency- that unique vocal D.N.A. and effusive composition- but digs deeper (than Venus & Mars) and shows another side.  There is caution and criminality lurking in today’s club culture.  From drink-spiking to recreational drug-taking:  A ‘simple’ night out can turn into something horrific and dangerous.  There are too many musicians- not just Rap and Hip-Hop acts- that glorify the drug scene.  The Mike Tournier-collaborating months are seeing the girls create their finest work:  Let us hope this hook-up remains solid for 2016.

I have genuine hopes the girls keep plugging and putting out terrific music.  I am always left cold by the ‘best’ mainstream Pop has to offer:  There are few gems to be found in the mine.  One of the problems- with regards the quality of mainstream Pop- is the established order.  From Rhianna to Adele:  The ‘queens’ of Pop are going through the motions, it seems.  Adele’s once-golden status- that huge voice and instancy- sound samey and recycled.  She is determined to put out the same material without altering and updating it:  Her latest album showed very little originality and nuance- songs just pass you by, somewhat.  Rhianna’s Anti, whilst not a commercial disaster, hardly matches her best days.  The boys are not faring better, let’s face it.  There are peripheral Pop artists that look set to make headway:  Some newly-formed acts that have potential to make impact soon enough.  Given the instability and inconsistency (of Pop music), listeners are looking out for new heroes/heroines.  For that reason, people should be looking to the underground.  MissDefiant have that ready-made mainstream sound that is radio-friendly yet edgy.  They could well be among the huge names to watch- the artists tipped for success by the media- in 2017.  This year, they are ensuring their purple passage keeps getting brighter and more indelible. 133T is effortlessly effective and urgent in its plight:  It packs a vital message and some seriously addictive moments.  The song balances fun and seriousness; the uplifting beats and insistent vocals.  Pop music has plenty of mobility and potential if you work hard enough.  It (Pop) does not have to be sugar-sweet and vague:  Add some Electro. and Alternative ingredient in and you can elicit something wonderful and rich.  MissDefiant are making all the right moves, right now.  Their official website is among the most professional and eye-catching out there.  It lays out all the information you can need with clarity and concision.  I admire musicians that tackle issues greater than their own concerns.  Yes, we need love songs- tales of heartache and separation- as, strangely, it provides relevance and comfort.  The trouble is- when it comes to these type of songs- if you have heard one, you’ve heard them all.  You can find some originality if you look hard enough, but musicians need to be more inventive and thought-provoking.  MissDefiant have penned tales of love but are not a one-dimensional duo.  Their latest track proves just how conscious and socially aware they are.  Few musicians are addressing drug culture and those who glamourise it.  Not only can 133T inspire other acts to think more widely:  It will compel listeners to think more deeply about such issues- braggadocio drug boasting and a rather seedy sub-culture.  Among the wonderful duos emerging throughout London:  MissDefiant surely stand among the very finest.  The girls are going to be unveiling 133T on 1^st April:  I urge everyone to listen to it (upon release) and see the progression of a wonderful young duo.  I am not sure what move the girls will be making next.  Investigating their social media pages, it seems like they have a growing army behind them.  Reviewers and press are lining up to pay testament to wonderful voices in modern music.  Given this momentum and patronage, you have to ask:  Can we expect an E.P. or album very soon?  Cather and Adams will want to tour- to promote their new single- and will have plenty of options ahead of them.  Given the possible song choices- Venus & Mars, Get Out and Mess With You could easily sit alongside 133T- I am excited to see what comes next for MissDefiant.  If Cather and Adams- alongside Mike Tournier- stay focused and ambitious, there is no telling what they can achieve.  Given the uncertain nature of mainstream Pop, MissDefiant are…

EXACTLY what the music industry needs.

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Follow MissDefiant

 

Official:

http://www.missdefiant.com/

Facebook:

https://www.facebook.com/MissDefiant/?fref=ts

Twitter:

https://twitter.com/MissDefiant

Instagram:

https://www.instagram.com/MissDefiantOfficial/

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Music

https://soundcloud.com/missdefiant

 

INTERVIEW: Vanessa Forero

INTERVIEW:

 

Vanessa Forero

 

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VERY rarely does an artist arrive with such an immediate...

impression and memorability.  When reviewing Vanessa Forero’s From the Uproar E.P. - I was lucky enough to assess it earlier this week- I was staggered by the originality, passion and beauty throughout.  With so many sound-alike solo acts around:  Forero stands out as one of the true originals right now.  Beginning her career as a film and T.V. composer:  Now, she is emerging into a sensational musician capable of mainstream glory.  Listening to her songs- throughout From the Uproar- you immerse yourself in a wonderful world:  Taken somewhere exotic, wonderful and entrancing.  The British-Colombian musician blends South American instruments inside traditional Folk/Indie sounds:  The resultant seduction is a head-spinning and dream-inspiring concoction.

With her E.P. on the horizon- it will be released in less than two weeks- I am excited for Forero.  She is a breath of fresh air in the current music scene:  Someone who can inspire other musicians to push themselves and become bolder.  Having recently moved from Bradford to Brighton- “for curiosity really”- this year is shaping up to be an adventurous, itinerant and busy one.  I have fallen for Forero's music- and such a fascinating human being- so was keen to chat (online) with the stunning young songwriter.  She talks about From the Uproar- and the recording process- and plans for this year- how an extraordinary background (and mum’s influence) has affected her music.

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Hi, Vanessa.  How has your week been?  What have you been getting up to?  

Lovely week, thanks!  Started by scoring music for an Easter advert:  Then to Bangor to talk about film music; then back home to work on E.P. promo- including speaking to you.  Hello!

For those new to you and your music:  Can you introduce yourself to us?

I’m a British/Colombian, Indie-Folk singer-songwriter.  I’d been working as a film and television composer and producer- until Brit Award winner Beth Orton selected me for her writers’ residency last year- and put me on a stage (for the first time last year).  At first, I cried but now I’m hooked!

Your E.P., From the Uproar, is released shortly.  What themes/subjects inspired the E.P.?

A lot of the songs are from myself… to myself:  Songs to help pull me into the new land that my fears and insecurities try hold me back from- but the land that my north star is naturally pushing me towards. There are songs to try and help me get along with uncertainty and new belief:  Some that help remind me that I will get it wrong but that’s ok- and songs about isolation and longing for something greater.  Textbook Vanessa!

[soundcloud url="https://api.soundcloud.com/tracks/227081740" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

I have been one of the few lucky enough to hear From the Uproar.  I was blown away by the confidence and nuance of the music.  Where was the E.P. recorded?  What compelled the songs/themes on the E.P.?

Why, thank you!  I recorded it myself; mostly in my home studio.  The songs actually came from a time when I couldn’t face said studio for about a year- because my life was transitioning so much.  Old beliefs, old ideas; perspectives and certainties, the image I had of myself - all completely fell apart.  One knocked the other down and it left me stuck on a couch with just a guitar for a year- trying to wade my way through the rubble.  The songs are my tears, my confusion; my moments of clarification and I suppose this record is my public therapy.

With regards your influences and idols:  Which artists have been particularly important to you with regards your musical upbringing?  

I didn’t grow up with songs really:  Mainly instrumental music - like classical pieces, war themes and movie themes.  Debussy was always my favourite.  Then came Thomas Newman from the film music side.  The songs came later and I suppose the artist I clung to first was Tori Amos:  Mainly because I adored Bosendorfer pianos and music with some weirdness to it.

Same Boat- the latest single from the E.P. - has impressed and seduced fans.  Have you been surprised by the feedback it has been receiving?

It’s strange; I forget this bit comes!  The part of putting music out there is not actually the main event for me- in the whole process- but it’s definitely the bit I’m most grateful for– to have someone listen to the thing you’ve been nurturing (and to enjoy it).  That has been a very beautiful thing.

Given the fact From the Uproar is forthcoming:  Will you be taking the E.P. on the road, soon after?

Yes!  My manager is organising a tour as we speak for spring/summer- so keep your eyes on my social media pages.

You have had a busy and productive last few months.  What plans are in the store for the rest of this year?

I can’t stop writing songs!  I know I’m meant to be in E.P. promo-mode but the writing cogs won’t stop turning- so it’s meant I’ve now got all the songs for an album and maybe that will begin this year.  But one thing that is definitely coming next (besides a tour) is a very cool video for a brand new song. Watch this space.  I have a big crush on it.

You have mixed British and Colombian lineage.  How much of your Colombian heritage has inspired your overall sound?

Very much so.  Initially, less-so in the music and more so in the attitude of the culture – that strong, feisty, spirited, colourful, wild thing.  It’s only- in spending some months in Colombia recently- that I was exposed to a whole underground music scene out there:  This very tribal, raw, earthy sound- rather than the bright Salsa trumpets - and that’s a sound I really clicked with- and that has definitely played a big part on this record.

You have been writing music since the age of nine.  What are the proudest/fondest memories- so far- from your time in music?

Yes.  That was when I first penned a piece (called My First Encounter; inspired by E.T.!) but actually I’d been improvising way before that on the piano- I just couldn’t notate yet.  My fondest memory (golly):  That’s a bit like asking what your fondest memory is- of seeing your child- grow up with you!  Every bit of it!  But, always the bits done in the dark for me:  Those moments where I’m sculpting notes in my cave and suddenly they spark- as the magic flows- through the perfect combination.  It never gets old.

Which current artists and acts would you recommend to us- either mainstream or unsigned?

To my shame, I’m not actually a very good listener of new music.  I spend too much time making it but I do know my jaw drops every time I listen to the Little Comets album In Search of Elusive Little Comets.   The production and song-quality goes way past sky-high.  Then there’s Jack Garrett, isn’t there –is he some kind of a wizard?!  Amazing talent.

I often ask musicians this question:  What inspires your songwriting and creative process?  Do you have to be in a particular mood/mindset or do songs come from dreams/off-the-cuff moments?

There are sparks all over the place for me:  At every time of every day; especially inside of music – one sound, one note and there’s a million possibilities waiting for you right there - but it’s what you chose to do with that spark that’s the thing.  That’s the bit that takes the time but makes the song.  For lyrics, though, it always helps (to feel) emotionally overloaded by something- enough to be desperate for an outlet.  It’s a fantastic pressure and fuel for music; although not always nice.

[youtube https://www.youtube.com/watch?v=YN9oBVceDU0&w=560&h=315]

There are a lot of great female artists coming through (including yourself).  Do you find there is still an expectation for female musicians- how to look and what to play- and have you faced any obstacles or struggle getting recognised? 

I think there’s definitely that expectation in the Soul/Pop world more.  In the singer-songwriter world, there seems to be more acceptance for female musicians and writers who come dressed however they come.  I have faced the problem of having to prove myself as a producer, composer and musician- more than I think a guy would- especially in my band days (when I was just one of the musicians (keys player).  All too often, when we turned up at a gig, the venue owner or P.A. guy would come to me saying “Are you the singer?”- just because I’m the girl of the band- even though I have a keyboard under arm!

You don’t get assumed (to be one of the musos) or the producer so much when you’re a chick- and when you say you do- you sometimes see that bit of mistrust- because there aren’t as many girl producers and musicians around as there are guys.  So, I think (that’s) now partly down to the girls to change the landscape:  To get on the instruments and the gear- because it can get annoying to get pigeonholed into that one aspect of music just because you see more females singing.  (Nothing against singers – that’s like the hardest and most technical bit!).  But girls:  Come on, spread out!  We need more out here!

You have an extraordinary family background- Vanessa’s mother was raised by monkeys for several years (in Colombia) as a youngster.  How important has your mother’s background/upbringing been to your career and determination? 

I think (indirectly) it definitely has been.  Mum is a survivor to her bones and I’ve absorbed the culture of ‘no excuses’ for sure.  That belief:  That everything has the potential to change and move if I want it to; that I’m not a slave to circumstance:  That, if I want it, then I’ve got to put the muscle in to learn new ropes and do something bold to get it.  She also raised me to have no shame which is a very dangerous thing!  That’s from too many years spent climbing trees; throwing sticks at passers-by.

You were formally based in Bradford- Vanessa has recently moved to Brighton.  What prompted the move down south?  How does music here (the south coast) differ to that of Yorkshire?

I only moved from curiosity really:  Just to experience a new way of life; nothing music or career-based.  I just like to move around:  Makes me feel like I’ve read more chapters in the book of the universe!

Having seen your videos on Facebook- especially the ‘making-of’ the E.P. - you come across a very charming and witty person; brimming with personality and passion.  A lot of musicians leave me cold- being too distant and sterile.  Do you think it is important to connect with fans and let them into your world- rather than being sequestered and closed-off?

Well, thanks for the character compliment!  I think it’s important to just be yourself for your fans.  I’ve spent a lot of years faking being that moody, serious musician- for the Rock bands I’ve been in- just because it suited that genre/look.  But this whole record is about a personal release and self-acceptance; celebration and allowance for ‘real Vanessa’.  So I’m not intentionally being open and friendly for the sake of P.R. or the project:  That’s just me!  No social filter!  No shame!  Total geek :)

I often ask this question of musicians:  What does music mean to you, personally?

I honestly find that a strange question because music isn’t an external thing that you can just pick up and put down (for me).  It’s not a career or even a hobby:  It’s the way I feel, it’s the way I process; it’s the house I live in.  What it means to me is as much as my heartbeat means to me:  It means everything.

Do you have any advice for any musicians coming through?  Those making their first steps into the industry 

Find your edge.  Copying is good- to grow your tools and learn some music ropes from artists that know a thing or two- but imitation should never be your goal.  Keep your eyes open for the lane that only you can fill.  Write only the music that you can write.  Stop being so damn serious about it!  Just breathe in it.

Finally- and for being a good sport- you can select any song (and I’ll include it here).  Why is it special to you?  

A song called Deja by Sidestepper:  Lead by British/Colombian producer Richard Blair- who I met in 2013 and who set me on the road to the artist I am on this record.  He’s an entrepreneur of music, in that he experimented fusing the British dancehall with Colombian Dancehall music- and as you’ll hear here – it worked wonderfully.

[vimeo 19734895 w=500 h=375]

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Follow Vanessa Forero

 

Official:

http://www.vanessaforero.com/

Facebook:

https://www.facebook.com/vanessaforeromusic

 Twitter:

https://twitter.com/vforeromusic

Instagram:

https://www.instagram.com/vanessaforeromusic/

YouTube:

https://www.youtube.com/channel/UCp5sraGz9oD50xRHngGmKRg

SoundCloud:

https://soundcloud.com/vanessaforeromusic

The Classics Series: Stevie Wonder- Innervisions

The Classics Series:

 

 

Stevie Wonder- Innervisions

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IT is amazing to look at today’s musicians and see how many…

were inspired by Stevie Wonder.  I say ‘were’- he is, luckily, still with us; ignore my bad grammar- but his influence is felt to the current-day.  I get tired of bands/artists are citing the same inspirations:  The U.S. Indie-Rock groups and classic Pop bands.  When presented with such a task- putting on an original spin (into a review) for a group with little originality- it always makes the shoulders shrug.  I feel as though there is that over-dependence to fit into a ‘mould’:  Some pre-mandated bar graph set-out by the record companies and mainstream radio.  Occasionally- and I mean that in bold type- you see artists that are unique and have their own voice.  These musicians have quality and a real drive to differentiate themselves from the crowd.  My hat goes out to them, for sure:  You do not find many new musicians that are confident enough to push against the tyranny of mediocrity.

Setting aside these quarrels- I didn’t even touch on the mainstream Pop music of Zayn, for instance- and there is potential to be found.  Soul is a genre that finds its way into all corners of music.  In the ‘60s and ‘70s, it had its own genre:  We all know the artists and legends that made it what it was.  Today, music has developed and evolved, somewhat.  Soul is not confined in its own right:  It can be mixed with Pop, Rock and Indie; dash of Electronica and Folk, perhaps?  That essential Soul core is a potent spirit:  When infused with other components:  It can elicit a heady and head-spinning reaction.  If you think about the ‘other’ Soul greats of the past- James Brown, Marvin Gaye; Aretha Franklin etc. - their voices are still being heard in today’s artists.  Stevie Wonder is a musician who seems to occupy his own throne- in the Soul genre.  I am a big fan of Brown and Franklin- two of the most powerful voices that have ever lived- yet Stevie Wonder (in my view) tops them both.  Since the early’-60s- Wonder’s first few albums were met with muted appreciation- this rare and phenomenal voice came to be.

Stevie Wonder is an artist whose most-celebrated albums did not arrive until fairly late on- well into the teens by the early-‘70s- but that is not to say there was little promise.  Up-Tight- released in 1966- saw Wonder tackle Bob Dylan (Blowin’ in the Wind) alongside his own compositions (or songs he wrote with others).  It was at this point Wonder threw off his ‘Little Stevie’ tag- his moniker in the early days; given his sweetness and tender years- and was developing into a mature song-writing proposition.  By the early-‘70s, Wonder was hitting his stride and throwing off the past:  Blossoming into a wonderful voice with few equals.  Signed, Sealed & Delivered was a 1970-produced album that was celebrated by critics of the time.  Not every number lived up to the promise of the title track- which Wonder co-wrote- which is not to say (the album itself) was flawed- far from it, in fact.  Breaking out of Motown boundaries- Wonder starting to cross boundaries and show his diversity- the album signalled a statement of intent.

   Talking Book was released in 1972 and signalled yet ANOTHER step forward.  No doubting how assured Wonder was by this point.  The U.S. legend had critics in his hand and was already chiselling his name in the history books.  Aside from a few songs- four of the ten- Talking Book was a Wonder-written original.  Less inclined to tackle others’ songs- although he could own and transform any track- Wonder was wholly confident with his own vision.  In the 1970s, it was assumed Soul and R ‘n’ B artist were incapable of cross-genre appeal:  Making music that appealed to Rock and Punk audiences.  If music suffered some sonic segregation- snootiness and elitism among the risklessness- Wonder broke walls down and inspired change.  Talking Book was a sleek, richly-textured and ambitious work that brimmed with confidence, hits and genius.  You Are the Sunshine of My Life became Wonder’s third number one in the U.S.:  It was Grammy-nominated (Best Male Pop Vocal Performance; it would go on to win that award) and opened the album with pure heart and beauty.  Considered one of the greatest songs ever- as assertion that many publications share- it was not the best song on Talking Book- showing just what quality was on display.  Superstition is the song everyone remembers from that time.  It was a Grammy-nominated bedfellow- the song picked up two awards:  Best Male R&B Vocal and Best R&B Song.  Jeff Beck- an admirer of Wonder’s work- collaborated on this track and inspired its creation.  Beck originally came up with the opening drum beat- on the recorded version, Wonder plays the part- and the two would create the first demo of Superstition.  Originally, Beck was going to release the song- for his group Beck, Boggert and Aprice- but knowing this song would be huge, Wonder released it.  The rest, they say, is a cliché.

[youtube https://www.youtube.com/watch?v=-wRq68Dmcn0&w=420&h=315]

The ebullience and passion (of the songs) were hotly-received by listeners and critics.  It was at this juncture, Wonder- more sternly than ever- mixed societal issues alongside love songs.  In previous albums- and common for Motown/Soul albums- Wonder’s love songs fitted into templates and expectations.  More simplistic and well-worn- samey platitudes and easy-to-digest familiarities- Talking Book saw personal insight and experience come into the music.  Wonder’s songs looked the potential and conception of love- being as potent as love itself- and addressed political themes.  Big Brother eviscerated politicians who puppeteered the social underclass in order to obtain votes:  The nefariousness of electioneering at the time (and today for that matter).  Talking Book’s thematic bravery- heartache and love sitting alongside stories of societal ills- was give colour and variation by a range of performers- Jeff Beck added guitars to Lookin’ For Another Pure Love; Ray Parker Jr. appeared on Maybe Your Baby.  All of this- the wonderful songs and confidence- set the stage for 1973’s finest album.

[youtube https://www.youtube.com/watch?v=rc0XEw4m-3w&w=420&h=315]

Innervisions arrived and took the music world by storm.  The 16^th album from Wonder:  It was another progressive step that saw societal themes fully embraced and represented.  The nine-track album ranges from drug abuse and drug abuse; systemic racism and a presidential attack- upon then-president, Richard Nixon.  The A.R.P. synthesiser- used by a host of musicians at the time- was employed throughout the album:  Giving the songs a range of sounds and textures.  Innervisions was the album that saw Wonder take full control:  The instrumentation and musical direction is almost all his.  Few other bodies and players can be heard throughout Innervisions:  It is very much a Stevie Wonder solo album, cut and dry.  It is hardly a coincident Innervisions sounds completely natural and personal.  Wonder’s maturity and social consciousness- his spirituality and devotion to God- was channelled into an album that remains one of the greatest creations in music history.  TONTO synth inventor Malcolm Cecil- who worked with Wonder throughout Innervisions- recalls the experience and day-to-day recording process.  Speaking with Wax Poetics- in 2013:  40 years after the album’s release- Cecil explained how everyone was on “Stevie time”.  Wonder would arrive when he felt like it- whilst Cecil and producers would jot down ideas and prepare tracks- and there were no strict deadlines and demands- no record bosses tutting and demanding time scales.  Because of Wonder’s limitations- his blindness meant he could not read lyrics during recording- Cecil would read/talk the lyrics to Wonder.  On a couple of spots on Innervisions, you can hear Cecil’s direction:  Headphone leakage was a problem they tried to mix out (unsuccessfully).  Cecil was conscious- between History Book and Innervisions- and influential in expanding Wonder’s lyrical direction.  Encouraging the singer to become more socially conscious and deeper:  The two would chat about Eastern philosophy and the Federal Reserve.  Perhaps it was Cecil’s influence- or Wonder angered by the political turmoil of the time- but Innervisions is one of the most direct and conscientious albums of the time.  Wonder ensured love mixed alongside accusation in a varied and deep masterpiece.

   Too High- originally called Too High to Touch the Sky- is a cautionary tale of drug-taking and recreational abuse.  With Stevie playing the harmonicas- and doing all the lead vocals- female singers were brought in to provide backing.  On a sixteen-track recorder- where only one track remained free- you get layers of voices and building chords.  It is Wonder’s interpretation and instincts that push the song to rare heights.  Although (the likes of) Cecil was providing suggestions:  Wonder’s natural intuition ensured Too High kicked Innervisions off with an immense bang.  Living for the City talks about the stark realities of city life.  Electric piano, Moog bass, harps and drums mixed with Wonder’s voice in an extraordinary musical moment.  Background vocals- created by Wonder- were slowed down and altered- to sound like other people.  During recorded, the tape would be slowed down (according to Cecil).  Wonder would sing in that key- the slowed-down version- and then sped-up again- so the vocal had a different sound.  Tensions grew during recording.  Cecil would stop the tape during Living for the City- Wonder was angry at this- fearing (Wonder) was not sounding angry enough.  Perhaps exerting too much control:  The bond between the two was straining and Wonder took umbrage.  In spite of some minor spats:  Living for the City was one of Wonder’s most successful songs.  Mixing systematic racism with urban realities:  Street sounds and sirens blending into the song to give reality and tangibility.  The album’s second single:  Wonder was on fire and determined to make HIS album (not anyone else’s).

Golden Lady and All in Love is Fair are among the most lovely and memorable moments on the album.  The latter is a Johnny Mathis-nodding track that looks at the bittersweet nature of love and so-called ‘fate’.   With lines such as “The future no-one can see/the road you leave behind” and “But all in war is so cold”:  Resonating with maturity, wisdom and loss.  Higher Ground is Innervisions’ funkiest track- and debatable- stand-out statement.  Quickly recorded- a song that flowed and gelled naturally- clavinet, backing vocals- some of the most arresting on the record- fused with an insatiable chorus:  Resulting in a legendary song that is inspiring musicians to this day.  Another lauded song- Rolling Stone ranked it one of the all-time greats; it reached number four on the U.S. charts- it looked at reincarnation and spiritual consciousness.  Wonder- interviewed shortly after the track’s release- wanted to believe in a second life.   It is at this point I have to mention an elephant in the room:  A near-fatal road accident that left Wonder in a coma.  Three days after Innervisions’ commercial release, Wonder played a concert in South Carolina.  Whilst driving from the gig- in a car driven by a friend, John Harris- they were behind a truck transporting logs.  Snaking along the road, the truck suddenly slammed to a halt.  A log dislodged and smashes through (Wonder and Harris’) car.  The log struck Wonder on the forehead and he would remain in a coma for several days.  Fearing the worst- the injuries were horrific and life-threatening- Higher Ground was a song that evoked a reaction from Wonder.  The song was played by his bedside- by his tour manager, Ira Tucker- and Wonder would tap his finger in time to the music.  It was at this point people knew he would recover and pull through.  In a strange way, High Ground was an ominous foreshadowing- a musical near-death experience mixed with a real-life scrape with death- and resonated with Wonder.  Fearing something would happen- Wonder mentioned in a subsequent interview- Higher Ground was Wonder’s sub-consciousness telling him something.

[youtube https://www.youtube.com/watch?v=4wZ3ZG_Wams&w=420&h=315]

Don’t You Worry ‘bout a Thing and He’s Misstra Know-It-All concluded the album with two, if quite different, tales.  The former is one of the busiest and most musically adventurous songs on Innervisions.  Originally conceived as a vocal-and-piano track:  It would incorporate Moog bass, bongos and cowbells- a veritable carnival of instruments and genres.  Latin elements mixed with Soul and Motown.  The TONTO (synthesiser) had large cables that connected all the various elements:  Cases and cabinets had to be built to accommodate synthesisers and keyboards during recording.  The entire process took a year-and-a-half:  The result is a one of the most positive and life-affirming songs from Wonder.  It looks at accentuating life’s positives:  Taking everything in stride and just relaxing.  On an album that sees political accusation and urban decay mingle:  Don’t You Worry ‘bout a Thing is one of the lighter and most celebratory cuts.

If Higher Ground is Innervisions’ most-spiritual statement:  He’s Misstra Know-It-All is (the album’s) most-political one.  With Richard Nixon in office- facing impeachment following the Watergate scandal- Wonder was concerned about slick-cheating smooth-talkers intent on ripping people off.  Those with a “counterfeit dollar” in hand- Nixon and his cronies for one- displayed honour among thieves.  The greasy and slimy political machinations of the time compelled Wonder to write one of his most angered and socially representative song.  It is a track that speaks for America as a whole.  While the song’s lyrics do not name-check Nixon directly- they are more general and less slanderous- you cannot picture anyone else.  Another song that came together purely and expeditiously- the entire record took three days- Wonder was at his very peak.  He’s Misstra Know-It-All brought Innervisions to a triumphant- and hugely memorable- close.

[youtube https://www.youtube.com/watch?v=zywDiFdxopU&w=420&h=315]

Wonder was an artist very much in his ‘classic period’:  Innervisions was the most assured and stunning record of his career (to that point).  Wonder would follow Innervisions with Fulfillingness' First Finale.  Juxtaposing Innervisions’ sweeping and uplifting vibes:  Fulfillingness’ set a more sombre and stripped-back tone.  One of those albums that contain few memorable hits- compared with Innervisions- it was Wonder’s first album to top the charts.  Given the fact Wonder suffered a near-fatal accident a year previous:  It is remarkable the album got made in the first place.  An unstoppable and inspired musician:  He would follow-up Fulfillingness' First Finale with the phenomenal, Songs in the Key of Life.  Stevie Wonder fans often debate the question:  Innervisions vs. Songs’:  Which is best?  For me- and the reason for this blog- is to fight the corner of Innervisions.  A more taut, tight and focused album:  Songs in the Key of Life is a sprawling, ambitious double-album.  Seen as Wonder’s ‘signature album’ it scooped Grammy awards and accolades upon its release.  From Pastime Paradise- paraphrased and covered by Coolio- to Isn’t She Lovely- across to As and Sir Duke.  Musicians such as Elton John took huge inspiration from an album that is widely-regarded as one of music’s finest records.  But what of Innervisions?

   Innervisions was an album that saw Wonder take command and control.  Without that confidence and artistic vision:  It is debatable whether Songs in the Key of Life would have sounded like it did.  The texture-blend and genre ambitions- Funk and Latin sound alongside traditional Soul- inspired musicians throughout the world.  In the 1970s, Soul was a genre dominated by black artists.  It was a genre that gave (black artists) a voice.  The Pop scene at the time did have black artists but scant few:  Even by today’s standards there was homogenisation and very little diversity.  Wonder was one of the first artists to truly crossover and reach wider audiences.  Innervisions was an accessible and life-affirming album that broke conventions and moulds:  The author wanted to bring his music to as many people as possible.  In today’s music, you can hear shades of Innervisions.  Modern Soul acts- black and white- are more adventurous with their sounds.  Prior to Innervisions, most Soul/Motown albums were predictable and defined:  Wonder ripped up the rule book and showed what was truly possible.  Soul music- and elements of Innervisions- can be found along a wide range of genres and music.  From upcoming Rock bands and female Folk acts; U.S. Soul queens and Australian Indie duos:  You can hear how far and wide the album has resonated.  Electronic music was brought fully into the realm- and has impacted on the importance of modern-day Electronic music- and compelled the likes of Michael Jackson- albums like Bad and Dangerous have templates and shades of Innervisions (in terms of sounds certainly).   Perhaps one of the most important results (of Innervisions) was Wonder’s assertion:  Music could change the world for the better.  It provided the stepping-stone for Wonder’s- assertion among critics- magnum opus, Songs in the Key of Life.  While Stevie Wonder has passed his best days- 1980’s Hotter Than July was his last ‘truly great’ album- let’s be thankful for such an extraordinary artist.

Whether you are a fan of Innervisions or Songs in the Key of Life- two different albums that can divide fans- I will always root for Innervisions.  It was the album that saw Wonder hit his peak and asset creative control.  Without literal visions:  Innervisions’ title is apt in the extreme.  Wonder’s soul, consciousness and spirituality were channelled through ten songs of immense potency, power and soul.  Will we ever see a modern-day equivalent of Innervisions?  You cannot deny how inspiring the album has been:  Transforming Soul and changing-up what is possible in music.  Among our modern days artists- variable of quality and potential- there is a lot of scope and potential lacking.  You do not need to rip-off Innervisions wholesale:  Dip into the album and realise just what you can achieve.  Take individual songs and deconstruct them:   How does Higher Ground speak to me?  I love Living for the City but what can I learn from it?  You cannot beat the instancy of Too High:  Can I write a song like this?  Only when you have an answer to these questions can you obtain a higher plateau.  I feel musicians need to study Innervisions more and realise just what a creation it was.  Only when Wonder’s genius is fully appreciated and realised can we witness an unfolding music scene with…

ENDLESS possibilities.

[youtube https://www.youtube.com/watch?v=94_snrtKGt0&w=420&h=315]

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TRACKLISTING

Too High

Visions

Living for the City

Golden Lady

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Higher Ground

Jesus Children of America

All in Love Is Fair

Don’t You Worry ‘bout a Thing

He’s Misstra Know-It-All

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DOWNLOAD

Too High; Living for the City; Higher Ground; Don’t You Worry ‘bout a Thing; He’s Misstra Know-It-All

STANDOUT TRACK

Higher Ground

INTERVIEW: Jim Lawton from Duke of Wolves

INTERVIEW:

 

Jim Lawton from Duke of Wolves

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I spend a lot of my time looking about music for a Rock act...

with genuine grit, power and personality.  There are so many groups that go for good old-fashioned grunt:  They come off sounding unoriginal and unspectacular.  Thankfully, Duke of Wolves are here to add the ‘Rock’ back into “Where the hell are all the decent Rock bands?!”  With influences as varied as The Beatles, Led Zeppelin and Weezer:  The London quartet are riff-assassins, intent on putting their footprints on the music world.  They may be a new act out of the gates, but don’t let that fool you:  They sound completely commanding, controlled and ready! 

   Hollow Eyes- the band’s debut cut- arrived with a procession of pummel, intention and masculinity.  If any doubt lingered- that this band were not The Real Deal- they are preparing to launch their sophomore missile:  The hotly-anticipated, It’s Real.  Backed by a furious and multi-limbed percussive assault; a swaggering bass-and-guitar combination:  Ben, Orlando and Sara are fronted by Jim Lawton:  Former lead of (sadly defunct) Crystal Seagulls.  Having known Jim since the Crystal Seagulls-days; I was keen to chat- see how his new band was getting on.  Jim talks about the forthcoming single:  Views of modern Rock- in addition to advice for new bands (coming through)…

 

Hi, Jim. How has your week been?  Get up to anything good?

Pretty great, thanks!  Lots of new songs being written and worked on; so looking good.

You (Duke of Wolves) are a relatively new band.  How did you guys come together?

Myself and Ben used to be in a band called Crystal Seagulls together.  When that broke up we thought we would get something else started.  We found Orlando and Sara, and they just seemed to fit in so naturally with what we wanted to do.

There are a lot of bands coming out of London (where Duke of Wolves hails).  Do you find there is a lot of support for the band out there?

London is a tough place to get started for new bands (as there is so much going on).  I have friends in other bands from smaller cities (or villages) that are able to get more of a local boost.  But I wouldn't change London for the world.

[soundcloud url="https://api.soundcloud.com/playlists/186093717" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

When hearing Hollow Eyes- the band’s debut single- I heard undertones of Queens of the Stone Age and Nirvana.  Which bands/acts has influenced the Duke of Wolves sound?

Why thank you!  Q.O.T.S.A. are a cool band.  I personally listen to everything and anything.  In fact, right now, I have Ride of the Valkries blasting out!  Led Zep., Wolfmother; Rage Against the Machine, Weezer; Muse:  All seem to be ones people are hearing as influences.  My personal favourite band will always be The Beatles though.

Throughout Hollow Eyes, the band sound so tight and together.  Given the (short) time you have been together:  How do you guys sound so fully-formed and authoritative?

Cheers!  Whenever I write the main idea for a song, it is always on acoustic guitar or piano:  As (if a song) can sound complete preliminarily in an acoustic setting, then you're onto a winner.  My favourite bit is when the band take what I have presented and give it a whole new surge of vibe, life and power.  Three of the best musicians I know:  But don't tell them I said that... (the cat bag might have a hole in it, now)

You have a new single on the horizon.  Can you tell us about that?

It's a song called It's Real which is coming out on 10th April.  It's more on the 'anthem' side of things- and the chorus goes down very well live- and of course, there's a nice, tasty riff for people to sink their teeth into (not to mention Ben's eight-armed drumming!).  Very nicely produced by James Billinge.

[soundcloud url="https://api.soundcloud.com/tracks/251346752" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Are there any plans for an E.P. or album this year?

It's still early days, but the material is coming out thick and fast- so there will definitely be more for listeners partial to head-bobbery!

What defines music to you (might be an impossible question, I know)?  What does it mean to you?  How does it make you feel?

Music is everything, really.  I would say that at least 80% of my day is filled with it.  If I'm pissed off, I'll listen to Rage (Against the Machine); if I'm in a good mood I'll whack on Abba.  If I want to feel like I'm driving down a desert road- somewhere in America- it's got to be Mississippi Queen by Mountain- or something by Credence Clearwater Revival.  Without sounding too naff:  It's an expression of who you are or what you want.

In terms of albums- that have inspired the band’s sound- which are particularly important?

To be honest:  Not much in recent years.  It's all the same as the influences, or whatever we stumble on.

For new bands coming through at the moment:  What advice would you offer to them?

Ha! I'll have to take my own advice, which would be: Work hard, get a thick skin; try and appreciate things as you're doing them- and if you feel like you've written a hit- don't just sit there grinning (as it might not be).  Always shoot high as you can get.

Many people- critics mainly- have claimed Rock is dying.  Given the sounds D.o.W play:  Do you think Rock is very much alive and well?

I really don't think Rock can ever die necessarily.  Even in modern Pop music, there are Rock elements everywhere.  Do I think there have been many recent great Rock bands?  No.  Even if Rock is hiding in the shadows- like an award kid at school- a good song is a good song (end of).

When it comes to writing a new song:  Which themes/subjects inspire your process?

Absolutely everything.  My life isn't interesting enough to write totally from my own experience.  Sometimes, I like to pretend to live someone else's life and write something from their point-of-view.  Or, if I am writing from my own experience, there's nothing wrong with a touch of poetic licence.  Songs are what listeners interpret them to be about.  So, if someone asks:  "Is this song about this…?" I like to say: "It is now."

You guys have played some pretty good gigs the last few months.  Which rank among the very best?

So far all of them have had their merits and been lots of fun but I think it's fair to say we are really looking forward to Barfly on 22nd April (when we will be on at 1am)!

In terms of exciting 2016 plans- apart from new music- what is on the docket for Duke of Wolves?

There are a few exciting things in the works but nothing we can announce just yet.  Keep your eyes on our Facebook page and you will be gradually enlightened!

Finally- and for being a good sport- you can select any song (and I’ll include it here) - why is it special to you?

Can I go for Hash Pipe by Weezer, please!

[youtube https://www.youtube.com/watch?v=_9BGLtqqkVI&w=420&h=315]

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Follow Duke of Wolves

 

Facebook:

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Twitter:

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https://www.youtube.com/channel/UChRJ20TZv8_nXlA0BJeMIIA

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FEATURE: Into the Light

FEATURE:

Into the Light

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 FOR one day I am stepping aside from a music-based feature and…

Looking into something more ‘serious’.  Over the weekend, I will be back to focusing on music:  An investigation of Stevie Wonder’s classic album, Innervisions among the features.  Today, I am motivated to speak about something that affects millions of people around the world:  Mental illness.  It is not the jolliest topic to raise:  It is a relevant one that has been put into the shadows for too long.  I find myself getting angrier as the days tick on.  We are in 2016, yet I feel like the world is not as developed as it should be.  There is widespread racism, sexism and prejudice across the planet.  Whereas technology and science is advance at a huge rate:  Society itself seems to be stagnating and suffering festination.  In terms of scientific and medical breakthroughs, there is a lot of progression happening.  Cancer is not quite the undefeatable threat it once was.  With every passing year, advances are being made:  Certain cancers at being defeated; others are on the point of extinction.  It seems like most of us will live to see a day when only a few type of cancers remain.  While it may be impossible to defeat all forms of cancers- I can never see the most aggressive types being wiped out- the cures/developments being announced will save countless lives.  You have to wonder how long it will be until diabetes, heart disease and neurological diseases- dementia; Parkinson’s etc. - will be defeated.  It is wonderful to see the passion and commitment dedicated to this crusade.

What I am most perturbed about is the lack of focus put towards mental illness.  Being an illness- bit of a clue in the second word, there- there is (comparatively) little money and attention paid towards vanquishing it.  In this day and age, there remains a huge amount of stigma and ignorance.  There is that core of people who believe (those who suffer) mental illness is just pouting:  They need to “get over” themselves and “cheer up”.  Through anecdotal evidence and social media posts, I can tell just how widespread this ignorance is.  Mental illness is not something you can sleep off and ignore:  It is as horrific and frightening as any major disease in the world.  People assume mental illness is one of those things that do not need discussing and tackling.  If you are not in hospital- hooked to a machine or undergoing chemotherapy- then how serious is it?!  There are no scars and bruises on your body:  How bad can things be?!  There are two problems with that myopia.  First of all:  Mental illness leaves its scars and bruises.  Just because you don’t see them doesn’t mean they are not there.  From emotional scars to physical marks- self-harming and associated self-medication options- mental illness leaves its impressions.  If I had a pound for every time someone said “There are people worse off in the world (than you)” I would be a bloody rich man.  That statement drips with callous- whether intended or not- and untruths.  Who are these people ‘worse off’ than me?  You don’t know how bad things are:  Howe can you make such a determination?!  You would not go to a limbless, mute and deaf human and say that, would you?!  Why the hell would anyone say that to someone struggling against mental illness?  Attitudes, ignorance and lack of understanding are pushing sufferers into the shadows.

There are some fantastic charities out there that stand up for those affected.  From SANE- who I am a key supporter of- to Mind:  Some wonderful bodies raising awareness and funds for those in need.  There are crisis lines and support for the mentally ill:  To my mind, it does not go far enough.  These charities are working daily and fighting hard:  They need more backing, money and support.  Barely a day goes past without something angered me.  Whether it is a needless suicide- because someone didn’t get adequate support- or a lack of government funding:  Why is mental well-being de-prioritised to such insane lengths?  I find it mind-boggling- in a supposed ‘modern age’- that there is a caveman-like attitude towards mental health.  More people experience mental health problems than will get cancer:  Yet cancer treatment/funding are huge by comparison.   Whether it is short-term depression or life-long anxiety:  Nearly all of us will know someone who experiences some degree of mental health problems.  The experience is never pleasant or insignificant:  It is serious and hugely upsetting (for the sufferer).  We all know how serious the situation is.  You cannot turn on the news- or read the headlines online- without seeing the turbulence people go through (who experience poor mental health).  Over the last few days- in the news- there have been shocking stories that put mental wellbeing into the spotlight.  From suicide- Keith Emerson among them- to hallucination-motivated murder- a man beheaded his wife during a bout of psychosis- it is all over the news.  You cannot ignore or refute the severity of a very widespread problem.  This is not a niche illness that can be cured with pills and treatment:  This is a universal pandemic that requires long-term funding and attention.  The severity of this real-life threat is being ignored and patronised.  The government seems oblivious to the reality of the situation.  Every time I go to social media I hear the same things:  “Why is mental health stigmatised?”  It is a good question nobody has had a good answer for.

The point of this feature was not to moan at the government and have a general rant.  I believe all it takes- for progression to be made- is for attitudes to change.  Mental illness has the benefit of being controllable and not-necessarily-terminal.  Whereas some cancers are terminal and inhospitable- immune to medication and fighting spirit- there are so many mental illness suffers falling through the net.  All that would have been needed- to prevent a suicide- was for someone to LISTEN.  No magic or Herculean tasks involved:  A human being to sit down and talk about the problems.  We do not need armies or councilors and professionals deployed:  Just your grass-roots/everyday human to think more widely about mental illness.  Sufferers are not leprous and contagious:  They are human beings that are going through something horrific.  It doesn’t matter if you understand their plight- few people will do, to be honest- as you do not need to have expert knowledge.  Simply talking and LISTENING can make a world of difference.  That is what frustrates me most:  All that is needed is for human beings to be a lot more human.

It is wonderful to see campaigns like Sport Relief and Children in Need exist.  Seeing the likes of Eddie Izzard risk so much- running 27 marathons in 27 days is an immense feat- is inspiring and massively impressive.  By doing something so arduous and immense:  He is motivating people to donate money and make a big difference.  It is wonderful this country is so pro-active and charity-minded:  The U.S., by comparison, has fewer televised charity events per annum.  The U.K. is among the most charitable nations on Earth.  It is an honourific and accolade that we will never surrender.  Among the charity events and perennial pushes is some narrowness.  Children in Need deals specifically with children:  Fair enough, I guess.  Children are the majority of the population but there is a definite soft spot for them- really not a fan myself- and they need to be protected.  Sport Relief and Comic Relief broadly raise money for the same people:  Struggling families in Africa- and other ‘third world’ nations- who are underprivileged and ignored.  Again, there is still a huge focus on the children.  Nearly every report or teary-eyed documentary looks at the point-of-view of the child.  It is great there is conscientiousness but what about the majority of the population?  Why is there such a focus on children and not adults?  It has always angered me there is such subjectiveness.  It is true; Comic Relief looks at deprived adults too:  It is not just about the children.  It is just baffling there is not more focus put onto the majority of the world’s population.  While it is great to raise money for those in developing nations:  What about those closer to home?

I am dubious whether the issue of poverty (in Africa) will ever be cured.  With the exploding population- children endlessly born into rampant poverty- it seems like holes are being plugged.  Will we ever realistic be able to control these problems?  World hunger and poverty will never be beaten- it is just a fact people will have to live with- but fighting the fire is an important- and noble- quest.  Every major charity campaign- those we see on T.V. - have that heartstring-tugging element to them.  From touching videos- a celebrity visiting an African nation- or a story of child abuse:  There is that aim to get into the heart and elicit sympathy.  Raising awareness about huge problems- H.I.V. in developing nations and cruelty to children- is much-needed and paramount.  It would be great to see such campaigns- Comic Relief etc.- keep going for decades to come (I’m sure they will).  What about mental illness?

There is plenty of room- in the T.V. schedules and wallets of the public- to accommodate a similar-minded mental health campaign.  Similar to Comic Relief, an event can be set-up that addresses mental health issues:  Puts sufferers into focus and tells their stories.  Not only raising awareness- tackling that ignorance and short-sightedness- it would generate funds for wonderful charities.  That way, big differences can be made.  More nurses/councilors can be employed:  Waiting times would be reduced and sufferers would be seen.  Suicides would be avoided- those who never got the help they desperately needed- and more people would feel less alone.  Given the weight of familiarity- millions of people afflicted by mental health issues- it (the campaign) could raise millions.  Just think of the difference that could be made!?  I am appalled by the stupidity that pervades the public mindset.  Whether it is Joan Bakewell thinking anorexia is “narcissism”- there is a mental health component that is overlooked- or our mental health services being under-funded:  Why do we have to witness this day-to-day?!  A well-orchestrated and in-depth fundraiser would bring the nations together:  It would help tackle stigmatism and bring mental health to the precipice.

I am not sure what the name would be- of the as-yet-untitled campaign- but Into the Light would be an apt one, no?  It would not be a U.K.-only event either- like Comic Relief and Children in Need- and could being nations like America and Australia into the fore.  We could have a televised one-night event that would be celebrity-backed and all-inclusive.  Events could be set-up- in the lead-up to the ‘big night’- in the same manner as Sport Relief.  From music to film; through to the workplace and the streets:  So many possible fundraising ideas could be created.  Those affected with mental illness could take part- something that is rare for a fundraiser of this type- and social media could be utilised.  Like the Ice Bucket Challenge- remember that one?!- a one-off ‘viral’ campaign could be set-up:  A precursor or associated event that helps raise funds for mental health charities.  Then, and when the main event is televised, there could be films and documentaries shown:  Stories and point-of-view insights from those living with the burden of (poor) mental health.  I guess there are a couple of problems with my ‘grand scheme’.

If we set-up a national/international event for mental health:  Where do we draw the line?  What about homelessness and other diseases- from diabetes to M.S.  The whole point of charity events is not to exclude others:  If mental health were given a platform:  Would that segregate other worthy causes?  I guess there is some validity to the theory.  Cancer is a huge problem- a disease that we all with all have some exposure to- yet does not have a Comic Relief-like platform- there is Stand Up to Cancer; it is a smaller, lesser-viewed T.V. event.

Another issue is logical progressiveness.  Having a huge, multi-national T.V. event (a yearly campaign) might be going from 0-60.  Give current attitudes and issues around mental health- cut funding and many being ignorant- how realistic is it for such enlightenment and ‘justice’ to occur?  It is a fair point (too) but there lies the point:  How is mental illness going to be addressed properly unless positive steps are taken?  At the moment, we seem to be rooted to the spot:  Charities fight in the trenches yet have no support for the Generals and Field Commanders.  Every day- on my social media feeds, for example- I hear first-hand tales of mental illness striking.  Friends with anxiety, B.P.D. (Borderline Personality Disorder) and depression pour their hearts out.  Whilst social media is a good way of opening-up it is a poor substitute for real life.  Feedback/comments- across Facebook- can provide some solace and comfort:  It lacks the interpersonal and face-to-face support needed.

Mental illness is an umbrella disease that is not just confined to ‘pure sufferers’.  Cancer patients and the homeless will experience it- because of their plight and situation- and it us a common factor across most illnesses.  It (mental illness) is a multi-level beast that affects all ages and has many different strands.  From eating disorders to personality disorders:  It is a lot more than simple ‘depression’.  Fair enough, broaching mental illness can be an unpleasant experience and hard to deal with.   Many will not know what to do say:  How to relate to sufferers and know what they are going through.  I feel a positive step- to help reverse the current malaise- is to put mental illness right in the forefront.  Stories like this- http://www.manchestereveningnews.co.uk/news/greater-manchester-news/young-woman-plunged-death-after-11051819#ICID=FB-MEN-main- are not one-offs.  They are systematic of a society that is putting mental health WAY down the ‘do-to lists’.  Advances are being made in the fight against cancer:  We are going backwards when it comes to mental health.  Small steps are a good way to start:  Cutting waiting times- patients have to endure- and loosening the budget purse strings.  Put more focus on mental illness- do not shun it to The Naughty Step- and make it more visible.  It is not a puerile, carnivorous beast intent on destroying humanity:  It is a kind and misunderstood thing that requires compassion, support and understanding.  ONLY when that happens- the government gets its head into 2016- will things start to happen.  I would love to see a T.V. bonanza established and started:  Into the Light (working title, you understand) that not only creates wider understanding:  It would see genuine change and evolution occur.

The charities and people tackling mental illness are to be applauded and backed- there are wonderful bodies working tirelessly every day.  In a time where we can send people to space and perform the most awe-inspiring technologic feats:  Why are so many human beings- with common, easy-to-understand problems- being reduced to the status of animalistic puffery?  Mental illness/health affects ALL strands of society.  From upcoming musicians- stressed and anxious about their careers- to the high-flying business minds:  Behind every closed door lingers a human in need of understanding.  Maybe REAL change will take many years- Rome wasn’t built in a day, after all- but we need to START doing something revolutionary.  A T.V. campaign may be the start of things:  It can lead to a peacock-like effect of change.  Charities can get backing and more support; more people will be educated and informed; the government will wake up and smell reality- it doesn’t stop there.  Millions around the world suffer the bite of black dogs and depressive bite:  The loneliness of anxiety and torture of poor mental health.  Mental health has almost been bastardised to an extent:  Swept under the rug in the hope Mum and Dad won’t notice the mess.  It is simply not good enough.  Every day, dozens- hundreds actually- of people take their own lives; enraptured in hopelessness and confusion.  It does not have to be this way- sounding like a saccharine charity T.V. pitch, I know- but I am angry and fed-up.  I am an agathist whose world view is getting distorted and clouded:  I do not want to feel this way.  With mental illness becoming more oppressive- the number of sufferers is increasing- and support limited- charities and professionals are not being given adequate funding- we all need to pull together.  Kudos to the likes of Eddie Izzard and Jo Brand- completing tremendous physical feats to help tackle poverty and disease- but who is running for the mentally ill?  Let’s all  bond together- in each other’s arms and with an open mind- and get mental illness…

THE respect (and funding) it rightfully deserves.

INTERVIEW: Noralyn

INTERVIEW:

 

 

Noralyn

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WITHIN a colourful sea of hopeful young songwriters…

the casual listener has plenty of choices and options.  Most people here (the U.K.) tend not to cast their mind too far beyond homegrown artists.  I feel we are all a bit restrictive and routine when it comes to our music tastes.  The fact Brisbane-based musician Noralyn is growing in acclaim is the result of some bold and brave listeners taking chances.  With fans across the world:  The piano-drive songs are clearly having a huge effect.  Inspired by the likes of Tori Amos and Kate Bush- two artists Noralyn has been compared to- it is hard to escape that wonderful voice and immersive songs.  Channeling faith, life and love (its judgements and capriciousness):  Noralyn’s music is from the heart and delivered with tremendous fortitude and beauty.

Her debut single, Masquerade, was released in July 2015- I was lucky enough to review the track- and was warmly received by fans and the media.  New World has just been released- Noralyn’s current single- and shows consistency, evolution and urgency.  With the possibility of a forthcoming E.P./album, I was keen to catch up with the Australian artist.  Noralyn talks about her creativity process and the music of Brisbane:  The albums that mean the most to her and the topics that drive her creative process.

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Hi Noralyn.  How has your week been?  What have you been getting up to?

My week’s been great so far- thanks for asking.  Just been up to the usual:  Practicing my music and working (giving piano and singing lessons).

For those new to your music:  Can you introduce us?

I’m an Alternative-Pop singer-songwriter from Brisbane, Australia.  I studied classical piano, and this has had quite an influence on my sound (as my music is quite piano-driven).  I’ve often been likened to Tori Amos and Kate Bush.

You hail from Brisbane.  What is the music scene like there?

I moved here last year from a much smaller regional city; so comparatively it is thriving!  Of course, it’s small compared to Melbourne and Sydney but still pretty vibrant.  There are quite a few live music venues and new ones springing up - lots of great musicians and genres keeping it all going!

[youtube https://www.youtube.com/watch?v=BCXlHCTrXXs&w=560&h=315]

You have such a distinctive style of music and vocal.  Which artists/albums were important to you growing up?

Growing up, I didn’t actually have much exposure to many artists or bands as I was brought up listening almost exclusively to classical music.  It wasn’t until I was a bit older- in my later teens- when I ‘secretly’ started listening to popular music and discovered artists like Tori Amos, Regina Spektor; Imogen Heap, Alanis Morissette – so more sort of Alternative artists - as I enjoy listening to music with lyrics that make you think.  Brooke Fraser would be my favorite artist.

The track New World was released last month.  Can you tell us a bit about the song/influence behind it?

New World is a song inspired by my Christian faith.  It’s a song about new beginnings:  Being set free from past hurt and mistakes and finding hope and purpose in Jesus.

I know you have a busy year ahead.  Will we see a new E.P. or album arriving?

I have a stack of songs that I really want to share, so I would really like to record and tour a full-length album soon!  So, hopefully working towards planning either that or an E.P. - to be recorded sometime in the not-too-distant future.

Looking back at 2015:  Which memories stand as particular highlights?

Well, I ‘officially’ started my solo music venture last year:  Moving to Brisbane for that purpose.  Recording my two singles- Masquerade and New World- and then releasing my debut single, Masquerade- and my first music video in July- were, of course, all highlights.

You have a lot of fans in the U.K. and further afield.  Any plans to come and tour later this year?

I would absolutely love to tour overseas but at this stage, that’s not really plausible financially.  Hopefully- if I can get an E.P. or album out- I will be looking at planning a tour in Australia.  But it definitely is a dream of mine to be able to take my music on tour nationally and overseas.

There are a lot of great musicians coming through in Australia.  Either locally (or nationally):  Which stand out in your mind?

Conrad Sewell.  Jarryd James.  Megan Washington.

 

If you could select five albums- either current or past- that has been most important to you:  Which would you select?

Hmm, not sure about these- all being most important- but some favourites are:

Brooke Fraser - Albertine

New Empire - In a Breath

Imogen Heap – Ellipse

Christopher Tin - Calling All Dawns

King & Country - Run Wild.  Live Free.  Love Strong

And lots of classical music and film music, haha!

Social media helps a lot of musicians promote and share their music.  How useful has social been to you?  Do you get to connect with fans one-on-one a lot?

I’m not the best at social media.  As an independent artist, it has definitely been the most useful tool to promote and reach fans- and let them know about what’s going on.  Basically, all my promoting for my two singles was done through Facebook - so pretty useful!  I can be a bit slack with keeping people up-to-date though:  My bad!  Still working on that!

For those who do not know much about you:  Could you tell us a secret- something nobody knows about you?

Wow, I really can’t think of anything particularly interesting… Umm, I like listening to Italian Pop music? Haha!

[youtube https://www.youtube.com/watch?v=IfBK06Br_84&w=560&h=315]

When it comes to your music and sounds:  Which topics influence your writing?  Do you need to get in a ‘special place’ or is there a particular mood you need to be in?

I guess a lot of songs come out of thoughts and feelings I’ve experienced:  Life and people and (definitely) my faith.  I think I write my best when I’m not trying.  Most of the songs that I ‘keep’ come to me unintentionally.  Generally, once I’ve started writing a song- which I’m feeling really connected with- I have to keep working on it ‘til it’s done.  So, I’ll keep going about the rest of my day trying to get that lyric or melody right in my head.

What defines music to you- might be an impossible question, I know.  What does it mean to you?  How does it make you feel?  How important is it in your life?

In general, I’m not very eloquent or articulate, so to me music and songwriting allows me to translate my thoughts and feelings.  Often, writing will help me sort out my thoughts better and helps me take a bigger picture view of life.  I also love how a song can mean so many different things to different people- and be interpreted with a unique relevance to each individual.  With or without lyrics, music is a universal language.  And there’s something so special about music in that it can reach people in a really personal way.

Do you have any advice for any musicians coming through:  Those who are not sure if they have what it takes?

Well let's be honest, I’m still very much in that category!  But if I were to give advice, it would be, stay true to your ‘musical self.’  Definitely you’re going to be influenced by other artists and grow and develop and your style will evolve.  I think it’s important to not just try to be like someone else- because you’re never going to be better at being another artist than that artist (obviously!).  In doing so you will be missing out on your own uniqueness and what gives your music individuality.  There’s music that only you can make and you can impact others’ lives with it.  It’s such a tough industry to break into, so I always try to stay focused on ‘why’ I’m doing this.

Finally- and for being a good sport- you can select any song (and I’ll include it here) - why is it special to you?

Ohhh, well, let’s go with the song I happen to be listening to right now which is Can’t Take It In by Imogen Heap.  It’s got this sense of beauty and wonder that makes me feel all refreshed and happy inside!

[youtube https://www.youtube.com/watch?v=lZVSBFnevRY&w=420&h=315]

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The Classics Series: Fleetwood Mac- Rumours

The Classics Series:

 

 

Fleetwood Mac- Rumours

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IF turmoil and conflict leads to creativity and focus…

then Rumours is the perfect example of this theory.  Well, perhaps there were other reasons- why the album remains a masterpiece- but it is amazing the album got made at all.  In the years leading up to Rumours:  Fleetwood Mac were on a little bit of a tepid streak.  In 1974, the album Heroes Are Hard to Find was released.  This was the last Fleetwood Mac album to feature Bob Welch:  He was replaced by Stevie Nicks and Lindsey Buckingham soon after.  Before that, Fleetwood Mac had recorded eight albums- from weak efforts like Penguin and Mr. Wonderful to wonderful cuts like Bare Trees- and had produced few lacklustre albums.  There was a general feeling in camp the band was going through a bit of a slump.  Something needed to change:  That change arrived in the form of an American couple who would make their impressions felt immediately.

Heroes Are Hard to Find is not quite as bad as I make out.  In spite of Welch’s departure and the odd duff moment:  The strong moments are truly memorable.  Welch’s She Changing Me is among the album’s most celebratory and upbeat tracks:  Angel and Bermuda Triangle are among the record’s more experimental and psychedelic offerings.  It was Christine McVie that made the biggest impact on Heroes’.  Prove Yourself and Come a Little Closer are grand and lush songs that stop you dead in your tracks.  Ethereal strings and delicate piano augment the songs to impossibly-dreamy realms.  Not just confined to ballads:  Rocker Bad Loser has plenty of dark undertones and kicks (thanks to Mick Fleetwood and John McVie’s rhythm section).  Throughout the album, Fleetwood Mac injected toughness and sensitivity in equal measures.  If Heroes Are Hard to Find is considered a ‘weaker’ effort from Fleetwood Mac:  It shows just what an immense proposition they were.

Following the line-up change, there were some nerves and uncertainties:  How would the two Americans fit into the band?  The group’s self-titled album- the second so named (their 1968 debut was called Fleetwood Mac) - is regarded as one of the finest Fleetwood Mac efforts- one of the greatest albums of the 1970s.  Arriving in 1975, the album would go on to reach number one- it would stay in the top-ten for nine months- and sold over five million copies.  Maybe the fresh blood made an instant impact- or the band as a whole were in inspired form- but you cannot deny the influence of Buckingham and Nicks.  The U.S. lovers were close to break-up when Fleetwood Mac was recorded- the two were hired after Mick Fleetwood conducted a brief interview in an American interview- and that bubbling tension led to some tremendous offerings.  Monday Morning has nerviness and urgency:  Lindsey Buckingham highlighting what an important songwriter he was.  The Californian couple turned Fleetwood Mac from borderline-soppy to a genuine U.S.-U.K. Rock band with huge spirit and gusto.  The album’s opener (Monday Morning) is impossible to ignore and signalled a brand-new sound for Fleetwood Mac.  Although this was the tenth line-up change since their inception- and the most successful one- it was a move of genius.  Buckingham would be a background presence on the album- he would come more to the fore throughout Rumours- with McVie and Nicks contributing gems Rhiannon, Say You Love Me and Over My Head.  Perhaps Buckingham’s songwriting credits are limited but his D.N.A. is all over Fleetwood Mac.  His production style transformed the band into a more forceful, focused and brave brethren.  Pushing McVie to create some of her best work- bringing out the Rock goddess in her- and propelling the group to rarefied heights:  Thanks to Buckingham; Fleetwood Mac was the standard against which all subsequent Fleetwood’ albums would be measured.

Fleetwood Mac was very much the Blues coming to England.  This country has always had a passion for Blues music.  Since the ’40s and ‘50s, the genre was not overly-representing in mainstream music.  Lindsey Buckingham and Stevie Nicks reintroduced that vintage-sounding Blues style to the 1975-album.  Everything sounded authoritative and genuine:  As such, the album resonated all across the U.K.  From the East End to the northern towns:  Fleetwood Mac was in-demand and a very hot ticket.  That scratchy and raw sound can be detected in every track of Fleetwood Mac.  It remains one of those pivotal and transformative musical statements:  An album that not only changed the band themselves but the landscape of British music.  With that impressive gauntlet thrown down; few could have predicted what was to arrive next.  It was not just Lindsey Buckingham and Stevie Nicks whose relationship was going through strains:  Christine and John McVie were experiencing some tough times too.

[youtube https://www.youtube.com/watch?v=462lDlULSBk&w=420&h=315]

In 1977, Fleetwood Mac released their finest (debatable, but true) creation:  The majestic and peerless Rumours.  Today, Rumours is one of the biggest-selling albums of all-time.  It won a Grammy for Album of the Year and has inspired countless modern-day Folk and Rock artists.  Not only was Rumours’ recording fragmented by relationship strife and squabble:  The band’s drug-taking and recklessness threatened to derail the album completely.  More hedonistic and disjointed than they had ever been:  In a rather bad way, Fleetwood Mac had turned into a true Rock band.  Whilst most acts- certainly those in the current climate- would not have produced an album- instead, the band would split- Fleetwood Mac defied expectations and recorded an album of near-genius stature.  Despite the tumultuousness that was encroaching, there was still discipline and focus.  Critics noted- upon the album’s release- the wonderful vocal interplay of the three singers (McVie, Nicks and Buckingham) and the multiple genres represented.  Fleetwood Mac mixed electric and acoustic guitars together:  Rock, Country and Folk numbers sat alongside one another organically.  The incredible production values- Buckingham at his peak as a producer- was also a huge factor in Rumours’ success.

The recording on the album was anything but smooth- as you have probably figured- with the band sequestered at the Recording Plant in California.  Commencing work in February 1976, there was a strange mix of optimism and recrimination.  The band was definitely on the finest form they had ever been:  The intimate relationships of four-fifths of the group was both a curse and a blessing.  With inhospitable studio conditions- small, windowless rooms were not popular with the group- the boys lived together in one part of Sausalito; the girls resides near the city’s harbour.  With Buckingham in control of the album’s direction- he wanted to make a pure Pop album- the discipline and focus started to wane.  The band members would not socialise after recording- given the splits and quarrels that were emerging- and the access to drugs- Sausalito was still in the grip of the hippie movement- the band indulged in drug-fuelled sessions and self-indulgent binges.  The album’s undefined budget meant Fleetwood Mac had an endless fund for narcotics and stimulants:  Rumours was never going to be the most puritanical and healthy albums ever made.  Despite the friction, the band’s best work was being shaped.  Using the best microphones available:  They captured the sublime harmonies of the band’s singers.  Mick Fleetwood- the poor chap caught in the middle of this Anglo-American hurricane- summoned some of his most compelling beats.  Lindsey Buckingham fostered the beauty in Nicks’ music- although the duo was balkanised- and it showed struggle and negativity brought the best from the group.

In terms of the album’s themes:  Broken relationships and hopefulness sat alongside one another.  Chrissie McVie’s You Make Loving Fun was not about her former lover:  It was about the band’s lighting director.  Go Your Own Way is a pessimistic song that leaves little to the imagination- Nicks didn’t need to read behind the lines.  Dreams, conversely, is a more optimistic and bittersweet affair.  With the band’s principle songwriters- Nicks, Buckingham and McVie- writing separately (occasionally sharing ideas) it was a compartmentalised and impersonal writing process.  Rumours was truly a shift away from any other Fleetwood Mac album.  Never had such emotion and strain defined an album’s creation.  The clean, crisp and receptive sounds (of Rumours) was celebrated by critics at the time.  Rumours is one of those albums that has received very little negative feedback.  Not only one of the greatest albums of the ‘70s:  It remains one of the most impressive musical achievements ever.  Few people would have excepted something so authoritative, flawless and smooth from a band on the brink of disintegration.  Maybe the separations- writing in private and lack of socialising- helped avoid a complete capitulation and wreckage.  Maybe the ready access to drugs helped balm wounds and mitigate the pain.  In truth, it was the band’s passion for music that turned Rumours into a classic.  Yes, the recording was delayed and studio sessions were fraught.  Overriding the pettiness and infidelity was that burning desire to record beautiful music:  Without that innate drive, the world would never have heard Rumours (or you’d get an album that was a rather muddle affair).  If you look at the songs one-by-one, you can tell why (the album) made such an impact on its release- and continues to amaze musicians and fans alike.

   Second Hand News kicks off Rumours with Buckingham in the driving seat.  The track was originally going to be an acoustic number.  After hearing the Bee Gees’ Jive Talking; Buckingham added words/melody and set the tone for the album.  The lines:  “I know there’s nothing I can say/Someone has taken my place” defined the record and saw Buckingham accept the reality of his relationship.  The song looks at the pleasure and redemption Buckingham found with other women.  Buckingham wouldn’t miss Nicks because the two had to record with one another.  It seemed like the American was having his cake and eating it:  Finding thrills with transitory bonds but immune from heartache and longing.  Second Hands News is a song with Buckingham in complete control.  He called the shots throughout- instruction bassist John McVie to play a simple, quarter-notes part- and wanted the song to be simple yet euphoric.  The track’s refrain is one of the boldest f***-yous ever:  It was clear Buckingham’s heart was anything but broken.

  Dreams is a more optimistic and softer number that shows Stevie Nicks at her peak.  A gorgeous and stand-out moment- definitely among the best songs on the album- that Nicks wrote in about ten minutes.  Sat on her bed with a keyboard and a simple drumbeat:  The song poured out onto the page.  Drummer Mick Fleetwood was going through a divorce; the McVies were in a similar predicament:  Buckingham and Nicks were ending their eight-year relationship.  The denial and disenfranchisement inspired Nicks to pen one of her most honest and open tracks.  Upon presentation, the band was not crazy about the song:  Nicks has to beg them to record it with her.  Buckingham fashioned three distinct sections from identical chords- giving the sound a logical and distinct thread- on a track McVie (Chrissie) found “boring”.  The fact that it is one of Fleetwood Mac’s most-celebrated tracks is a testament to Buckingham’s influence and Nick’s intuition (and talent).

[youtube https://www.youtube.com/watch?v=6ul-cZyuYq4&w=420&h=315]

Never Going Back is a gorgeous and reflective song that assesses the break-up of a relationship.  Buckingham’s tale of rebound fling- one of the final songs written for the album- was not the deepest song (Buckingham felt it slightly shallow) but the simple chords and beautiful melodies made it a favourite among critics.  The bad-news scenarios were given a prettiness and elegance that transcended its authour’s modesty.

   Don’t Stop is another classic from the album:  Another one of those unimpeachable numbers spoken about in devout tones.  Whilst Nicks brought positivity to Dreams:  Chrissy McVie ensured overt hopefulness came through in Don’t Stop.  Subconsciously directed towards John- although McVie was always a positive muse- it boasts tremendous lead vocals (from McVie and Buckingham) and is among the catchiest songs on Rumours.

None of the band members knew they were writing about one another (when entering the studio).  Go Your Own Way is hardly the most discrete track.  Seen as one of the best songs ever in music- both Rolling Stone and other publications have assessed it thus- it was not a favourite of Stevie Nicks.  The line “Packing up, shacking up is all you wanna do” was a nasty and untrue jab at Nicks.  A line written to push Nicks’ buttons- she wanted to kill Buckingham every time that line was performed on stage- Buckingham refused to remove the line.  Upon initial release, some D.J.s were lukewarm towards it.  Both Buckingham and Fleetwood took the blame.  Buckingham explained how his acoustic guitar part created a foil for the vocals but was divorced from the beat- only when the first chorus comes in does the beat bond with the guitar.  Fleetwood blamed his unorthodox and inept (his words) drumming.  It was a mutated interpretation that Fleetwood never got to grips with.  Whatever the reason- in response to L.A. D.J., B. Mitchel Reed’s criticism- the song went onto to be one of the band’s most successful.

   Songbird and Oh Daddy showed what a consistent and diverse songwriter Chrissie McVie was.  The former is the need for love and trust.  Directed at an unnamed source, the lines “For you, they’ll be no more crying” and “To you, I’ll never be cold” reflected self-sacrifice and the need to stay firm against adversity.  It was one of the album tracks that kept the band together and focused.  A subsequent set-closer, McVie wrote it in the early hours one morning.  Waking- and struck by inspiration- she put down the melody and chords in about 30 minutes.  Arriving in the studio the following day- she was trembling like a lead- McVie knew she has something special.  Whilst other band members were engaged in opium-smoking:  McVie put the song onto a two-track recorded (aided by producer Ken Calliat) - the rest is history.  Oh Daddy was written for Mick Fleetwood- the only dad at the time- and a nod to the band’s backbone and rock.

 You Make Loving Fun and I Don’t Want to Know were some of the gems from (the album’s) side two.  With Buckingham absent during the early record:  Christine McVie was free to record You Making Loving Fun with her sights unblinkered.  The recording itself was defined by excessive cocaine use and corpulent decadence.  Chrissie McVie informed then-husband John the song was about their dog:  Only in subsequent years did he learn the truth (the tryst Christine has with her lighting director).  I Don’t Want to Know is a song Nicks wrote years previous- when she and Buckingham were a Rock duo- and fits seamlessly into the mould.  The song’s conciliatory nature- about the realities of love- naturally slotted into an album with many like-minded songs.  The lines “I don’t want to know the reasons why/Love keeps right on walking down the line” are among the most bare-naked and heart-breaking on Rumours.

   The Chain and Gold Dust Woman complete rumours:  Two of side two’s most memorable tracks.  Gold Dust Woman is a signature song from Nicks that brings Rumours to its close.  The album’s swansong has a rather unorthodox history.  The album’s take was recorded at 4.a.m.:  Following a rather unsuccessful run of takes, Nicks was getting frustrating.  Wrapping a black veil around her head- blocking her senses out to get a more raw interpretation- the song featured strange instruments and sounds- including an electric harpsichord with a jet phaser.  With Mick Fleetwood breaking sheets of glass- like a mad professor banging with a hammer- to add sound effect:  It was a moonlit rhapsody and majestic moment.  In terms of the song’s themes- in 1997, when speaking with Courtney Love, Nicks was unsure as to the originals- Nicks defined it as a celebration of cocaine and dependence:  The acceptance of failed love and trying to get through things any way possible.  The Chain is the only song to feature the entire band as songwriters.  Written in bits- the bass progression was written by Fleetwood and John McVie- whilst Nicks wrote the lyrics alone.  McVie brought together earlier tracks to help bolster the song- music she had written previously- and the final track was recorded across various tracks.  It is one of the album’s defining tracks as it defines Rumours.  Looking at the splits occurring- every member undergoing break-ups- they were being bonded and kept together by music and their kinship (a chain).

[youtube https://www.youtube.com/watch?v=PppUJ_JGq2U&w=420&h=315]

Fleetwood Mac continues to play for years after Rumours- they are still touring as a band- but never topped Rumours.  The album’s follow-up, Tusk, is a near-rival that is a more experimental, dark and bold proposition.  After the enormous sales figures from Rumours:  The band had a blank cheque to go nuts with.  Buckingham was even more in control- the relationships were dead and the mood was even frostier- and the 20-track album was fragmented and messy.  Fleetwood Mac’s equivalent of The Beatles (‘The White Album’); it is a weird and wild record with Buckingham taking most of the songwriting credit- he gave McVie and Nicks’ songs an ethereal quality and sheen.  The album’s dynamic of mellow stretches- that would then explode in a violent burst- did not fare as well as Rumours upon release (a sales disaster by comparison) but has gone on to be regarded as one of Fleetwood Mac’s finest.  It is amazing Tusk came to life:  It is perhaps down to Rumours that it did:  That faith in the music and the bonds that held the band were still there.  It is amazing that the band is still going today:  They are long past their peak but have survived the test of times and inter-band dislocation.  Rumours was an album documenting relationship heartache, but ironically, ensured the band stayed together and stood the test of time.

The influence of Rumours still resounds today.  Acts from Lorde to Death Cab for Cutie have been inspired by it.  Throw in Tori Amos to the agenda and few albums have been as inspiring as Fleetwood Mac’s 1977 masterpiece.  Topping polls and one of the defining albums of the ‘70s:  Few subsequent albums have matched Rumours’ quality and brilliance.  If you look at the Indie/Folk acts emerging in music:  You can tell how many take their heritage from Fleetwood Mac.  The band have created waves of hungry and daring musicians:  Each hoping to record their version of Rumours.  Whilst that album is peerless and unmatched:  The fact so many want to pay tribute to it speaks volumes.  We will never see another album as scintillating and fascinating as Rumours.  It was very much a product of its time and one of the most spectacular recording processes in musical history.  If you have not heard the album for a while- or not listened to it at all- you owe yourself the chance to (re)discover a…

WORK of pure brilliance.

[youtube https://www.youtube.com/watch?v=cMp57bUzOB8&w=560&h=315]

________________________________

TRACKLISTING

Second Hand News

Dreams

Never Going Back Again

Don’t Stop

Go Your Own Way

Songbird

______________

The Chain

You Make Loving Fun

I Don’t Want to Know

Oh Daddy

Gold Dust Woman

DOWNLOAD

Dreams; Don’t Stop; Go Your Own Way; The Chain; Gold Dust Woman

STANDOUT TRACK

Go Your Own Way

INTERVIEW: Lauren Housley

INTERVIEW:

 

 

Lauren Housley

______________

IT wasn't too long ago I was vacillating over...

Lauren Houseley’s debut album, Sweet Surrender.  The fact that I am still thinking about that album- it was released in August last year- shows just what an effect it has.  Fans and new followers discovering a wonderful artist with a very special sound.  Blending Americana and Soul together:  Housley has impressed critics and is among the U.K.’s most promising young musicians.  Vital and impressive gigs have only been matched by radio play from the likes of Radio 2.

This year will see Housley touring and taking Sweet Surrender to the hungry masses.  With such a momentum behind her- that reputation is increasing by the week- who knows just how far she can go.  A stunning musician whose songs resonate with people around the world:  the next few years will be a very exciting one for the Manchester-based songwriter.  I was keen to check-in and see how she was doing:  what plans are afoot for this year and which musicians inspire (Lauren’s) music...

_____________

How has your week been?  What have you been getting up to?

It’s been great thanks; a very inspiring week.  I’ve been doing a lot of writing recently.  Pretty much writing something new every day which is always a wonderful feeling.  We’re also in the middle of touring so have been playing shows all over the U.K. in the last few weeks:  which has been a really special experience as we’ve had the opportunity to play to a lot of new people.  (You can find details of upcoming shows on my website www.laurenhousley.co.uk/shows)

For those new to your music:  can you tell us a little about yourself?

I’m a singer/songwriter/performer based in Manchester.  I write songs from a place of human empathy and emotion.  My music has been described as “a soulful blend of Blues and Americana”.

So many great artists- solo and bands- are emanating from Manchester.  What is it about the city that leads to such prolific quality?

I think artists are very supportive of one another in Manchester and everyone’s very hard-working!  It’s great to see other people doing well around you (too) as I think it spurs you on to get yourself into gear.

With regards your influences and idols:  which artists have been particularly important to you with regards your musical upbringing?

Lauryn Hill, Gladys Knight, Ray Charles; Eva Cassidy, Elvis Presley, Jeff Buckley; Joni Mitchell, Joan Armatrading.   The Band, Bonnie Raitt, Tedeschi Trucks Band….lots and lots of others!

The Beauty of This Life is your latest track.  It is getting an enormous response online.  What inspired the writing (of the song)?

This is actually a brand new song that’s pretty much only just been written.  We haven’t recorded it yet but are hoping to get in the studio this week to record it.  I woke up at 6am and had an urge to start reading about Bob Dylan and his philosophy behind songwriting.  Then- from feeling pretty inspired- I played a chord on the guitar and stared singing this song.  I wrote most of it in about 15 minutes.  It’s been getting an unbelievable response when we’ve played it on the shows recently.

What can you tell us about the rest of 2016?  Will we see a new album, perhaps?

2016 is looking like a pretty full year:  out on the road playing! (Which is just what I wanted).  People are still discovering Sweet Surrender (debut album), which is a great feeling and it’s still gaining lots of industry attention!  We’re getting to play in completely new parts of the country:  to enthusiastic crowds and passionate music lovers!  It doesn’t get better.  We’ve been in and out of the studio since Christmas:  constantly recording and writing so keep your eyes and ears peeled; lots of surprises in store!

[youtube https://www.youtube.com/watch?v=nKh5qpqhiso&w=560&h=315]

Looking back over 2015’s memories:  which stand proudest in your mind?

Releasing my debut album Sweet Surrender!  It was pretty incredible to see our first single from the album, Ghost Town Blues, make the B.B.C. Radio 2 playlist.  Also, receiving such support from Robert Elms at B.B.C. Radio London- and doing a live session for him- which led to us being invited by Live Nation to play 2 shows at Prudential Bluesfest at The O2 Arena in London.  We also made Robert Elms' 'Best of 2015' list too which was lovely to hear.

If you had to nail down one song- that means the most to you- which one would you select and why?

I'd say Sweet Surrender which is about surrendering yourself to what it is you're supposed to do in life:  washing away fear, self-doubt and all the other manifestations of resistance that tries to stop you from living your true life.  It's a very personal song for me.

Over the last couple of months, the music world has lost some true icons- from George Martin to David Bowie.  How has this affected you personally (and musicians you know)?

It’s been a really tough few months for us all:  losing such influential, inspiring people.  I think seeing the world’s reaction to these losses makes you realise how much impact music has on everyone’s lives. People feel connected to these icons; which is a truly special thing in life.  I feel like they gave it their all in their art and creativity:  it actually made people feel something.   It makes me remember exactly why I do what I do:  I want to connect with people; I want to move people and I want to literally give my all.  When it’s time to leave this life, you should be empty.

Your music mixes Americana and Country- together with Blues and Folk.  Would you say you prefer American sounds/music?

It’s not that I prefer American sounds:  I suppose it’s more so that that’s what seems to have influenced me more.  My dad is a huge Elvis Presley fan so I listened to a lot of Elvis growing up.  I was karaoke-ing Elvis songs when I was a 4-year-old- and the other kids were singing Twinkle Twinkle.

Which current acts are enjoying at the moment?

I’m loving Sturgill Simpson, Chris Stapleton and Jason Isbell:  all talented in their own way.  One of my absolute favourite artists is Hiss Golden Messenger:  the album Lateness of Dancers hits me hard!  I’m also a big Tedeschi Trucks Band fan.

When listening to your music I am always struck by the lyrics: They have a personal touch yet seem to have universality.  What inspires your songwriting process?

Thanks very much.  Lots of things inspire me:  reading, listening music, meeting people; chatting to people… people-watching.  I’m actually quite fascinated by people and how they act/feel.  I actually love people!  When you feel empathy and compassion towards someone- and connect with them personally and emotionally- it’s the most overwhelming, powerful and inspiring feeling in the world.

For those who do not know much about you, could you tell us a secret- something nobody knows about you?

My career choice after leaving school was between being a performer or an artist!  I loved to paint and draw.

What defines music to you- it might be an impossible question, I know.  What does it mean to you personally?  Do you have any advice for any musicians coming through:  those who are not sure if they have what it takes?

Music is a wonderful way to connect with people on a deep level.  It’s a universal language that has the capacity to touch and change people’s lives.  If you have something to say, try to put it down in a song in the most honest, pure and organic way possible.  Use your own unique voice to tell a story that is important to you and people will hear you loud and clear.  You don’t need to fit into any specific category but your own.

Finally- and for being a good sport- you can select any song (and I’ll include it here).  Let me know why it is special to you

Down To Zero by Joan Armatrading is one of those songs that literally reaches into my soul and breaks me... it's such a powerful song.

[youtube https://www.youtube.com/watch?v=y84S4_ThV6g&w=420&h=315]

______________________________________

Follow Lauren Housley

 

Official:

http://laurenhousley.co.uk/

Facebook:

https://www.facebook.com/laurenhousleymusic/?fref=ts

 Twitter:

https://twitter.com/laurenhousley

Instagram:

https://www.instagram.com/laurenhousley/

YouTube:

https://www.youtube.com/user/laurenhousleymusic

SoundCloud:

https://soundcloud.com/laurenhousley

TRACK REVIEW: Vanessa Forero- Same Boat

TRACK REVIEW:

 

Vanessa Forero

 

 

Same Boat

9.6/10

Same Boat is available at:

https://www.youtube.com/watch?v=YN9oBVceDU0&feature=youtu.be

RELEASED: 12^th March, 2016

GENRES: Indie/Folk

ORIGIN:

Yorkshire, U.K./Colombia, South America

The E.P., From the Uproar, will be available from March 28^th

TRACK LISTING

Heaven Knows- 9.5

Same Boat- 9.6

I’ll Be Wrong Again- 9.5

Raven- 9.6

Anhela (Bonus Track) - 9.5

DOWNLOAD:

Heaven Knows; Same Boat; Raven

STANDOUT TRACK:

Same Boat

____________________________________

IT is- on rare occasions- I get to review someone based in this...

country who takes influence from other cultures/nations.  Being presented with Folk-Indie artist Vanessa Forero allows me to expand my horizons and discuss something quite exciting.  Not too many musicians mix-up their music and invest in other sounds.  Sure, you get acts that melt Folk and Indie:  Those that tease Pop with Rock etc.  How many musicians have you seen that are inspired by South American sounds?  I have been proud of this blog and the fact I have reviewed artists from all around the world.  In the years I have done this- the hundreds of reviews put online- I have assessed acts from four different continents- Australia, North America, Europe and Asia.  Africa still alludes me- I shall have to rectify that- whilst South America seemed an impossibility.  Although Vanessa Forero is based out of the U.K.:  She has been deeply affected by her time in Colombia and the music/scenes/sights of the country.  For that reason, I am counting this as a victory:  Another continent I can tick off the list!  In larger terms, it is fascinating finding a musician that takes direction from Latin music and incorporates it into a more ‘mainstream’ whole.  A couple of times I have reviewed artists that fall under the ‘World Music’ banner:  There are fewer shades of Folk and more attention on completely capturing the essence of South/Latin America.  Forero is an artist who has fallen for Colombia- and the people there- and decided to take that passion and put it into her music.  When her debut E.P. was released Forero even sung a song in Spanish (Anhela).  I find too many musicians are not adventurous and taking too few risks.  If you look at the mainstream, for example, there is a timidity and limitation that is hard to swallow.  I am not saying ever act need to travel the globe to discover new sounds:  It would be nice to hear music that involves other cultures and expands the palette somewhat.  When Paul Simon visited South Africa- and was troubled by apartheid and the racial segregation of the time- he brought African elements into his ’80s masterpiece, Graceland.  Damon Albarn spent a lot of time in Africa (Morocco especially) prior to recording Think Tank.  Travelling- and recording- in Morocco and Mali:  Albarn vibed from the exoticness and beauty of his surroundings.  Blending these African themes with traditional Blur cores:  You had an album that was a lot more vibrant, deep and itinerant than anyone could expect.  I would love to see more mainstream acts being daring and adding more colour into their music.  Forero is making a name for herself because of the original and bold style of music.  Every track makes you smile but compels you to think deeply about things.  Spanish/Latin sounds infuse inside dreamy vocals and evocative compositions.  In a market with a lot of sound-alike Folk/Indie acts:  It is a breath of fresh air discovering someone like Forero.  The stunning Yorkshire singer is making plans for the rest of this year:  Make sure you follow her and discover some music of the highest calibre.  Before raising another point, let me introduce Vanessa Forero to you:

“British/Colombian singer-songwriter Vanessa Forero is set to release her self-produced EP on March 28th, a collection of 5 songs which came from a place best described by the EP title 'From The Uproar'. Forero is a skilled multi-instrumentalist as well as a producer, composer, arranger and vocalist. After being selected in 2015 by Brit Award Singer-Songwriter Beth Orton to write and perform at her UK show, Forero decided to become her own artist and record her own songs in her distinctive Indie/Folk style with Latino influences.

For her debut EP, Forero recorded and played a lot of native Latin instruments herself, and even sings the evocative bonus track 'Anhela' in Spanish. Her sound is a reminder of her roots and has been greatly inspired by her time spent in Colombia. Forero was first introduced to a whole new music scene whilst filming National Geographic's feature documentary 'Woman Raised by Monkeys', a film based on the bestselling book on her mother's extraordinary life 'The Girl With No Name', a book that she co-wrote herself.

Vanessa Forero has recently revealed the underwater-themed video for her new single 'Same Boat'. This new track is guaranteed to plant a smile across your face and have you hum in no time. So do not hesitate to embark on a journey across the choppy seas to get to know Vanessa's unique world”.

It is near-on-impossible not to fall for Vanessa Forero.  Impossibly beautiful- a cross between a young Kate Bush and Monica Bellucci- she has an infectiousness for music and a burning passion.  Looking at videos on Facebook- specifically, where she takes us on a tour of her home studio- you can tell how much music means to this girl.  From Colombia/South American instruments- only natural being half-Colombian- there are some seriously bitchin’ guitars and keys:  Hefty recording equipment that looks like it should be the International Space Station.  Forero has a keen and sharp wit and a hugely loveable personality:  Someone who is incredibly warm and you would want to come and see live no questions asked- pretty much my idea of perfect.  These ‘assets’ all translate into songs that leave deep impressions in the mind and leave you wanting a lot more.  I know Forero is planning an E.P. at the moment- where she will sing in Spanish and open the listener’s eyes to a whole new world- and that will be one of the releases of 2016.  She has a great team behind her- her P.R. team and representatives look after her very well- and there will be tour dates for sure (when the E.P. is unveiled).  I hope Forero comes down to London- gives me a chance to see her up-close- as she would go down a storm here.  From charming coffee joints to quirky bars:  To the large-scale venues and major halls- she can fill them all.  Having been recording music for just a short time- her debut single, Heaven Knows, was released a few months back- it is very much her time to shine.  The debut E.P.- out in a couple of weeks- will be the vision of a strong woman who has had a fascinating upbringing and is ready to conquer.

Same Boat- Forero’s latest single- has already been warmly received.  It is not hard to see why.  From the opening seconds, you are drawn into a very personal song.  The finger-picking guitars give the song immediacy and energy.  Our heroine looks at boats moored and tied to the harbor.  Looking at love- I would assume a bond with a particular sweetheart- you get the impression of a frustrating love that has been largely immobile.  Perhaps I am overreaching yet I find Forero needing something more exciting.  The two have “fired up” once more:  They are still tied to the dock and not going anywhere.  If he (the sweetheart) leaves in time then our heroine will always remember him.  Even from the earliest moment, you start to imagine what the song is trying to say.  To get a better impression of Same Boat it is wise you check the video out.  It shows Forero sat with her guitar:  Surrounded by lights and decked in bohemian clothing; it gives the song extra charm and warmth.  Same Boat is an appropriate lead-off track from the E.P. as it is the most accessible and direct number.  Forero showcases her full vocal/musical range across the E.P.:  Here, she is at her most concentrated and focused.  Every note sparkles and runs with a gleeful, child-like smile.  Few female musicians are noted for their instrumental skills- a sad reflection on the time- and it would be criminal to overlook Forero’s talents.

As a multi-instrumentalist, she is exceptional and hugely authoritative.  When it comes to the guitar, there seems to be a real simpatico and bond.  Forero lets her soul and heart flow through the strings.  The notes and strings are not just picked to elicit sound and fill gaps.  Every thought and utterance sound essential and utterly beguiling.  Same Boat is a song that bursts with alacrity but has a deep conscience that is uncovered.  Our heroine asks whether she’d be “there in your arms” seven years down the line.  Maybe the sweethearts have been going through the motions- a seasickness that has stifled progress- and things were never meant to last.  I am not sure whether the duo has broken up or has spent time apart.  There is a parting of the waves- pardon the seafaring pun- and two people with two different minds.  They/our heroine experience themselves in the same boat but on “a different tide”.  Situations and obstacles come- to test the love and durability- but nothing ever seems to change.  Perhaps I am running away with my own confidence- thinking I have the song nailed- but such is the strength of Same Boat.  I wonder whether Forero has found true happiness or is contended to keep sailing- damn it! - and find a new horizon.  Intoxicated and aching- the smiles never wane- looking at the video:  The young musician smiles and dances with mermaids (yes sir!).  Our heroine employs wordless vocals to add a sense of dreaminess and contemplation into the balance.  Most artists (when it comes to wordless vocals) lazily toss them about- Coldplay have spent their career doing that- yet Forero does so in search of beauty and narrative punctuation.  Forero is in her boat and wonders whether there is “one road to follow”.  There is a lingering sense of doubt and dissatisfaction.  Among the questioning and self-examination is a determination to move and find personal happiness.  Our heroine fights off hazards and sea creatures- the video’s charm and plot always leave you smiling like a lunatic- and you get sucked into the iridescent nature of the song.

There are more complicated and layered songs within From the Uproar:  None that are as nuanced and populist as this.  Vanessa Forero is a musician that could easily fit into the mainstream.  Her music can find its way across mainstream and underground stations- from Radio 2 to Absolute Radio- and ingrains itself in the brain.  It is impossible to forget and overlook the sheer magic, joy and potency of the song.  Even after the first listen, you want to jump back in and sing along.  The production and mixing are exceptional which allows the vocal to rule up-top.  The composition does not get buried:  Both elements push one another and create a sense of drive, balance and harmony.  Forero is essentially a one-woman band and you can tell how much of her time and energy has gone into (Same Boat).  Maybe our heroine has had her heart broken- she might be in a happy relationship now- but always approaches matters with insight, intelligence and maturity.  There is never a tactical move to gain sympathy- like a lot of ingénue songwriters do- and that is to be commended.  Sounding completely original yet oddly familiar- little hints of Kate Bush and Laura Marling; a bit of Beth Orton perhaps- that makes the music addictive and utterly essential.  I am in no danger of hyperbole when I say Vanessa Forero will have a long career ahead of her.  Given her past/childhood and musical abilities:  Who could possibly resist such a fascinating woman?  If you have not heard Forero then make sure you start now:  Same Boat is the place to start and gives you an insight into what From the Uproar will put forward.  Having heard the entire E.P., I can say this:  That consistency and talent runs throughout every single song.  In a music scene where there are disposable artists and no-hit wonders:  It is wonderful finding a musician who promises longevity and immense promise.

You really couldn’t get a more natural musician than Vanessa Forero.  She was foreign to me up until a few days ago- I was contacted by Charlotte Gomes at Project Light Agency- and have been lucky enough to get my hands on Forero’s E.P. (a little about it, below).  The young heroine grew up in Bradford but her mother was abandoned in a Colombian jungle as a child- rescued by monkeys in the end!  No, you can really not make it up (it certainly beats tales of days out by the seaside with parents in Whitstable!).  Given the fearful and fraught childhood- where the young Forero bonded with her piano- music was the outlet for her.  Most of us do not realise how privileged and lucky we are:  My heart goes out to Forero and the things she had to go through (her mum too!).  The piano was/is a way for Forero to let her voice out and channel her emotions/pains into something constructive and hopeful.  Although she uses the word ‘journey’- a small chink in golden armour; that word is my least favourite for its over-use- it is probably an apt verb (or adjective, depending on your mindset) to describe the last few years.  From the Colombian jungle to the streets of Bradford:  The amazing Vanessa Forero has been in the shadows but is heading into the light.  Forero began composing at the age of nine, but it was an invitation from Beth Orton- The Brit-winning U.K. legend- that compelled our heroine to pursue her goals.  Forero was invited to write and perform at her (Orton’s) show:  An opportunity for a larger audience to discover a special talent.  A published author- The Girl With No Name was a book passaging her mother’s upbringing- with immense passion and dedication:  No other musician deserves as much acclaim and support as Vanessa Forero.  Before concluding- with a mini-review of her debut E.P. - it is worth re-focusing on musical diversity and expanding horizons.

Forero is someone who wants to encourage more women to pick up drumsticks:  Get into the studio and start doing- not my words- “boys’ jobs”.  Traditionally, studio-based roles and drumming- what we would associate with the lads- has been dominated by men.  I know very few women who are drummers- Collette Williams of Rews is one of the few- and fewer who spend their time overseeing studio recordings.  Given the background (Vanessa has had) it is no surprise she wants others to succeed and push themselves.  Forero is embarking on her career and going about it in the right way.  Her official website is clear, concise and beautifully designed.  A one-stop portal that puts everything in order- you’d be stunned to see how many musicians do not have an official website- it has clear information and photos; music links and videos.  On Facebook, Forero keeps in touch with her fans- responding to comments and messages- and ensures her fans are kept abreast of developments.  Amassing an impressive amount of followers- they are in their thousands as we speak- in such a short time; Forero has won the hearts of many.  The fact she has such an original approach to music- bringing South American adage into things- is a testament to a very rare and special musician.  There are not many musicians that take the time to bridge horizons and offer the music world something new.  I love Indie and Folk artists but find the genres suffer rigidity and predictability.  The usual guitar-wielding, soft-voiced acts more-or-less do the same thing.  Unless there is an epic voice- something that takes the breath- among them, I am left somewhat cold.  Vanessa Forero has a voice that buckles the knees but many other dimensions.  The instrumentations and compositions are magical and entrancing:  Your mind is transported somewhere stunning and special.  Her tales mix personal history and something more every day.  I cannot wait to see where this year takes this tremendous musician.  I know a lot of Yorkshire musicians and ALWAYS say the same thing (when reviewing):  This county does things very differently.  Diversity, genre-fusing and originality is synonymous with Yorkshire:  There is no other county that contains so many unique and wondrous artists.  Forero is in great company and will have a wonderful, if busy, future.  A stunning woman with a heart-melting personality:  Backed by music that leaves you agog.

I was hugely excited to investigate Forero’s debut E.P., From the Uproar.  The E.P.’s title is an appropriate moniker that gives you an insight into the stories held within.

[youtube https://www.youtube.com/watch?v=-hbeS3oFcz4&w=560&h=315]

Heaven Knows is the E.P.’s opener and gets the listener invested instantly.  The gentle and resplendent guitar playing reminds me of Nick Drake’s finest work.  The strings dive and swim in the ocean:  It is a spine-tingling and tender passage that causes the soul to smile.  When our heroine comes to the microphone; her words look at posing questions and looking for safety.  “Where do we go from here?” is the first conundrum, and one that is delivered with sensitivity and heightened beauty.  Maybe (the question) is about her childhood- feeling lost and seeking something secure- or the depths of a relationship- where she feels unloved and unmotivated.  Our heroine is hungry and is looking out for hope:  You can tell there is desperation to change life and some scrap of happiness.  Augmenting her vocals- you get multi-tracked bursts to emphasise the mood- there sits intensity and beauty in equal measures.  “Would this bleeding…”- as it is laid out there- “bring you closer?”  You get lost in the transcendence of the vocal and the sweetness of the tones.  Assessing some rather harsh times- the struggles and inequities of love- your heart goes out to her in every moment.  Wordlessness- chirped and echoed vocals- tumble with racing strings and get the listener curious and excited.  With nary a warning, the song explodes into life and the vocal gets hotter and heavier.  My impressions changed as lines like “You own your soul” are introduced:  It seems like the song is directed at a larger audience, perhaps.  The themes of loneliness, uncertainty and changing ‘fate’ are slung in with a furious passion.  A stunning and hugely memorable song kicks off From the Uproar with immense promise.

   I’ll Be Wrong Again boasts another noble and chocolate-smooth vocal that shows just what a proposition Forero is.  “What have you learnt about love?” is a question that burns on our heroine’s lips.  Maybe it is a query directed at herself- or perhaps a friend or someone anonymous- but is a new approach to songwriting.  Usually, you get songwriters being direct and un-nuanced.  Forero turns the tables and compels the mind to speculate and imagine.  It is clear Forero has had her heart broken- she has made an unwise decision or two- but is hopeful things can turn a corner.  As she says herself, she will be wrong again and go through a familiar feeling.  The city has life and promise in her- even though our heroine has been hurt- and it makes me wonder whether love is being described.  Maybe Forero is looking for a place to call home- uprooted and a migrant in her younger years- and is looking for somewhere she can bed-down and ensconce herself in.  In a wider sense- and more akin to my intuition- is a heart looking for a parabond and equal.  You get impressions of Folk legends when Forero lets her voice rise and climb.  Elements of Joni Mitchell and Laura Marling combine in a gorgeous and sense-lifting delivery.  Light strings and percussions blend to give the song a drive and incessant kick.  I am not sure which instruments went into the mix- South American elements included- but would be fascinated to know.  Love will ache and rule with fear:  In the midst of the aging and struggle, it will always be there and remain true.  There is a wisdom and maturity to the words:  Intelligent and deep so that every listener will have their own interpretation.  One of the E.P.’s most impressive and direct numbers- certainly in the ‘top two’ songs- it compels repeated listens and scrutiny.

 Raven begins with trickling strings and aching tones.  Your mind is put into the jungle- into the depths of South America- and it is the first real exploration of Colombian/South American influences.  From the clattering and pulsating percussion- to the waterfall strings that cascade- there is spirituality to be found.  There are accents and suggestions of modern Folk acts- Laura Marling comes back in- with a little air of Kate Bush.  That boiling pot of accessible, quirky and transcendent reminds me of Bush at her most arresting and immediate.  Raven has its caution and troubles at its beating heart.  Maybe looking at a particular lover- someone who is not watching where they are going- our heroine is looking for control and equal footing.  After the early notes- where you are transplanted somewhere paradise- something more spiked and ominous threatens to replace the mood.  Given the song’s title, it is perhaps not a shock to find something jagged and afraid come into the song.  A heartfelt and soulful performance ensures every word and line hits the mark.  Bringing wordless gallops together- the song has such vibrancy and tribal energy- the track expands and hurries towards the closing moments.  Forero puts in one of her most intense and impressive vocal performances across the E.P.  The composition brings together all her other elements and talents into an explosive song.  Distorted and stumbling strings- including a jumpy electronic moment- takes you by surprise and comes out of the blue.  The final moments return to the ideals of the introduction:  Vocal snatches and sounds of the South America; delicate strings and a romantic lushness.

   Anhela brings the E.P. to a close (technically it’s a bonus track) and does not suffer language barrier issues.  Whilst the song is sung in Spanish, its beauty and sublime passion transcends borders and stands on its own merits.  When the E.P. gets an official launch, I hope some lyrics are included:  It would be fascinating to see what the song is about.  Anhelo means ‘yearns’ in English:  One would assume the song regards a lusted-for love perhaps?  Gorgeous keys and one of the most tender and unforgettable compositions you will hear:  You need to listen to the track and take it all it has to offer.  You get so many details and heart-stopping moments:  Such beauty and divinity runs through the E.P. and is a hallmark of Vanessa Forero.  The four-track (five if you include the bonus track) shows such confidence and conviction from someone so young.  This is Forero’s first exploit into music- on her own terms anyway- and most artists would come in unsure and slight.  What From the Uproar shows is bravery, passion; conviction and a sense of control:  Every track explores, explodes and exploits:  A rapture of soul-bearing wonder and personal revelation.  Forero puts her heart on the line but never asks for pity.  She is an immense talent who is unafraid to let vulnerability sit alongside overt strength and motivation.  South American strands sit with more traditional Folk elements in an E.P. that will reach a wide audience.  If you like Folk and Indie as it is- in the mainstream and dependable- you will find much treasure here.  If you prefer World elements and something more exotic in music:  Vanessa Forero has created an E.P. for you.  From the Uproar is an E.P. that belongs to everyone but emanates from a unique heart.  One of the most accomplished and impressive releases I have heard in 2016:  I cannot recommend Vanessa Forero enough.  I only hope my words have done her justice.  If not, I can only advise this:  Snap the E.P. up upon its release…

AND arrive at your own conclusions.

[youtube https://www.youtube.com/watch?v=YN9oBVceDU0&w=560&h=315]

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Follow Vanessa Forero

 

Official:

http://www.vanessaforero.com/

Facebook:

https://www.facebook.com/vanessaforeromusic

Twitter:

https://twitter.com/vforeromusic

Instagram:

https://www.instagram.com/vanessaforeromusic/

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Music

https://www.youtube.com/channel/UCp5sraGz9oD50xRHngGmKRg

 

TRACK REVIEW: Kano- 3 Wheels-up (feat. Giggs)

TRACK REVIEW:

 

Kano

 

 

3 Wheels-up (feat. Giggs)

9.4/10

3-Wheels Up is available at:

https://www.youtube.com/watch?v=79ZP946eNVQ

RELEASED: 8^th January, 2016

GENRES: Grime; Hip-Hop

ORIGIN:

London, U.K.

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NOT often do I focus on a mainstream artist for review...

yet it is hard to ignore the effect Kano is having on the music world.  I shall go into more detail- introduce the London Grime star soon- but he (being an actor-turned-musician) gets me thinking about the theme:  The rise of Grime and the artists out there; the necessity for something edgier and more direct in music.  When you think about actors who have turned to music- as a second career- you often shudder and look at some of the more disastrous attempts- Robson and Jerome for instance.  Ben Drew (A.K.A. Plan B) has managed to transition/balance music and acting:  He is also a talented director who has a bright future in filmmaking.  Whilst there have been some notably laughable attempts- for actors to become musicians- there have been a few that have managed to pull off the feat.  From U.S. actors Jamie Foxx and Juliette Lewis; across to Zooey Deschanel and Jenny Lewis:  There have been some laudable creations from the aforementioned list.  In this country, there are fewer actors turning their hand to music.  Whether it is a nervousness- given the ropey and tragic attempts of the past- or the need to concentrate on one profession:  I would like to hear more actors bridging into the music world.  Actors possess a discipline and sense of performance that (should in theory) transition into music.  If you have a good team behind you- writers and producers- then it can lead to something exceptional and memorable.  Let’s hope this year sees more of our brightest and best actors turn their hand to music.  From the likes of Gemma Arterton- who has impressed in plays like Made in Dagenham- to Idris Elba:  It will be interesting to see who comes through.  This is a subject I shall expand-upon in future reviews.  For now- and with Kano rising through the ranks- I am reminded of the best Grime/Hip-Hop artists this country has produced.  I am a massive fan of Dizzee Rascal and The Streets:  The two finest- and most distinct- Grime/Hip-Hop acts this nation has produced in the last 15 years.  Whilst artists like Wiley, Stomrzy and Skepta have made big impressions on the scene:  It is Dizzee who remains in my consciousness.  Ever since his debut album- Boy in da Corner arrived in 2003- exploded onto the scene:   Dizzee Rascal has been the leading light in Grime/Hip-Hop crossover.  The confidence and slickness; the ambition and maturity that came from that album- from someone who was a teenager at the time- was staggering.  Following that up with the equally-impressive Showtime:  A musician that seemed unstoppable and peerless.  The intelligence and wit of the lyrics was only equaled by the sheer confidence of the vocals.  Backed by electrifying and varied compositions:  Dizzee Rascal transformed the Grime scene in 2003.  Over the last few years the Bow resident has been a little quiet.  In a recent interview (Dizzee) explained how little inspiration he has right now.  Unwilling to get into the studio and record the same old thing:  He is seeking fresh inspiration and relevance.

His most-recent album (The Fifth) was received with tepidness and unenthusiastic reception.  The problem with the album- and his work running up to that- was the thematic shifts.  When Boy in da Corner dropped:  It was the story of a young man trying to get out of the estates.  Dizzee was documenting the reality of street life and the everyday dangers faced.  Promiscuous characters (perfectly laid out in Jezebel) and gang conflicts resonated with young audiences and showed how real and raw (Dizzee is).  Following on from his debut success:  Subsequent records become less sincere and accessible.  As Dizzee grew richer and more recognisable:  He could not write the same songs as seen on Boy in da Corner.  Subsequently, the braggadocio-cum-boastful nature of the music put off a lot of listeners.  It is debatable whether Dizzee will return anytime soon:  The Streets have certainly had their day.  Mike Skinner arrived with force when Original Pirate Material arrived in 2002.  Unlike Dizzee; Skinner was a more conversational M.C.:  Someone who focused on similar day-to-day woes but with a more relaxed delivery.  Like Dizzee Rascal; Skinner’s growing fame saw his music become less appealing and majestic.  From the dust of The Streets and Dizzee Rascal acts like Skepta and Giggs have been making a charge for glory.  While Skepta has a sharp sense of humour and clear wit:  He is not as memorable and distinctive as Dizzee Rascal.  Giggs has fared better and with distinct authority to him- having a prison record and growing up in Peckham- the music carries much more weight and conviction.  Hooking up with Kano:  3 Wheels-up is the sound of two of our finest Grime artists bonding their talents.  I have been impressed by Kano for a while now.  In 2005, his album, Home Sweet Home took critics by surprised and showed real promise.  Perhaps not his finest work- too much thrown into the mix- that need to create a stunning crossover album was slightly lacking.  Subsequent albums like London Town (2007) and Method to the Maadness (sic.) didn’t quite show the potential Kano displayed.  With Made in the Manor released:  Kano has started to open more to the audience and find that crossover golden spot.  Collaborating with the likes of Damon Albarn (Deep Blues) and Wiley (3 Wheels-up) has not diluted the focus and attack.  The thirteen-track album is the best album Kano has produced since his debut:  A strong statement that will see him regain attention and cement his place as one of Hip-Hop’s biggest names.  The U.K. Hip-Hop/Grime scene has variable quality:  Too many chancers thinking they have what it takes.  With Kano- unlike so many wannabe M.C.s- you get that realness and focus.  Among the sharp beats and tight delivery the compositions and vocals display nuance and room to breathe.  Things are not too claustrophobic and suffocated:  As a result, the album has layers and plenty of room to breathe.  3 Wheels-up is the highlight off an album that brims with life, adventure; wisdom, wit and innovation.  Kano name-drops Wagon Wheels, T.O.W.I.E. and fish and chips with enormous charm and impression.  Oozing panache, drive and maturity- Kano is now in his 30s- you have an album that puts British Grime back into focus.

Made in the Manor has been hailed as a breakthrough from Kano.  Perhaps Home Sweet Home resonated because it was released around a time when The Streets and Dizzee Rascal were ruling.  That inspiration and excitement propelled a fairly unknown M.C. to prominence:  Critics noted the instancy of tracks and the rule-breaking nature of the album.  Maybe that initial explosion whimpered on subsequent releases, but the fact remains:  Kano is definitely back to his very best.  Maybe not quite as accomplished and original as Home Sweet Home:  Made in the Manor is a natural companion to the debut gem.  If you are a new listener- and not familiar with Kano- I would suggest you investigate his debut album first before arriving at his latest album.  For transparency and a full impression it is worth listening to his subsequent albums- or a selection of tracks- to see how the Londoner has progressed and evolved.  What you notice now- on his new album- is the kinks have been ironed out and weaknesses eradicated.  Some critics were unimpressed by Kano’s songs of sexual lust and strippers:  Seedy underworld and obnoxious brags.  It is the sort of thing you get from U.S. Hip-Hop artists:  It seems rather gaudy and untraditional when coming out the mouth of a British rapper.  That grit and dirt has not been washed out entirely:  Made in the Manor still drags its feet to some darkened corners once in a while.  Happily, there is a lot more focus and street-level testament this time around.  Kano still plays the bad boy- and can brag with conviction- but has rediscovered his humour, humanity and heritage on Made in the Manor.  In terms of compositions, everything is a lot tighter and more concise (than previous attempts).  Instruments and genres are not slung together for the sake of things:  Everything has its place and sounds natural.  In that respect, Kano’s choice of cohorts- in terms of producers and collaborators- is a lot smarter and considered.  There are not mainstream-pleasing decisions- Dizzee Rascal fell prey to that when Maths + English arrived- and Kano brings the best minds into the album.  From Wiley and Giggs- exceptional throughout 3 Wheels-up- to Damon Albarn:  Here’s a musician that has a lot of respect and support.  This leads to a confident and assured album that shows Kano has few Hip-Hop peers.

Kano begins with bracing and jubilant horns.  The edgy and atmospheric opener gets the song underway with conviction and injects energy and abrasion into 3 Wheels-up.  The brass blast summons edginess and swagger into a song that has nothing but confidence and urgency at its beating heart.  Within the early seconds, you are captivated by the flair and sass of the introduction.  It makes the head nod and arms move in an arrhythmic sway:  You feel helpless to resist the sly charm and neon-lit drive-by.  Those doubting Kano’s rude boy credentials are given a needed poke in the opening lines.  With 3 wheels-up, our hero is the definite article.  You envisage the M.C. riding through Peckham- or borough of south-east London.  The night is beckoning and our boy is  rallying his crew and cursing the streets with little intention.  “That means I’m a direct rudeboy”- “2 2 yats of my own”- our hero lets it be known.  Maybe a retaliation to critics and peers- those who doubted his staying power and status- or just a brag in itself.  Whatever the inspiration, you cannot deny how alert and authoritative Kano sounds.  Our hero strikes against fake rudeboys and those claiming to be the real deal.  If you carry a “side bag” and “stoney”:  That does not make you a “direct rudeboy”.  By the time the next verse comes into the mix:  Kano has laid down his thoughts and spits against the boys and fakers.  The horns keep blaring and riding a hypnotic crescendo wave.  “Pu*** and rum” are on the rider of real M.C.s.  Although Wiley and Kano have had a dust-up in the past:  The fact it happened- and they are brothers again- means Kano’s M.C. status should not be undermined.  The violence, chaos and reality of the street:  Our man bares it all and comes through it strong.  On estates where “Man don’t care ‘bout fathers” and “Man just care if it’s blinging” Kano lays his claim.  I am unsure whether that observation- the no-goods that have no feelings- are being slapped down or casually represented.  It is clear (Kano) has heart and knows the realities of modern life.

There are a lot of wannabe M.C.s that think they are the real deal:  Unless you have lived the life and are genuine then you are wasting your time.  Before the chorus rides back in:  Kano ensures his rhymes are spat with intensity and intention.  One of his most urgent and direct statements since his debut:  3 Wheels-up sees our boy in rapid-fire form with a lot to get off his chest.  Clearly, he is angered and feels aggrieved by a wave- either musicians or local kids- who think they have what it takes.  The ferocity, excitement and energy never relent throughout the song.  Whether Kano is in the midst of another verse- or the composition rules with a swaggering little nod- there is no escaping the braggadocio and confidence on display.  Kano keeps things at boiling point- “In the jungle I move with original nuttahs (sic.)”- and is deposing fraudsters and fly-by-night kings.  Giggs is keen to jump into the mix and arrives with an equally assured performance.  Not quite as jagged and fast as Kano- there is a soulfulness and deep-voiced husk to his vocals- the lyrics are no let-down for sure.  Whilst Giggs is a “gangster and a gentleman”.  Money demands, rollin’ with the boys and gunshot drama are suggested but it is the music that is in the forefront.  Giggs looks at “those chimps” and laughs at their words.  Whilst there is that blend of musical confidence- the strength of the flow and authority of the beats- there always lingers imminent danger and conflict.  Giggs delivers his part with utmost authority and resonance.  Having collaborated with a number of Grime and Hip-Hop acts:  He sounds completely comfortable and natural alongside Kano.  Whilst Giggs is in “the matte black 350”; Kano will take “this pen to your neck”.  East and south London and changing and evolving:  There are some features that remain the same.  While areas are becoming gentrified there are still kids that “push prams to Westfield” and “runs from pigs”.  Within the dizzying lyrical assault, you start to picture the scenes unfold:  The chaos seems very tangible and real.  The composition remains fairly simple and straight- as not to distill the vocals- but adds to the intensity and vibrancy.

The entire song sounds compulsive, essential and commanding from start to finish.  Kano has experience some unsure moments in past albums.  Perhaps losing focus or trying to stretch his sound too far:  Here there is a more direct, stripped-back and focused track.  Whilst the composition offers plenty of drama and nuance, it is the vocals that remain in the memory for days.  Kano has not sounded as dominant and imperious since his debut album dropped.  It sounds like he has not dropped a step and has that youthful energy and ambition that has been sadly lacking.  Those fearing 3 Wheels-up would be a commercial sell-out- a watered-down attempt at Hip-Hop- will be in for a pleasant shock.  It is very much business as usual and a middle-finger-up to those who have written him off.  3 Wheels-up delivers its tide of anger with a surprising amount of control and maturity.  Whilst the lyrics draw you into the slam of the streets- the kids evading the law and posers being shot down- each listener will come away with something different.  Other tracks on Made in Manor are a little more radio-friendly, yet 3 Wheels-up has that underground grit that means it will struggle to find too much mainstream air time.  That said:  I can see the song being featured on Radio 1- if it hasn’t already- and will surely inspire new M.C.s looking for guidance and a hero.

3 Wheels-up is another stunning song from a musician who is regaining fine form.  With such an impressive debut arriving in 2005:  Kano has been looking for that spark and sense of identity.  Previous albums- prior to the recent release of Made in the Manor- have lacked the killer blow and dignity required.  London Town arrived two years after his debut.  Gone were the immediate smashes like P’s & Q’s:  In its place were tales of strippers and booze; the fun was gone and the sense of decency- N.M.E. noted the puerile nature of some songs- was eradicated.  140 Grime St was Kano’s third album and showed little improvement following a sophomore slump.  2010’s Method in the Maadness stopped the rot truly setting in:  The album saw the young M.C. keeping his soul guarded and pushing the audience away somewhat.  The Grime all-rounded regained foothold on Method’.  Gone were the crowd-pleasing collaboration and in its place was more logical partnerships- Boyz Noise and Hot Chip added to the album’s flair and excitement.  The East Ham M.C. was at his angry best, here.  Playing a certain villainous role- a bit of a Captain Hook figure to critics- Kano assessed gang violence and bus-hogging hooligans; rude boys with too much ‘tude:  A cornucopia of misfits and knife-wielding thugs united into an exceptional album.  Often derided for being too experimental- just for the sake of being diverse- it was a gamble that was tempered slightly on his fourth album.  Whereas Dizzee Rascal’s debut nailed experimental and focused- compositions and melodies ranged from music hall sing-along to jagged vitriol- Kano seemed less authoritative and assured.  It was a long time since his debut:  Method to the Maadness put critics on an even plateau and showed that original genius.  I was excited to review Kano because Made in the Manor is being talked about in fevered tones.  Fans and reviewers are noting that Kano is back to his best and penning tunes that are instant, memorable and focused.  The anger and scorn is still to be found.  Social consciousness and wit remains in an album unafraid to experiment and take chances- the chances taken come off for the most part.  Frequent collaborators like Damon Albarn are back on board:  Clear signs that show what faith people have in Kano.  Tracks like Deep Blue have smolder and seduction:  An introspective song that sees the author chiding himself for his extravagant ways.  New Banger is as apt and instantaneous as its title suggests: A track that could easily have found its way onto debut.  Whereas previous Kano albums have seen instruments slung together with little regard- a lot of songs sound crowded and lackluster- here there is a lot more attention to detail.  My Sound brings horns and grumbling bass into one of album’s highlights.  The flow and purpose are back:  Kano is reestablishing himself as one of Hip-Hop’s leading lights.  Kano was one of the earliest proponents of Grime:  The fact he has survived and continues to work demonstrates that passion and dedication for his art.  Before clocking things off, it is worth recalling those early themes of Grime and actors-turned-musicians.  Having appeared in Top Boy (between 2011-2013), Point Blank and Tower Block:  The young M.C. has deftly managed to mix acting and music.  Focusing more on the latter these days:  I am sure the acting world has not seen the last of Kano.  Acting requires dogged determination, discipline and determination:  Characteristics needed to succeed and pervade in the music industry.  I am certain there is a correlation between acting and music:  A winking bond that makes the transition seamless and natural.  Of course, a lot of actors have not hit their stride and been consigned to the bargain bins of history.  If you get it right- as East Ham’s finest has- the results speak for themselves.  Lesser musicians- who did not have the patience an actor displays- might have called it quits after a few bad reviews.  If Kano has abandoned music following London Town- some critics hoped he would- we would not have him here today.

I opened by looking at Dizzee Rascal and The Streets:  Two acts who were torpedoed by their eventual fame and loss of identity.  Both made huge debut statements because they were struggling artists who assessed the reality of the streets and communities they lived in.  When the money and airplay arrived; they were less convincing and appealing.  The inspiration waned and the quality started to deteriorate.  I guess Grime can be a short-lived venture.  It requires a certain struggle and hard upbringing.  If you keep your messages on point- make sure you are focused and attention-grabbing- you can get the ears of critics.  The wrinkle arrives when money and airplay starts streaming in.  How genuine can you be- rapping about scraping around for money- when you are being invited to award ceremonies?  Kano has always managed to keep his feet on the floor and- despite his latest album being celebrated- still hovers under-the-radar for many.  British Hip-Hop/Grime will never truly capture the mainstream imagination- dominated by Pop and Indie acts- so I feel he has many albums left.  His passion and flair have certainly not exhausted themselves.  Made in the Manor is ripe and over-furnished with memorable lyrics and repeatable moments.  Not all the songs work out- there are still problems with economy and concision- but for the most part, the album is a return to form.  It looks like the young M.C. has regained his Grime crown and is in no mood to surrender it without a fight.  3 Wheels-up is an arresting and intense track where Giggs adds his talents into the mix.  A song that demands a lot of spins- some lyrics and ideas may race by upon first listen- it is refreshing seeing a British talent getting better and more authoritative with each passing years.  Too many musicians are suffocated by the brevity and capriciousness of the industry.  Pop stars arrive and Pop stars dissolve.  New bands come along with brighter smiles only to fade away after the first album.  Music fans want to find artists that are capable of longevity and profitable returns.  Kano’s fan-base have been loyal since his 2005 arrival.  Over a decade on, the fan numbers are expanding and new listeners are discovering something exceptional.  I just know the future is going to be bright for the 30-year-old M.C.  With critics back on his side and early form being rediscovered:  Here is a confident young man…

EVERYONE needs to obey.

[youtube https://www.youtube.com/watch?v=79ZP946eNVQ&w=560&h=315]

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Music

https://www.youtube.com/channel/UCX0eAghP7jrWHWfYBAhrnVw

 

FEATURE: In Defence of the '80s

FEATURE:

 

 

 

In Defence of the '80s

_________________________

IT is somewhat unfair the 1980s gets such a bad...

reputation.  It is true; there are some horrendous aspects to the ‘80s:  The fashion was hysterical whilst the ‘technology’ looks rather tragic through current eyes.  There was a lot of naff-ness in the 1980s and I am happy to give the decade a kicking (in that respect).  I was born in the ‘80s (in 1983) and entered the world surrounded by dodgy haircuts, huge computers- Amstrads and other such pathetic boxes- and some notable events.  The Internet was on the cusp of creation while M*A*S*H viewed its final episode:  One of the most-watched T.V. events of all time.  Star Wars Episode VI:  Return of the Jedi was released in cinemas:  The 1980s wasn’t as awful and soulless as many portray.  I guess it depends on what you look for from a decade.  If you judge it solely on fashions, technologies and haircuts:  The ‘80s can be judged to be a monumental joke.  If you are a film buff, then you cannot really judge the 1980s to be a failure.  The point of this feature was to leap to the defence of one aspect of the 1980s:  The music that arrived at this time.

Having been born in a month where Michael Jackson’s Billie Jean- number one in the charts when I entered the world- sat alongside New Romantic artists like Spandau Ballet, Duran Duran and Culture Club.  I will always be a devotee of the 1990s:  The finest decade for music and an untouchable time for creativity and inspiration.  From ‘Britpop’ to Grunge:  The ‘90s was the zenith of music and is rightfully celebrated and heralded.  I can appreciate fans of the ‘60s and ‘70s- where The Beatles and The Rolling Stones ruled (‘60s); bands like Led Zeppelin hit their peak (‘70s) - but I suppose it- deciding which decade is best- is a subjective thing.  I have never really been bowled over by the 1960s:  There were some legendary artists emerging- from Bob Dylan to Jimi Hendrix- but there were exceptions among a rather dismal period.  The 1970s was a bit more consistent and prosperous:  Still, there was too filler and trash music coming out.  When people mention ‘80s music, there is that collective snigger:  Everyone has images of Hair Metal and New Romantic bands:  The ludicrous hair and nauseating songs come straight to the fore.  It is true, there was some woeful artists stinking up music.

Heavy Metal enjoyed some success in the ‘70s and ‘90s- Judas Priest and Metallica found new lease in the 1990s whilst Black Sabbath was among the masters of ‘70s Metal- but rather stagnated in the 1980s.  Tesla, Def Leppard and Poison mixed cheesy lyrics with banal riffs and God-awful power ballads.  Black Sabbath was starting to decline:  1983’s Born Again marked the period of fallowness that was never rectified and recovered.

While Europe- and the vastly overrated The Final Countdown- Chris de Burgh and Starship were among the worst offenders of the ‘80s- hardly giving the decade a good showing- there was a lot of great music- nay, terrific music- to be discovered.  With every decade, you are always going to find some rubbish and depressing crap.  I think this decade has produced fewer wonderful moments/albums than the first half of the 1980s.  The ‘90s had plenty of one-hit wonders- who were feeble and forgettable- and obnoxious Pop.

I view the 1990s with some rose-tinted spectacles- I grew up in the decade and had some very happy memories back then- and concede it wasn’t a flawless time for music.  If I had to compile a list of my ‘Favourite Music Decades’ the 1980s would come third- behind the 1990s and the ‘00s.  The ‘80s provided so much genius and wonder- that gets overlooked and mocked by many people- that we should never forget,  My earliest music memories arrived in the 1980s:  My first memory of music was hearing Tears for Fears’ Everybody Wants to Rule the World; Michael Jackson’s Bad was my favourite album from the decade.  Whilst I have mentioned some of the horror from the ‘80s- there is more to be found but I shall not dampen this piece- we cannot ignore what the decade gave to music.  The 1980s was not a rubbish and horrible time for music:  It produced some tremendous moments and paved the way for the glory of the 1990s.  Let’s have a look at some of the best albums/bands from the time:

In spite of Heavy Metal suffering a recession, bands like Judas Priest were starting to turn into genuine legends.  From 1980’s British Steel to 1982’s Screaming for Vengeance:  Two albums that were packed with Metal onslaught and head-banging albums.  Metallica’s Kill ‘Em All arrived in 1983 against a backdrop of Hair Metal acts like Mötley Crüe and Quiet Riot:  The U.S. legends were not interested in crossover and remained true to their ethics.  As such, Kill ‘Em All become of the most successful albums (of the band’s careers) and spawned a host of followers in its wake.

[youtube https://www.youtube.com/watch?v=C1DQbdg7DpA?list=PLPf69IGxwfBEYCzFwsiJ_EBE_6Cb7bysD&w=560&h=315]

Following the death of AC/DC’s Bon Scott:  The band released their finest statement- in my view at least- in the form of Back in Black.  If the title track does not move you- you must be clinically dead- throw in stone-cold classics Shoot to Thrill and Hells Bells and you have a stunning album of near-perfection status.

[youtube https://www.youtube.com/watch?v=pAgnJDJN4VA&w=420&h=315]

Guns N' Roses were one of the defining bands of the 1980s and added Appetite for Destruction into the lexicon of ‘80s Metal albums.  Whether you see it (Appetite for Destruction) as a Metal album- if it faultless in any genre- you cannot deny the explosions of Welcome to the Jungle and Paradise City.  Guns N' Roses were at their peak at this time (1987) and never sounded as essential and together- squabble and conflicts would lead to the band calling it quits.

[youtube https://www.youtube.com/watch?v=kr8-E8may2Y&w=420&h=315]

Metallica’s Master of Puppets arrived in 1986 and was perhaps the band’s defining moment.  Endless touring had sharpened the band’s music and this inspiration and energy was funneled into the album.  An eight-song record with endless scope, firepower and rawness:  The band would never hit the heights displayed throughout Master of Puppets.  Whatever your views on Hair Metal- a noxious throwback or something genuinely special- you cannot deny the brilliance of Heavy/Thrash Metal at the time.  So many of today’s examples take their leads from the ‘80s’ best.  Was it not for the likes of Appetite for Destruction, Master of Puppets and Back in Black:  What would modern Rock/Alternative sound like?  One thing is for sure:  It would be a hell of a lot poorer.

[youtube https://www.youtube.com/watch?v=xnKhsTXoKCI&w=420&h=315]

If you look at one of the worst aspects of ‘80s music; the Pop genre might be at the precipice of your mind.  We shall overlook the rampant slope of mind-numbing/stomach-emptying Pop stars of the time- lest I never sleep again- but how can you deny the likes of Michael Jackson and Prince.  While today’s Pop/mainstream acts are variable at best- the last couple of years has been a little spotty- some world-beating albums arrived in the 1980s.  Again; we can erase the memories of some terrible albums- the ‘80s had plenty of ropey Pop for sure- but cast your mind back at the great albums from the time.

Michael Jackson’s Thriller arrived in 1982, and is arguably, his greatest album ever.  Gone was the boyishness of previous albums- Off the Wall for example- and in its place was a determined and gutsy young man.  Tracks like Wanna Be Starting Somethin’ tied some of Jackson’s previous work- Off the Wall and The Jackson 5- with new purpose, maturity and edge.  Thriller, Billie Jean and Beat It was an unbeatable trio that ruled the charts and marked Michael Jackson as a genuine star.  If Off the Wall showed what Jackson was capable of:  Thriller laid it bare and elevated him to the level of global megastar.  Thriller has gone onto become the best-selling album of all time and untouchable blueprint for modern Pop music.  Jackson would follow-up his success five years later with the release of Bad (released in August, 1987).  Whilst not as hard-hitting as Thriller:  Bad took the basic formula and stretched it in various directions.  Smashes such as Leave Me Alone and Dirty Diana showed Jackson at his most visceral and stunning.  Bad was an album of mood pieces, stunning scenarios and ear-catching hooks.  A Dance/Pop album with eccentricities and huge character:  To many people; (Bad) topped Thriller in terms of quality and scope.  Even Bad’s ‘filler’ material- Speed Demon; Liberian Girl; Dirty Diana- was stronger than Thriller’s mis-hits.  Enforced by a period of personal turmoil and heartache- Jackson was battling demons and challenges- Bad remains one of the 1980s’ defining statements of intent.

[youtube https://www.youtube.com/watch?v=4Uj3zitETs4&w=420&h=315]

[youtube https://www.youtube.com/watch?v=Zi_XLOBDo_Y&w=420&h=315]

[youtube https://www.youtube.com/watch?v=ZPmo7owRU6o&w=420&h=315]

Prince was another artist hitting his peak during the ‘80s.  Purple Rain was released in 1984 and went on to collects awards and accolades:  Hardly surprising given the songs that appear on the album.  Prince moved his Funk/R ‘n’ B jams into new territory.  Embracing Dance, Metal and Rock:  From the eerie When Doves Cry to the Rolling Stones-esque riffs of Let’s Go Crazy:  Purple Rain remains one of music’s finest-ever albums.  Prince did not lose his sensual, sexy and grinding ways:  Tracks like Darling Nikki and Computer Blue oozed sweat, libidinous intent; robotic jam and lust.  Prince had a successful string of albums during the 1980s:  Sign o’ the Times almost matches Purple Rain for quality and genius.  Perhaps the best album of 1987; Sign’ saw Prince at his most consistent and gripping.  The one-man band tricks and multi-layered vocals were matched with stunning lyrics and memorable lines.  Prince was a fearless artist unafraid to address social concerns- alongside empty relationships and sex.  Tales of abandoned babies sat alongside AIDS with hopefulness and God-fearing pride.  A messy album that showed enormous confidence and multi-genre clashes:  If the 1980s would whimper and collapse soon after- fewer great albums were produced late in the decade- Prince ensured we would dance and jive the troubles away.

Aside from the aforementioned Pop legends:  Plenty of other decade-defining albums were crafted.  I shall not go into too much detail- will wrap the piece up soon enough- but there are some important albums that cannot be overlooked.

   The Joshua Tree (from U2) remains one of the 1980s’ best Rock/Pop albums and remains an influence for many modern-day artists.  Mixing the molten lava Rock of previous albums- with lush and spirituality- that blend of anger and conscientiousness resonated with critics and fans.  U2’s best-selling album ever:  It is often voted as one of music’s most celebrated records in addition.

[youtube https://www.youtube.com/watch?v=3FsrPEUt2Dg?list=PLQDse2HMV0kwJtJq2D6kUBUKH-gCVx2lw&w=560&h=315]

It Takes a Nation of Millions to Hold Us Back was an urgent statement from one of Hip-Hop’s leading lights.  Public Enemy delivered a sensational cocktail of political anger and violent sonics.  Compressed beats, genius rhymes- Chuck D on inspired form- and wondrous sampling went into an album that remains essential and landmark.  In addition to many subsequent bands sampling Public Enemy:  The band’s fearless vocal layering and social awareness was revolutionary in 1987.

[youtube https://www.youtube.com/watch?v=n5AYMiAdqhQ&w=560&h=315]

Club Classics Vol. One united African music with Chic and Hip-Hop.  Back to Life is one of the 1980s’ most recognisable moments and is a song that always gets my singing along proudly.  With the radio stations of the late-‘80s with unspectacular U.S. Dance artists:  Along came British rivals Soul II Soul arrived and delivered a great send off to the 1980s- the album came out in 1989.  A hugely influential album that fearlessly mixed African influence- Dance and Holdin’ On- with entrancing House music.

[youtube https://www.youtube.com/watch?v=TB54dZkzZOY&w=420&h=315]

With Grunge looking towards the horizon- Nirvana would arrive in the late 1980s- nobody can ignore the influence of Pixies’ finest album, Doolittle.  An album that single-handedly inspired Nirvana- and Nevermind’s quiet-loud dynamic particularly- it created waves back in 1989.  A half-hour of sheer excitement, noise and dynamic chaos:  Bands like Smashing Pumpkins and Nirvana pricked their ears up and took notes.  From the disturbing imagery of Debaser- slicing eyeballs and all! - to the demented Tame:  It showcased a tight and exhilarating band who could ably mix danger with tenderness.  Beside barking tracks like Crackity Jones and Wave of Mutilation lay heart and common sense.  Doolittle was an album that showcased tremendous musicianship:  None rocked as hard and memorably as Pixies’ bass player extraordinaire, Kim Deal.

[youtube https://www.youtube.com/watch?v=XycBLF6kWuY&w=420&h=315]

One of my favourite albums of all-time is Paul Simon’s Graceland.  Arriving at a time of racial segregation- apartheid divided South Africa at this time- Simon made some very risky moves.  By collaborating with South African musicians- especially Ladysmith Black Mambazo- he defied conventions and rules:  He would face backlash and criticism from a lot of commentators at the time.  In spite of the political strife and controversy of the time; Graceland has almost-literacy status.  The characters, scenes and minuets are charming, nuanced and phenomenally original.  What is most astonishing about the album is how undated it sounds.  Even with the glossy production throughout, the album still sounds as essential and modern in 2016.  Life-affirming tracks and insatiable choruses can be heard throughout Graceland, You Can Call Me Al and That Was Your Mother.  Stunning harmonies throughout Homeless- Ladysmith Black Mambazo’s biggest contribution- effortless pair with underrated gems like Under African Skies and All Around the World or the Myth of Fingerprints.

[youtube https://www.youtube.com/watch?v=rDXzLeFUkpc&w=420&h=315]

Say what you want about Madonna- most tabloid newspapers have over the years- but she was one of the most important artists of the 1980s.  Sturdy, relatable and catchy- Madonna tuned in her best vocals to date- hits like Papa Don’t Preach and La Isla Bonita show Madonna at her songwriting peak.  Fun and frivolity spar with maturity and focus.  Few Pop albums of the time were as strong as True Blue.  So many of today’s mainstream Pop artists take their lead from Madonna’s concoctions of fun-cum-melodic Pop.

[youtube https://www.youtube.com/watch?v=G333Is7VPOg&w=420&h=315]

Among the upbeat and celebratory music of the time were some somewhat depressive and dour acts.  The Smiths can never be accused of being serotonin-blessed and joyous.  Whether you see the Manchester bands as a too-sad-to-appeal band or genuine legends:  Who can deny the brilliance and influence of The Queen Is Dead?!  The dour and tragi-romantic were foundations with which the band built upon to spectacular effect.  Humour, wit and desperation ran through There Is a Light That Never Goes Out:  Some Girls Are Bigger Than Others is a funny- if somewhat unmemorable sign-off- whilst Frankly, Mr. Shankly is among The Smiths’ most quotable songs.  The album’s title track is a rollicking and propulsive number:  Cemetery Gates and I Know It’s Over are among a handful of reflective and haunting moments from the album.  Songs were crafted and created during marathon writing sessions- during the summer of ’85, Marr and Morrissey sat down and penned some of the album’s best-loved songs- and you can hear the sweat and attention in every moment.  An album that inspired the ‘Britpop’ movement:  The Queen Is Dead is The Smiths’ most-celebrated album.

[youtube https://www.youtube.com/watch?v=FgxEJOi6GtA&w=420&h=315]

I have not even mentioned albums by R.E.M. and Tears for Fears:  Murmur and Songs from the Big Chair are some of the 1980s’ biggest albums.  I hope I have scratched the surface of 1980s music:  Showing how many phenomenal moments were created.  The albums/songs I have mentioned are only a brief representation of what the decade produced.  I will bring in a few more songs before concluding- see below- to showcase what range and variation ‘80s music provided.

[youtube https://www.youtube.com/watch?v=XXUkddrnsXQ?list=PLX6zIVM97wXD17vsT82h4DF0KQhSck3Qa&w=560&h=315]

[youtube https://www.youtube.com/watch?v=XovoAKVOPOM&w=420&h=315]

[youtube https://www.youtube.com/watch?v=R-O3kYrDPbI&w=560&h=315]

[youtube https://www.youtube.com/watch?v=qTlkVTwMLFs&w=420&h=315]

If you are skeptical about the 1980s and the music it birthed:  I hope I have made a little headway in changing minds and consensus.  I am never going to change my mind about music’s best decade:  The 1990s will always be king to me; no other period of time gave us so many world-class albums and monumental bands.  Without the stars and heroes of the 1980s, how many of the ‘90s best would ever have seen the light?  With Madonna inspired a new wave of Pop acts; Pixies laying the foundations of Grunge:  So many of the decade’s musicians enforced the sound of the ‘90s and inspired legions of new, up-coming artists.  In the same way as the 1990s compelled ‘00s music- and still does today- the 1980s is essential and crucial.  I have a lot of respect for those who adore ‘80s music:  Too many people turn their noses up and have narrow memories of a wonderful decade.

Yes, the fashions and styles of the time were appalling and should be buried in the pits of Hell.  The 1980s- society and technology in general- have left negative dents and ridicule and derision runs thick and fast.  If you extract everything and leave the music alone you will find so much treasure and wonderment.  Take time (today) and re-discover the Pop majesty of Prince and Michael Jackson; the boundary-pushing magic of Graceland:  Along to the Metal legends like Metallica and AC/DC hit their stride.  When you really thing about it you cannot deny:  The music of the 1980s left…

ONE heck of a legacy.

TRACK REVIEW: Shan- For You Now

TRACK REVIEW:

 

Shan

 

 

For You Now

 

9.4/10

For You Now is available at:

https://soundcloud.com/shanmusic/for-you-now

RELEASED: 10^th March, 2016

GENRES: Indie

ORIGIN:

London, U.K.

The E.P. Signals can be pre-ordered via:

https://itunes.apple.com/gb/album/signals-ep/id1091667313?app=itunes&lf=1b4703c43fbdf10a8cd85ce2406ec6eb&ign-mpt=uo%3D4

TRACK LISTING:

Starts to Grow

For You Now

Taken

N.O.N.T.K.

Sick & Tired

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IT is a sad fact of the modern music world that...

few artists will endure.  I wonder how many (of today’s musicians) will be around for years to come.  It seems like an odd opener but there is a truth:  Music has so much disposability that few acts are going to be around in future years.  Every week, there is a gamut of new bands/acts emerging, all crisp, new and promising.  When you look into the future, you ask yourself:  How many of these artists will I be hearing down the road?  I am not sure what it is about music- that leads to so few long-term artists- but demands change and the scene is packed and crowded.  I suppose it an inevitability- that this trend has emerged- but the problem is:  Who are going to be the mainstream stars throughout 2017 and beyond?  If you scan what is already out there (in the mainstream) there are a few planted and assured artists:  By-and-large, you have a lot of one-off/short-term acts that seem incapable of holding any fascination.  Part of this issue- the brevity and fly-by-night music- is due to lack of originality and focus.  Once in a while, you get an artist who you hope will overcome the trappings and go the distance.  My featured artist is a London-based musician who is building reputation and acclaim.  I earnestly hope Shan will be around for many years- there’s no reason to doubt that- because he is one of a few acts that thinks outside the box.  The upcoming Signals (E.P.) took two years to produce:  Shan wanted to capture something raw and honest; analogue equipment was used to capture the songs.  I feel like musicians are pressured into getting their music out there instantly:  If not, there will be few ears turned their way.  With so much variety and music out there:  If you are not among the throng; will people lend their support (when the music arrives)?  Shan has crafted an E.P. that shows so much effort, passion and originality.  Too many modern artists produce polished and ultra-modern records:  They are very of-the-moment and do not put your mind back to a golden time.  What Shan has done- throughput Signals- is balance modern ideas with production values that have their heart in decades past.  If you want to ensure and become a mainstream act- which is the intention of most artists- then you need to be doing things differently.  It is no good just coming in and sounding just like everyone else:  Going that extra mile is a great way to have your music spread and reviewed.  I would like to see/hear more about Shan:  His social media pages have few biographical details and I could not find an official page.  With a Google-unfriendly name- ‘Shan’ has A LOT of results- there needs to be some better visibility across social media.  I know Shan is under the charge of Brick (a London-based P.R. company) and it would be good to see all the social media links- Twitter, Facebook etc.- in one place- at the moment, you have to search one-by-one.  In that respect, it would be great to hear more about the man behind the music.  It is great (Shan’s songs) do the talking and fill gaps:  Some background information and personal details- influences and favourite acts- would bring more people in and more accessible.  In an age where there is TOO much competition and little market-share:  You need to be a bit more transparent and less restrictive:  A few lines across social media are not quite good enough.  These are minor quibbles- I hope this get sorted out soon- but gladly the music makes up for some short fallings.  Many of the artists proffered by B.B.C. - in their end-of-year polls- have that shiny and modern sound at their disposal.  You can tell these musicians are futuristic and right in the moment.  Shan is certainly no relic of a past age:  He understands the importance of raw sounds and stripping things back.  Depressingly, the general consensus- when it comes to production sounds- errs on the side of polished and sleek.  That is good- you need professionalism and shine- but how many musician take chances and are bold?!  There is timidity and riskless-ness emerging that is rather upsetting and infuriating.  It seems there is a new band arriving- by the week normally- that sound the same and could have been recorded in the same studio.  As a result, the music will not linger in the mind and you go looking elsewhere.

Shan has taken the trouble to put heart and sweat into music that brims and exudes:  There's a subtleness and softness among the emotions and flow.  It is rather hard to pin/define Shan- he is described as an ‘Indie’ artists- but that is perhaps a good thing.  One of the more promising and exciting solo artists emerging from the U.K.:  I cannot wait to see where the young Londoner goes in 2016.  I am left a bit cold by some of the ‘celebrated’ acts of music- the media put into the spotlight- yet Shan is someone who defies convention and ACTUALLY impresses.   Before I get down to assessing Shan- as he is an Indie artist- it is worth looking at the best Indie artists on the scene.  Last year was a bumper one for Wolf Alice:  A terrific young band that was denied a Mercury’ win (against the odds, somewhat) and define what the genre is about.  Black Honey- a Brighton-formed band whose best days are ahead- are an exhilarating band to watch closely.  The Bohicas have Post-Punk strands and have been linked with The Strokes and The Kinks.  The Carnarbys- perhaps the most promising acts of all- hail from London and mix confessional lyrics with hard-hitting rhythms.  Throw in Superfood- a Birmingham quartet with a definite love of ‘Britpop’- and you have another band that looks set to make waves.  To be honest, there are a lot of promising Indie acts coming through right now.  In terms of London solo artists- that are defined as ‘Indie’- there are perhaps fewer options- Shan is in illustrious company.  The Indie genre is one of the most mobile and open-ended- you can mix Punk, Folk and Rock into the agenda- and as such, critics focus a lot of time (on these artists).  Shan crosses genres and borders, yet at the heart of things, you have a man who matches heart and soul alongside something edgy and pressing.  For You Now has just been dropped and is a tantilsing insight into Signals:  An E.P. that will get mouths watering and critics raving.

For You Now begins with a soulful touch that you might not expect.  Percussion and piano crash like waves:  The opening seconds have such a gentility and swooning passion to them.  The listener is instantly engaged and fascinated:  That introduction is both instantly appealing and slow-burning.  When you detect flickers of strings- a thing a lot of Indie artists do- I get embers of Wild Beasts coming through.  Perhaps more directly related to their Smother/Present Tense work:  That same quality and sensation sparks from the speakers.  That said, Wild Beasts never penned an introduction that married so many different emotions and possibilities together.  By blending ‘00s-modern day Indie with ‘70s Soul:  You have a lethal combination that infuses the brain and mind in a wonderful seduction.  After the promise of the opening seconds, our hero comes to the microphone.  Things need to “sink in” it seems.  Our man needs to say “what’s within” and there appears to be definite tension and struggle early on.  “You”- maybe a heroine or friend of Shan- is “barely breathing”:  Pressure needs to be released so this moment can sink in.  As he does with compositions/introductions:  The lyrics have so many possibilities and layers to them.  Oblique yet direct; it is hard to say what inspired these early words.  Maybe bad news has been delivered or truths have been realised:  The two are revealing themselves and letting their honest come to the surface.

Perhaps a break-up has occurred or- by stark contrast- they are coming together in love.  I always love to investigate lyrics and dig beneath the words.  Shan has a real flair for language so it’s no surprise For You Now packs such a punch.  Shan asks- his heroine or subject- “Why did you come here alone?” with elongated tones and multi-layered vocals.  There is a real urgency to that line- in spite of the relaxed delivery- that requires explanation and answers.  With every new line, I start to think of new possibilities and ideas (with regards the truth of the lyrics).  Maybe it is not about a break-up but something more hopeful.  It is clear there is a sense of loss and distance throughout the song.  The girl is somewhere else- or has moved on- and our hero is pining and yearning for days past.  Things are better when she is around:  It seems like something has happened to break them apart.  Maybe the song is based on real events- a period of Shan’s life- and the vocal conviction makes sure every word drips with emotion and meaning.  After the rather introspective and haunted openings:  The song becomes more light-seeking as the seconds tick.  Whilst the girl “sits in silence”- to let the feeling reach her soul- there is that need to hold onto moments.  Our boy looks back at times (when the two were together) and seems to be a need to revert to better days.  As the song progresses, new compositional elements are brought in.  A fiery (yet understated) guitar adds vigour and shiver alongside percussion and acoustic.  The girl’s “black sky” is being penetrated by dreamy blue eyes.  Maybe Shan is standing aside- and looking at other’s engage and unfold- and recalling the events.  It is impressive if you can pen a song that seems universal yet personal.  The lyrics of For You Now have their direct moments- raw lines that leave little to the imagination- but the entire piece has some mystery and shrouded mystique.  You are never clear whether Shan himself is being mentioned- or whether the song regards a friend/friends- and that adds to the anticipation and intrigue.  I have listened to the song several times and find new meanings- or perhaps some misdirection- coming in that changes my impressions.  Perhaps only Shan will know- what has influenced the song- but it is great to speculate and conspire.  The composition is among the most impressive he has come up with.

If you look into Signals more- when the E.P. is released- you will see that diversity and talent fully exploited.  For You Now changes course and introduces so many ideas.  From those soft and tender moments (in the introduction) you get rush and energy:  For You Now grows and develops into something full-bodied and impassioned.  Our hero has one of the most original voices in music- I could not find a direct sound-alike- and showcases so much depth, emotion and soul into his performance.  To be honest, For You Now is a triumph on fronts.  Whilst it might not hit you immediately:  You need to listen a few times to ensure the song reveals all its charms and secrets.  Signals is an E.P. that shows many sides and ideas- whilst keeping a core identity and sound- and Shan is among the most talented musicians working today.  The fact Signals took two years to complete is no sign or nerves or procrastination:  The workmanship and attention have led to songs that will win over everyone.  There are no in-it-for-the-money motifs behind the music:  Shan wants to remain in music for years and win as many fans as possible.  An honest musician that prides quality over quantity- with regards throwing songs out too quickly- make sure you give For You Now a good listen- you will not regret it.

Over the years, Shan has been a very busy man.  Not just confined to solo endeavours:  He is worked with Ghetts (on the Grime artist’s M.O.B.O.-nominated debut, Rebel With a Cause) and promising up-comer, Matt Woods.  Everyone from the B.B.C. to Balcony T.V. has latched onto Shan and the sensational music he is producing.  Here is a man who is restless and always keen to work with others.  That is not to say his solo material lacks focus and due attention:  If anything, time spent with other artists has made his music more rounded and compelling.  I am not too sure what is in store for the London wonder.  I guess I have been harsh- in opening the review- towards artists coming out today.  It is a hard and unforgiving industry to step into:  Music requires total commitment, dedication and focus.  I am just a little vexed by the surfeit of long-lasting musicians:  We are seeing very few that remains around and keep producing albums/E.P.s.  I often get excited by a particular act/band and look forward to following them closely.  When a new year arrives, said artist has disappeared on gone on hiatus.  Maybe there is too much pressure and that need to keep putting music out.  As a result, the music being produced lacks real quality, depth and originality.

We shall see how things progress this year- whether any of the tipped artists actually make an impression- but it is great discovering a musician that has a different way of working.  Shan certainly has no intention of resigning and slowing down anytime soon.  With every song, you hear a young man who puts his all into every single note.  It is hard to compare him with any other act- a rare feat to be honest! - and I can see him going to big things in a couple of years.  Waypoint- the 2013 debut from Shan- was released to applause and attention.  That emotion, energy and substance were evident from the very start.  Growing in confidence and stature:  Ensuing releases have demonstrated evolution and a lot of progress.  Shan keeps getting stronger and more settled:  Here is a musician that was made to play and perform.  Perhaps the collaborations and hook-ups- from Ghetts to Matt Woods- have helped Shan.  Whatever the formula (and secret ingredient) behind the success, it is pleasing to find an artist who could actually endure and succeed.  I shall not put too much pressure on him, only to advise an official site be launched- maybe there is one, but I could not find it.  With such a ‘common’ name- one that is hard to pinpoint in search engines- it would be good to see a central hub for Shan.  To that end; ALL the social media/music links need to go together (on Facebook, ideally) so it is easier to follow him.  One of the biggest follies- new musicians tend to show- is being a little lackluster with personal details and the social media side.  I know Shan has a great (and reputable) P.R. company behind him:  It would be nice knowing more about Shan and what drives him; who influences his music and having little interview tidbits.  When you get a fuller impression; that will lead to a larger following and tangibility.  If you make musicians accessible- but not too open and revealing- it really adds to the musical experience.  I listen to Shan and love the music I hear:  I would just like to know what inspired certain songs; which bands/acts compelled the writing.  Perhaps a bugbear that is reserved to me alone- maybe I am being a bit picky- it is, at least, refreshing discovering a musician who brings raw, lo-fi music to the fore.  Shan’s music has a lovely sparsity to it without being too naked and unfocused.  You get modern touches and themes- with regards the lyrics and genre-fuse- but the abiding sound evokes something vintage and bygone- something sadly forgotten in today’s music.

Starts to Grow has a grittiness and rush to it:  The song has a constant energy and many different layers to it.  The vocals snatch and mix in the opening exchanges.  Just then, the composition comes in with huge electronics and ideas:  An elongated monster that suddenly rises from the sea.  Working echoed vocals into the ensuing silence:  You have a song that takes you surprise and elicits chills and smiles in equal measures.  Delicate and dizzying guitars- both electric and acoustic- bring grace and pace together in a wonderful bond.  The song looks at our man being stung and disappointed.  A central heroine has left their marks and feelings start to grow.  A lot of the lyrics have an oblique edge to them- the meanings are open to interpretation- so every listener might have a different view.  What hooks you most is the combination of vocal and composition.  That voice remains graveled and passionate- more U.S. than U.K. when it comes to tone- whilst the music keeps diving, growing and bursting.  You never quite know where the composition will go next:  A sensational thing that takes the breath.

   Taken begins with delicate and delicious electronics:  These lead to some echoed/machine-fed vocals that juxtapose the composition.  Soon enough you are inside a juddering and propulsive beat that welcomes in a more open and clear vocal.  Little strings vibrate and strike wantonly- adding to that colourfulness and passion- whilst our man lets his emotions pour forth.  Evocative and atmospheric lyrics- feelings and figures sinking under “the blue abyss”- make the imagination and mind race.  As you try and deconstruct the lyrics- our man behind dragged into the depths- the composition takes the mind elsewhere.  Always kinetic, pulsating and vivid:  The beats crackle whilst bass and guitar marry together in an intoxicating cocktail.  You can tell how much detail has been put into the song and its composition.  Lesser artists just toss notes and ideas together- hoping they will coalesce- whereas craft and obsession can be found in Taken.  This leads to a song that explodes with life, danger; energy and candour.

  N.O.N.T.K. - not sure what the acronym stands for- begins with lo-fi curiosity and faded sounds.  The track builds and develops from humble beginnings.  Darting strings and excitable bursts put me in mind of mid-‘90s Radiohead- you get suggestions of The Bends- whilst the vocal is among the E.P.’s most promising and positive.  In terms of composition, there is no demure or modesty at all.  Everything is just as connective and impressive as before:  Shan changes direction and brings a Hard-Rock flavor into the E.P.  N.O.N.T.K. is one of the more straight-forward/accessible songs across Signals.  Our hero is not being cautious and lost in smoke and mirrors.  There is a lot of anxiety and accusation that emerges from the song.  A devious subject has caused some hurt:  Our man is left to clear the dust and make sense of things.  Whether talking about a sweetheart or friend- not sure if this is a relationship or friendship story- Shan will stand tall and stay loyal.  You get a mix of lyrical ideas- sticking by someone who has done wrong; angry at the lies that have been told- and the composition adds electricity and oomph.  One of the catchiest and most memorable tracks from Signals:  It shows how diverse and varied Shan is.

   Sick & Tired brings things to a close and is perhaps the most emotive tracks on the E.P.  Shan lets his voice reveal its soul.  The composition remains fairly light- in the opening stages- ensuring the voice framed.  Soon enough, the volume rises and the layers are put into the song.  The strings are impressively considered and nuanced.  Our hero is in the here and now and is not “giving up”.  His friends have been dating one another- a sad conveyor belt of predictable ends- with fatigue and annoyance at the core.  In spite of this, the song has a celebratory and redemptive tone:  The instrumentation becomes fast and furious; the passion and commitment reach fever pitch.  Like N.O.N.T.K., Sick & Tired is one of the Rock-inspired numbers that will have mainstream appeal and festival readiness.  You can hear a few Indie bands- bits of Foo Fighters and other U.S. artists- in some moments which mean (the song) could have radio values and mass appeal.  It is not a cynical move- just another side to Shan’s musicality and talent- and it brings the E.P. to a triumphant close.

If you have not heard Shan and are not properly prepared for Signals- take a look back at the previous releases- then make sure you get on it.  Signals is a move away from Shan’s previous work- Waypoint is the best example- and shows boldness and confidence that is hard to ignore.  Whilst Waypoint showed immense talent and originality:  Signals is a step forward and expands upon that initial promise.  On 18^th April, Signals arrives and will be met with acclaim and love.  Ensure you do not miss out as it (Signals) is a stunning statement that shows real intent and diversity.  One of the U.K.’s most promising and stunning acts:  I cannot wait to see where Shan goes from here.  In a music world with too many throw-away- musicians that fade from view after a while- it is refreshing knowing Shan…

HAS plenty of years left in him.

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Follow Shan

 

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Music

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INTERVIEW: Steve Heron

INTERVIEW:

 

Steve Heron

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GIVEN the raft of Scottish-based musicians I have been...

reviewing lately, it is great to revisit with one of my earliest review subjects.  Steve Heron is a prolific and multi-talented Edinburgh musician with a huge following and great respect.  Not only does he promote and foster other acts- from homegrown contemporaries to further afield- but he is marking himself as one of the most interesting and compelling songwriters around.

Having taken a slight break last year:  Steve is back in 2016 and planning new music.  Many artists- when interviewing with me- give quite brief (and snappy) answers.  It has been great hearing the passion come from Steve Heron:  An artist who has an intense dedication to music and a lifelong obsession with its virtues and mysteries.  One of my favourite musicians from the U.K.:  I was keen to catch up with Steve and see what this year had in store; which new musicians he would recommend and what  music (personally) means to him…

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Hi Steve.  How has your week played out?

Thus far, it’s played out like most weeks.  Too much time sitting on buses and at work.  Not enough time sitting with guitar or pen in hand.

For those unfamiliar with your music:  Can you tell us a bit about yourself?

An Edinburgh-based guitarist by trade; singer by accident.  I’ve had a few releases:  I’ve been lucky enough to have been a featured BBC Introducing artist on a couple of show (on a couple of occasions).  I’m also hoping that my new nickname of ‘Snakehips’ catches on (see the bottom of this interview).

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Your songs have such originality and highlights- unique chord changes and emotional ranges- and that has always grabbed me.  What inspires your songwriting process?

I don’t really have a set way of working when it comes to writing.  When it comes to lyrics, I just try to think about stories:  Whether they’re my own or other people’s I’ve heard and see where it goes from there.  I’m not one for just knocking out a set of lyrics in 10 minutes just for the sake of writing something.  I like to take my time with it.  I put a lot of thought into what’s being said and how it’s being said- I try to imagine myself saying the lyrics to someone, depending on the situation.  People have said my lyrics are honest and kind of conversational, so I imagine that’d be why.

Anything could spark it though:  It could be a line in a conversation; could be a film; could be a piece of art…anything.  A lot will depend on what kind of song I’m looking to write at that time, and a lot of that will depend on how I’m actually feeling at that time.  I do find that most of the time I will have a whole song planned out musically and all the parts will be there so all that’s left is lyrics.  So I’ll do a rough demo and listen to it on repeat for a few days (or longer depending on the song) and try to get a feel for what it should be about.  I’ll try to get inside my head and see if I already have something kicking about that needs to be married up to the piece of music.

You have that stand-out voice-and-composition combination that sets you aside. Which artists influenced you growing up?

In terms of listening to certain artists from a young age:  I was brought up on my dad’s music taste– Queen, Rod Stewart, The Beatles etc.– so I think their influence runs through my music in terms of the classic songwriting aspect of it.  From my early teens- when most people start to develop their own musical identity- Oasis were the band to really make a big impact on me as a teenager:  They were more my generation than anything I’d listened to up to that point.  The more I read about them and their influences- the more bands I wanted to find out about- and the more my influences grew.

There has been criticism (stating that) music has been declining- not being as strong as decades past.  What is your view on this issue?

I think it’s probably true that it’s not as strong it used to be in terms of credible artists in the mainstream; but there will always be good original music out there somewhere if you’re patient and willing to look for it.  It’s too easy to look at the charts and the press and get downhearted about the amount of vapid shite that is presented to us music lovers; but there is good music to be found anywhere you want to look for it.  So much ground has been covered in the last 60 years of popular music:  Things are always likely to plateau at some point and people tend to forget that popularity and quality don’t always go hand-in-hand.

For me there seems to be too many fans hung up on old bands reforming (Christ knows that we need yet another ‘90s Indie band reforming for a tour!) so they’re less focused on finding new music, finding new bands, going to local gigs:  Taking a chance of experiencing something new to them that causes them to immediately think that music and bands aren’t as good they were.  I don’t think that’s the case, personally.  I think that most people look at the overall state of modern music and they just naturally feel more comfortable with the nostalgia stuff.

I don’t mean for this to come across as some sort of anti mass-media rant (and all that stuff) because everything has its place.  What I’m saying is that just because it’s on TV or radio doesn’t make it a fair representation of what is actually going on musically in the world, so people need to stress themselves out less about it.  Everyone has their own take on it though and some people will read this and probably think I’m talking a load of shite, but that’s the way I see it.

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Edinburgh showcases so many brilliant musicians and bands.  What is about the city (and Scotland as a whole) that creates so many terrific artists?

It’s difficult to say to be honest.  For all the good musicians we have, I still feel that the Edinburgh creative community lacks the support from the local council to really showcase the creative talent the city has.  I think if it became more widely accepted and encouraged- to make music happen in the city- instead of trying to close down live music venues and cut music tuition in the city- then you would see a lot more talented people coming through.

Overall though, I think it’s a naturally Scottish trait to have a chip on our shoulders about something:  music tends to be an excellent way to channel that productively.  Scotland has produced some of the best authors, artists and cultural figures since awaaaaaaaay (sic.) back in the day so why not try and be the next (big) one?  It’s all relative though, I suppose.

On the subject of Scottish music (and Edinburgh):  which bands/artists would you recommend the reader checks out- maybe acts you have performed with?

At the moment, a few names for you:

Neon Liston, Miasma, Trio HLK, May He Go; Emma Pollock, Black Cat, Bone Roisin; Tuohy, Gigantic Leaves and Snide Rhythms

Of course, I’m sure your readers will be familiar with bands like Universal Thee, Benny Monteux & my buddies from Ded Rabbit too (indeed):  but obviously I’d encourage them to check out everyone I’ve mentioned here and see what else is coming from Edinburgh at the moment.

If you had to select the most important albums to you- from a creative or personal perspective- which five would you choose?

It’s always tough to narrow it down to just 5, but here goes:

• Silent Alarm by Bloc Party – It would have been about early/mid-2004 when I first heard Bloc Party. I came home after a night out and was watching 120 Minutes on MTV2 and the video for Banquet comes on. I don’t think I’ve ever been as excited by a band right from the get-go as I was for Bloc Party (after seeing that grainy black-and-white video).
• Darkness on the Edge of Town by Bruce Springsteen & The E Street Band - It’s a toss-up between this and Born To Run but ‘Darkness just edges it (pun not intended). I got the chance to see Springsteen play the full album at Wembley a few years ago: It was genuinely one of those experiences that you read about people having at a gig, but always seems will never happen to you.  It’s quite amazing to be in a stadium with thousands of people and see so many of them moved to tears by the songs from this album.  It’s an album that is so melancholic but also unbelievably uplifting at the same time.  The title track- and most of the tracks from the album- is a song about loss, but also carrying on.  You’d be hard-pushed to find someone who can’t identify with that in this day and age.
• Grace by Jeff Buckley – From a creative standpoint, Grace is a massive album for me. I was so obsessed with learning all of the songs from album; it became a sort of long-term project for me. Learning them, you get to see how they’re put together and I think it’s a stunning album musically.  Jeff Buckley’s voice is so dynamic:  The altered tunings he uses give chords so much texture that when it’s all put together, it’s almost a (virtually) perfectly produced album.  You could listen to it a hundred times and you will hear something new in each song, every time.  The man was a master musician.
• The Queen Is Dead by The Smiths – Much like Springsteen: It’s hard to single out one album by The Smiths that had the most influence on me.  Meat is Murder and Hatful of Hollow are really close to the top of the list, but T.Q.I.D. edges them out.  Johnny Marr has been the single biggest influence on my guitar playing and this album is filled with some of his best I’d say.  Morrissey lyrics are smart, funny; sad at points and witty. They’re as good as anything he’s done before or since, and each set of lyrics is perfectly matched to Marr’s music. I think it’s almost the perfect album, so it’s one that I revisit often especially when I’m writing because there’s always something new to find in the lyrics and music.
• The Atlantic Years by The Lemonheads – I’d always loved The Lemonheads cover of Mrs. Robinson, but it was this album that really opened my eyes to what a great band they really are and what a brilliant songwriter Evan Dando is. Nothing overly complicated with the music, but it works so well with Dando’s lyrics. If I’m writing lyrics, I usually keep ‘Lemonheads’ songs in mind, and try to write similarly smart, witty, funny and descriptive lyrics (if I can).  From a personal standpoint, a close friendship was formed over a love for this album too so it’ll always be a special one for me.

What advice would you give to new musicians coming through at the moment?

Be open, be honest:  Don’t worry about what others are saying or doing – just worry about what you’re doing, don’t concern yourself with reviews.  Take what you do seriously, but don’t take yourself as seriously as that.  Oh, and if you’re drummer owns a Cajon, it’s time to get a new drummer.

You had a busy 2015.  With this year in full swing:  Is there new music forthcoming?

I took a bit of time off last year.  It had been a solid five years of gigging, recording and doing all sorts of stuff, so it was time for a break.  That being said, I have been working a bit with Neon Liston since last summer- just adding some guitar stuff to their tracks so that’s been good.  Their stuff is different to what I usually do with my own ‘solo’ stuff so it’s been a nice change of style and pace.  I’ve really enjoyed being able to give my voice a rest too.  I’ve been having problems with it since the end of 2014, so I’ve really been able to rest it and focus on playing guitar again, which is what I really love to do anyway.

I’ve still been putting together my own songs though but at the moment I’m taking it easy with Steve Heron’s tunes.  My voice still needs some work and I always like to make sure that I have a good batch of new songs ready before I start looking at getting the band back together.  In the meantime, though, Neon Liston are getting my full attention.  There’s plenty new material we’re working on and there was an E.P. released at the end of 2015.  It’s on Spotify and Soundcloud for those who want to check it out, *wink*

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Last year saw some great artists emerge in the mainstream- from Kendrick Lamar to Courtney Barnett.  Which artists were your standouts from last year?

Father John Misty, Jamie xx, Man Made; Natalie Prass, Mac Demarco, LA Priest.  I’m drawing a bit of a blank at the moment but those are some that caught my attention last year- along with Courtney (Barnett) and Kendrick Lamar.

Music means a lot to different people.  What does music mean to YOU personally?

I think it’s such a hard thing to put into words:  what music means to someone?  It’s like if someone asks you to describe an emotion.  Music is an emotion in itself, and it’s the one thing that I take total comfort in no matter what genre or which artist I’m listening to.  Music means that I can be at a gig and immediately connect with a complete stranger without ever having to engage in horrible awkward small talk and explain why you’re having a wee moment.  It crosses generations:  It doesn’t care who you are, where you’re from and all those things that people tend to be hung up on.  They say music is the only thing that stimulates the entire brain.  Some songs I hear and I can instantly be taken back to certain specific moment- good or bad- and live it all again.

Someone said to me once that music (specifically playing live) is the perfect combination of the conscious and subconscious, which really rings true I think.  How many other things are there in life that offers that kind of experience?  And what else is amazing about music, is that someone will read what I’ve said and know exactly what I mean.  The next person won’t have a clue what I’m talking about because the way music makes them feel will be completely different.  That gives me a lot of heart because it makes me feel like there’s still more out there for me to experience.  Music to me means you can be one of the two drunk strangers pogoing together at a gig- or one half of the couple on the last train home- resting their heads on each other with an earphone each.  It brings me closer to the world and the world closer to me.

Jeff Buckley is a shared joy for us- in terms of inspiring musicians.  With a ‘new’ album coming out (You and I is a collection of unreleased material):  What is about the man that compels so many musicians?

One of the things I always admired about Buckley was his ability to cover a song and make it totally his own.  He took an already great song in Hallelujah and managed to record the definitive version of it.  But I’ve never listened to any cover he’s done and had that sense that it was recorded solely to get attention, or for profit:  I always feel like he’s doing it as a musical education.  When I really started getting into Buckley, I would go away and find out about the people who wrote the songs he covered.  Hearing the Live at Sin-é and Mystery White Boy albums led me to buy some Nusrat Fateh Ali Khan and Big Star albums for example- which I would never have thought of doing unless I had heard them.  Artists that play a big part in your musical upbringing and education will always be special and I think Buckley definitely fills that role for a lot of musicians.  His music always feels very inclusive.

Not forgetting of course that he was also a ridiculously talented musician and the fact that they’re still releasing Jeff Buckley material (19 years after his death) personally just makes me more interested in what we missed out on- and if there are any more performances kicking about.  I always find it interesting to hear another musician’s take on some songs you know anyway:  It can feel like someone is breaking a song down and explaining how a great song works in some cases.  Jeff Buckley was amazing at doing that.  He was always trying to find out new ways of playing the same song.  Listen to all the versions of Hallelujah he recorded:  He never played it the same way twice.  It would get a bit stale playing the same songs on the road every night so the ability to be able to do the same songs in a different way is an exciting thought; both as a musician and a fan.  He made each crowd special because they were getting a one-off version specific to that gig:  Playing different intros to songs, doing longer versions; throwing in some outrageously improvised vocal stuff.  He was constantly pushing the boundaries of what he was capable of doing in the moment as he was playing.  His confidence as a musician & his drive to develop as an artist is what I think makes him so compelling.

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Money is a big sticking point for a lot of new musicians- the cost of maintaining a career; the lack of money earned.  Do you think money concerns are putting a lot of musicians off or does that passion and determination override such issues?

It’s all down to the individual with this.  For me, I would love to be able to make a living from making music:  But if you offered me the choice of playing for cash or playing to a busy venue for free, I would take the busy venue every time.  I’ve never made any big cash from music:  Any cash I have made has just gone back into making more music.  Some people’s passion will drive them on to make money from it, but others will be happy to get up and bang out a few tunes at an open mic for free.

It’s sad that people have to judge how passionate they are about something (based on if it) will earn them enough to live on- but unfortunately, that’s the world we live in.  I do think if being a musician was recognised as a proper job- and not thought of as a ‘hobby’- then that would encourage a lot more talented people to follow it through and see how far they could take it.  The world would be a much richer place if that was allowed to happen…

Finally- and for being a good egg- you can name any song you like; I’ll play it here…

Do Anything You Wanna Do by Eddie & The Hotrods.

[youtube https://www.youtube.com/watch?v=rK8pAfhC4Rk&w=420&h=315]

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Follow Steve ‘Snakehips’ Heron

 

Facebook:

https://www.facebook.com/steveheronmusic/

Twitter:

https://twitter.com/stevejheron

YouTube:

http://www.youtube.com/user/steveheronofficial 

SoundCloud:

http://soundcloud.com/steveheron 

The Classics Series: Kate Bush- Hounds of Love

The Classics Series:

 

 

Kate Bush- Hounds of Love

 __________________________

IF you are not exactly a ‘Kate Bush fan’- which is strange- few can deny the…

potency and beauty of Hounds of Love.  An album that stands up to the test of time:  It is a masterful statement from one of the greatest voices music has produced.  Given the importance of yesterday- International Women’s Day- it got me thinking about music in general.

It is hard to think about gender equality in society without bringing music into the discussion.  There is still an imbalance and inequality in the wider world.  From the workplace- wages mismatch and fewer opportunities for women- there is discrimination, sexism and less respect (for women).  It is troubling that, in 2016 no less, we have to witness such Stone Age mentality and ethics.  Let us hope the coming years see equality come into society and real changes being made.  I am sceptical whether there will be any HUGE shifts- equal pay for women; less discrimination and sexism- but we can all agree on one thing:  By coming together, we can all bring about something positive and progressive.  In the music world, perhaps there is less struggle and imbalance.  Whilst there is that sense of ‘we’re all in the same boat’; women (some at least) are fighting to get their voices heard.

When we think about music- and the musicians that speak for a gender/generation:  You cannot help but ignore the influence Kate Bush has.  At the moment, B.B.C. Radio 6 are running a competition to find their ‘Greatest Female Voice World Cup’- still managing to put something very male (football) into the agenda- where they are seeking to discover the greatest ever female singer.  At the moment, they are down to the quarter-finals- Nina Simone pitching off against Aretha Franklin; Bjork and Joni Mitchell doing battle- with Kate Bush squaring against Harriet Wheeler.  It is very obvious Bush will progress to the semi-finals- most of us do not even know who Harriet Wheeler is- and it seems like Aretha Franklin and Kate Bush will make the finals- that will be a fascinating battle.  To be honest, Kate Bush should walk it:  Nearly everyone I know adores her music and ranks her among their music idols.  For me, it is her entire personality that captivates me.  The way she does business- and remains under the spotlight- and retains her privacy should be a guiding light for modern musicians.  She does not need scandal and column inches to get her to the public forum:  Her divine music remains and does all the talking.

When you look at the best Kate Bush album- I love The Kick Inside (her debut) personally- everyone will have their own opinions.  The Kick Inside was a bold statement from a confident and young woman with a sound like nobody else.  From Wuthering Heights to Them Heavy People (my favourite from the album; most would disagree) you get to hear that magnificent, fairy-like voice flow with agility and beauty.  Lionheart, Never for Ever and The Dreaming formed Bush’s late-‘70s-early-‘80s body of work- where she showed the full extent of her talent and writing ability.  While Lionheart boasted some spectacular moments- Wow and Symphony in Blue among them- Bush herself was dissatisfied with the overall results.  Less substantial and nuanced than later work- losing some spark of her debut- it spurred her to bigger things:  The 1980-released, Never for Ever.  Gaining accolades and plaudits- the album went to number one in the U.K. and resonated with critics- with singles Babooshka, Army Dreamers and Breathing all becoming big hits.  The Kate Bush theatricality and prowess solidified itself on this album:  There were touches of that Wuthering Heights-esque confidence that was lacking on previous albums.  Issues of nuclear wars- concerns assessed on Breathing- and motherly pride- Babooshka- was the reflection of a young woman who could mix seriousness alongside child-like- the vocals remained light, seductive and sensuous.

[youtube https://www.youtube.com/watch?v=wp43OdtAAkM&w=420&h=315]

Following from Never for Ever’s success arrived The Dreaming (in 1982).  Denser and more ambitious soundscapes came through.  An aspect that baffled some critics, arguing the album lacked commercial appeal and focus.  Bush herself admitted the album was quite an angry statement- Get Out of My House is Bush at her most incensed and demonic- and a real surprise for many.  The Dreaming sees Bush fighting against the male-dominated world:  Vocal loops and romantic ideals sit with campy flights-of-fancy on an extraordinary, if slightly uneven, album.  The Dreaming had so much going for it.  There was grit, raw emotion and rebellion.  On the other hand, Bush retained her romanticism and poetic lyrics intact.  It is an album that gained reputation and approval over time- perhaps too intense for critics at the time- and showed how restless and ambitious Bush was.  The Dreaming was a remarkable record but one that was eclipsed three years later:  Hounds of Love took the music world by storm in 1985.

It is weird and wonderful; it is sky-scraping and tranquil:  There are contradictions and so many emotions that run through the entire album.  Prior to Hounds of Love; Bush found herself exhausted and overwhelmed.  Executives were concerned about the lack of sales and mixed critical reviews (following The Dreaming).  Since The Kick Inside, Bush had immersed herself in the realities of modern music:  Relentless touring and writing; promoting albums and barely taking time off.  Follow The Dreaming, Bush felt unable to write for several months.  She retreated home- spending time with her boyfriend and family- and enjoyed the lack of pressure and freedom she had.  Not dormant, she built a studio in a barn behind her house- including a 48-track recorded where she could fully exploit her multi-layered approach and restless ambitions.  Rough tracks came together- Bush would work on them before sending them to executives- and took her time recorded overdubs and mixing the album.  It took a full year for Hounds of Love to find shape and meaning:  The results and instantaneous beauty of the album are no fluke.  Tired of feeling angry, unsure and unsure- previous albums found Bush still seeking a paramour and defining sound- Hounds of Love was (remains still) her most compelling, completing and personal album.

Hounds of Love was split into two ‘suites’:  The first, Hounds of Love, sat with the seven-track second-half, The Ninth Wave.  Whilst the album is a little top-heavy- the biggest songs are in the first half- there's consistency and magic from start to finish.  Upon its arrival, critics salivated over the album:  Words such as “dramatic” and “beautifully romantic” (Sounds) and “definitely weird” (NME) were employed to assess the album’s strengths and sounds.  The anger, hate and hurt of The Dreaming was translated into love, nature and spirituality.  Some derided the album’s scope and textures- certain critics felt bored and listless upon investigation- which put a dent in her U.S. ambitions.  If the album received mixed acclaim upon its initial release:  Ensuring years have seen Hounds of Love earn its place as a modern masterpiece.  The defining moment from one of music’s most unique talents:  Hounds of Love inspired legions of musicians and artists.

Carefully crafted with Bush putting in her finest album-length vocal- fewer acrobatics with more concision- a huge range of sounds and ideas went into the album.  High-octane Folk and orchestral Pop married with conceptual pieces and expressionist masterpieces.  Gone was the overly-ambitious ideas of The Dreaming:  Hounds of Love was a more measured and commercial album that still was able to baffle and divide.  True enough, there were ‘quirky’ touches and an individuality that put off some.  The album’s first half (Hounds of Love) was lush and lyrical; sounds and songs wash over the listener whilst its second half looked at birth, rebirth and spiritual longing.  The fact Hounds of Love is so complete, involving and consistent is because of Bush herself.  Gone was the record company interference, timelines and ideas.  The young artist ensured every note was her own; each song was recorded to her specification:  That natural ease and lack of burden leads to broad sweep and ornamented, layered songs- a daring and marvellous accomplishment.

   Running Up That Hill (A Deal with God) starts with that woozy and hugely memorable introduction.  It is impossible to listen to those initial notes and not feel something:  They are divine, strange and captivating in the extreme.  Buh’s voice is superbly controlled and direct from the very start.  In 1992- when talking with the B.B.C. - Bush assessed the song thus:

“…I was trying to say that, really, a man and a woman can't understand each other because we are a man and a woman. And if we could actually swap each other's roles, if we could actually be in each other's place for a while, I think we'd both be very surprised! [Laughs] And I think it would lead to a greater understanding. And really the only way I could think it could be done was either... you know, I thought a deal with the devil, you know. And I thought, 'well, no, why not a deal with God!' You know, because in a way it's so much more powerful the whole idea of asking God to make a deal with you”.

A brutal and painfully honest song:  It showed Bush at her most mature, open and striking.  It is impossible to compare another song with Running Up That Hill (A Deal with God).  It is a perfect opening track that sets out Hounds of Love’s ideas and ideals.  The album’s title track begins with racing percussion and multi-layered vocals.  The lyrics see Bush recall childhood times- whether a dream or reality- running in the dark and escaping (chasing) forces.  Finding tormented foxes and terrified creatures:  Our heroine removes her shoes and runs with abandon.  The images and lyrics provoke myriad images and dreams, whilst the song’s core seems to reflect fear of love and “what’s good for me”.  Whether Bush was scared of love- or pushing away those who were right for her- you get a sense of a young woman unsure of her own heart.  The Big Sky completed a remarkable 1-2-3 with its hugely evocative and dramatic vocal.  Bush looks at the lost pleasures of childhood:  Sitting and watching the sky and clouds pass by.  Perhaps caught in a whirl of adulthood pressures- recording music and responsibility- there is that yearning for something simpler.  The multi-track vocals and rumbling percussions all remain:  Together in an intoxicating song that draws you in and puts you right in the song.  Cloudbusting completes the first side with a huge impressions and effect.  The song was inspired by the relationship of psychologist Wilhelm Reich and Peter.  It is told from the point-of-view of Peter and the building- and subsequent use- of a device called a 'cloud buster'.  This patented rain-making device bonded father and son until Wilhelm’s arrest.  Peter- distraught at the fact he could not protect his father- realises adults are fallible and imperfect.  In addition to the song’s fascinating and narrative nature; you get that cello-driven melody and that conflict of safety (and comfort) with danger.

[youtube https://www.youtube.com/watch?v=GOlkRP6zNlY&w=420&h=315]

Hounds of Love’s first half spawned successful singles and huge critical acclaim.  In resulting years, many modern artists would tackle numbers like Cloudbusting, Running Up That Hill (A Deal with God) and Hounds of Love.  The second half (The Ninth Wave) is a more experimental and haunting.  Under Ice looks at a frozen river with our heroine alone on the ice.  She is speeding and racing past trees and leaving impressions on the ice.  You get Bush backing herself on vocals- showing some of that intensity found on The Dreaming- and a vivid and unforgettable track.  Waking the Witch is a scary and unsettling track that still manages to bring beauty into the mix.  Fragmented vocals and sees The Devil and The Ghost Jury in conversation.  The oblique and mystical; the ghostly and terrifying will leave marks in the mind and remain long in the memory.  The Morning Fog ends the album with some breath and redemptiveness.  Bush falls through the sky and the morning:  When hitting the ground she is filled with more love and clarity.

What can you really say about Hounds of Love?  It is an album that remains of the ‘80s very best:  In fact, it is one of the greatest-ever albums to grace the music world.  Whilst Kate Bush has never produced  finer moment, you have to wonder:  How many other artists have matched the majesty and beauty of Hounds of Love?  It is a timeless album that can suit ever mood and moment.  You do not need to be a Kate Bush aficionado to understand what is being said:  The lyrics and compositions transcend compression and speak to everyone.  If critics were bamboozled by (the album’s) headiness and variations; that is very much their issues.  I’ll admit, a few of the album’s tracks- especially towards the second half- do not stand up to too many repeated listens.  That is the case with many albums:  I have heard few where every single track is perfect and seamless.   Hounds of Love was more than an album:  It was a blueprint for future artists to be more daring and bold in music.  So many modern musicians have been hugely inspired by Hounds of Love and its contents.

With a lot of upcoming solo artists seeming slight, unoriginal and shallow:  I look to Kate Bush and wonder whether we will ever see her like again.  True, a lot of modern artists evoke some of her essence- from Anna von Hausswolff to Tori Amos- but none has the same effect.  Maybe Bush is that one-of-a-kind and unique specimen.  One of the most original and distinctive voices in all music:  She remains an icon that is unmatched and completely peerless.  Having recorded several albums since Hounds of Love- her most recent efforts show remarkable consistency and quality- I hope Kate Bush has more albums in her.  In her 50s now- and perhaps unlikely to tour again- we have not heard the last of a remarkable musician and pioneer.

Kate Bush is not just spectacular because of her music:  Her attitude and personality inspire women (and men alike); her work ethic and infectious interviews- listen to them and your heart will melt- are hugely impressive.  If you want to start a Kate Bush collection- why would you not?!- Hounds of Love is that logical starting place.  It is her finest album and sees all her assets and strengths- the fantastical, beautiful and raw- coalesce into a sweeping statement of intent.  When that B.B.C. 6 Music poll is concluded- the greatest female vocalist ever- I know who will come out victorious…

THAT is such a no-brainer for me.

[youtube https://www.youtube.com/watch?v=pllRW9wETzw&w=420&h=315]

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TRACKLISTING

Running Up That Hill (A Deal with God)

Hounds of Love

The Big Sky

Mother Stands for Comfort

Cloudbusting

And Dream of Sleep

Under Ice

Waking the Witch

Watching You Without Me

Jig of Life

Hello Earth

The Morning Fog

DOWNLOAD

Running Up That Hill (A Deal with God); Hounds of Love; Cloudbusting; Waking the Witch; Jig of Life

STANDOUT TRACK

Running Up That Hill (A Deal with God)

TRACK REVIEW: Ellie Rose- Finding My Feet

TRACK REVIEW:

 

Ellie Rose

 

 

Finding My Feet

 

9.6/10

Finding My Feet is available at:

https://www.youtube.com/watch?v=mFXTEoCpntk&feature=youtu.be

RELEASED: 5^th March, 2016

GENRES: Pop

ORIGIN:

London, U.K.

____________________________________

AMONG a sea of eager songwriters, how does one...

find true gold and quality?  It is an interesting question that is near-impossible to answer.  There are a lot of great singer-songwriters emerging:  that said; there are an awful lot of mediocre ones, too.  One of the greatest joys about reviewing is unearthing a solo artist that sticks in the mind and causes smiles.  Having discovered Ellie Rose a few months ago- I shall go into more detail soon- I am glad to say she is back in force.  Thinking about her has led me to reflect on female songwriters coming through; the most personable and likeable artists; the importance of slow revelation (I shall expand on that when I get there).  I have always maintained you get more quality and originality from the female solo artists on the scene- compared with their male counterparts.  I have wracked my brains trying to find an answer- maybe there is no answer- but there seems to be more ambition and originality.  The guys have passion and originality but it is the girls who are leading the charge.  If you take the vocals on their own:  the female solo artists possess more depth, nuance and urgency.  It is the compositions and lyrics (when looking at female songwriters) that is the most telling difference.  Having reviewed a lot of male songwriters; I am noticing the same thing occurring:  the lyrics tend to stick too closely to predictable avenues.  There are exceptions to be found, but by and large, there is an over-reliance on love and relationship dramas.  Whilst most songwriters assess this subject, the guys are showing less nimbleness and original intention.  The language and phrasing (the girls use) are superior and deeper; the angles employed result in more fascinating and impressive tracks.  Think about the compositions as well:  When was the last time a solo act’s composition rooted itself in the mind?  Well, when I review artists- and I discover a wonderful composition- most of the time it is the girls that produce it.  Whether it is in the Pop milieu- or a hard-hitting Electro. mash-up- I wonder why the guys are not as strong.  Maybe I am over-simplifying and missing the point- there are a lot of great male solo artists- but it is the female singer-songwriters that seem to resonate most with me.  With that being said, I was glad to hear Ellie Rose was back with a new track.  Before I explore my next topics- regarding revelation and personality- I wanted to talk about the featured artist.

On her official website- http://ellierose.co.uk/- there is not a lot of biographical information.  Our heroine likes to keep things a bit secretive; preferring the music to do the talking.  What I do know is that she (Ellie) is one of the most promising and bright songwriters we have in the U.K.  In every performance- and everything she does- you hear endless passion, heart and commitment.  While a lot of songwriters seem to lack that necessary drive and dedication:  Ellie Rose suffers no such weakness; she always puts her everything into the music.  In addition to a distinct love for pineapples- not sure what drove that love and addiction- and you have a songwriter with a lot of charm and personality.  Whilst I shall have to ask her about the pineapple angle- never been much of a fan myself; not taste-wise anyway- it is the radiance and love Ellie Rose shows (on social media) that fascinates me.  In a modern age- whereas an artist can hide behind a screen- you find some artists are rather faceless and indirect.  Too many musicians cower behind digital platitudes and do not engage fully with their tribes.  The only way to succeed in music- aside from having talent- is to win a fanbase and keep them hooked.  An important way to retain membership is by utilising social media to the full:  Connecting with the fans and ensuring you show appreciation and thanks.  After reviewing some less-than-thankful artists- who couldn’t be bothered to toss off a quick ‘thank-you’- it is nice to see a young woman who really adores her fans.  In addition to being jaw-dropping- an unimportant observation, but still…- Ellie Rose is among the friendliest and most appreciative musicians around.  It may seem like a minor point (when considering a musician’s positives) but it is actually a big selling point.  Ellie Rose is not an artist faking emotions and in music for money and fame.  Every song reflects a moment in her life:  the words mean more to her than you could possibly imagine.  For that reason- and keen to have people follow her music- there is a lot of positive feedback heading her way.  The connection she has with her fans is intoxicating and heartwarming.  For that reason, you want to stick with her and follow her music career- just where it can lead her.  I know she is going to be a big proposition because she does not give too much away.  You know a few things instantly about Ellie Rose:  That love of pineapples and a huge smile; a songwriter who adores what she does.  When it comes to personal insight and revelations:  It is the music itself that reveals that and allows the listener an insight into her psyche.  Finding My Feet has just been unveiled and already been greeted with effusiveness and enormous praise.  It will accrue a lot of plays across YouTube because it seems to speak to everyone:  It is not just a personal song that pushes the listener away.  I know how much the track means to Ellie Rose- clearly reflecting on a rather troubling time- and you can hear her soul and heart in every note- I shall go into more depth in the review.  This year will be a banner one for the young songwriter:  I can easily see an E.P. arrive that includes Finding My Feet.  Whilst she is gigging at the moment- taking the music to eager crowds- I know there is a lot more to come from the young musician.

When looking at Finding My Feet it is worth looking back at Ellie Rose’s past body of work- seeing how she has developed and changed.  I reviewed the track Speed Bump back in 2014.  That track was part of a four-track E.P., Speed Bump/Memory Foam.

  Speed Bump is a song that has gained traction and respect since its release.  Ellie Rose performed it at Glastonbury (last year) and it hit the crowd hard.  It is no surprise; consider the strengths of the song.  Reflecting on the fact “Charmers are the dangerous ones”; you have a song that details the perils of bad romance.  Looking at a particular (anti) hero, you have a song that reflects on a particular “speed bump”- an obstacle on the road for our heroine.  While a lot of young songwriters- Ellie was just 17 when the E.P. came out- would show their emotions in immature terms and show little intelligence- here you have a song with maturity, depth and original lyrical angles.  Not only does Speed Bump have original thoughts and quotable lyrics, but is has many other essential qualities.  You have a hook-laden chorus and a beautiful vocal that demonstrates a wealth of emotions and feelings.  The composition is rousing and sprite at times; it becomes more reflective and demure when called for.  A confident and strong number from a songwriter with rare intuition and quality.

   Memory Foam looks at the harshness of rejection and the indentations it creates- hence the title.  No lesser number (to Speed Bump) it is a companion/sister track that shows another side to Ellie Rose.  Its skippy and unique vocal- it is hard to compare Ellie Rose with too many other singers- brings the song to life and emphasises the emotions on display.  The song’s subject- whether the same dog from Speed Bump- has turned down our heroine- made her feel rejected- and that hurt is hard to overlook.  Like a memory foam mattress:  These indentations are there when she sleeps; the uncomforting contours are causing pain and restlessness.  Once more- and given her tender years- you have a surprisingly mature song that demonstrates what a fine lyricist (Ellie Rose is).  You get story and native in the song- picnics on a Sunday; going through the motions to an extent- and false emotions.  The boy pledges his love- saying they will grow old together- but that all changes come nighttime.  The “graffiti” that is being left is indelible and harsh.  Away from the raw images and emotions, you get comfort-at-home familiarity- drinking chocolate milk with her sister; doing handstands- that shows another dimension to the story.  A songwriter that ably switches between grown-up heartache and wisdom:  She can then go to girlish and vulnerable the next moment.

   Off the Record was released a year ago and carries on where the E.P. Speed Bump/Memory Foam left off.  The production seems a little crisper and more modern.  Maybe a bit more polished- than on the previous E.P. - it augments the vocals and composition and ensures every moment lodges in the brain.   You get more impressive lyrics and quotable lines coming through- our heroine being the “ice in your whiskey” for one- but new strengths and revelations.  The lyrics look at a risqué and confidential love- being off the record and secretive- that shows more lust and passion than previous numbers- that have assessed heartbreak and recrimination.  It shows Ellie Rose blossoming and discovering a new side to her whilst still keeping her cores intact- the strong soul and taking-no-bull**** approach.  Perhaps more positive and hopeful- our heroine wants to be a parachute for her man- the entire song brims with sassiness, intention and memorability.  The layered vocals are hugely effective- they stick in the brain and make you smile- while the composition is busy and pressing from first to last.  Exquisite melodies and hooks are balanced by thought-provoking and quote-worthy lyrics from a songwriter who gets stronger by the release.

Finding My Feet perhaps returns to the themes of her previous E.P.  Whilst Off the Record was a fully-charged and joyful Pop moment- recalling the finest cuts of the ‘80s- the latest track is more emotive and reflective.  Ellie Rose is a fan of ‘80s music- impressive, given the fact she was born in the ‘90s- and Off the Record was a pure moment of ‘80s Pop/Dance- with a bit of contemporary magic in there.  Finding My Feet is more modern-day and recalls modern chanteuses like Ellie Goulding, Sia and Adele.  While a lot of modern female singers tend to parrot Adele, Amy Winehouse and Ellie Goulding:  Ellie Rose keeps her voice her own and does not succumb to the worst traits of her contemporaries.  Older fans will find similarities and pleasing consistency.  You get that reliable Ellie Rose brand of integrity and reliably stunning lyrics.  Showing heart, emotion and imagination:  Another song that boasts an agile and intelligent musical mind.  The vocal is at its most raw and impassioned whilst the composition is a tender and soft thing:  One that gets into the heart and reveals its meanings over repeated listens.  Given this rate of progress- and the consistency from someone so young- it is scary just how far she can go.  After appearing at Glastonbury- showcasing her E.P. and what she is capable of- the young London-based singer is on a rise.  A hypnotic and peerless artist that is sure to be a huge proposition very shortly.

New fans and older will find much to love about Ellie Rose’s latest song, Finding My Feet.  You do not need to be an invested supporter to appreciate the song- it hits you impenitently.  A delicate blend of finger-lick and acoustic guitar opens the track up.  Romantic, contemplative and classical- you get a Hispanic and sun-drenched sound to the strings- spikes curiosity and gives the song instant urgency and meaning.  In the early phases- when our heroine clicks her fingers and strums with purity- you are hard-pressed to compare the song/sound with anyone else.  Perhaps there are undertones of Crowded House (their Woodface-era work can be detected in the strings) and a little of other artists, but to be honest, the abiding sound is of Ellie Rose.  With senses and expectations primed, the first words hit you quite hard:  “I’m in a million pieces”.  It is a heartfelt and stark confession from a young woman who has suffered setback and heartbreak.  Whether the song looks at a previous relationship- I believe Ellie Rose is in a happy relationship at the moment- or a hard time for her, that conviction and meaning burns with intensity.  The boy has not picked up his phone- if he did, he’d hear the hurt in her voice- and the separation is causing stress and anxiety.  In the instant phases; there is a slight vocal tweak- on the line “If you just picked up the phone”- that highlights the line and puts the vocal more to the fore.  While the track is quite reflective and assiduous, the vocal has such force and soulfulness.  Ellie Rose shows what a voice she has at her disposal.  Years of heartache and discovery is usual behind such a voice:  The fact she is still so young is an amazing thing.  “God knows where you are” sings our heroine.  It adds mystery to a song that keeps the listener guessing as to the origins and truths.  One would instantly think the song was a tale of heartache and split- the two parties estranged and fractured- but there is more than meets the eye.  It appears there is a “bad boy” at the heart of things that cannot be tamed.  Maybe our heroine has relied on the boy/man before- against her better nature, perhaps- but this time, it has all gotten too much.  In spite of the fact it is not the wisest move- and there are more honest men out there- she needed someone.  That confession and standout thought- “I needed someone”- is highlighted and really pressed.  It seems to be the mandate of the entire track:  Needing comfort (if ill-advised) in the face of some uncertain times.

Backing herself on vocals- given the song a very contemporary flair- that drama and hurt are raised to the skies.  You detect some hints of modern Pop favourites- Ellie Goulding’s sweetness; a little bit of Adele’s soul power- but the composition-and-lyrics combination is very much the result of Ellie Rose.  Every note and line ooze emotion and honesty:  This is not a songwriter that fakes anything or is making a song for the sheer hell of it.  Reverb and multi-track vocals ensure Finding My Feet mixes dreaminess, etherealness and serenity together with drama and edginess.  Perhaps a “curious fool” (her words, not mine) - for wanting to know- it seems like ignorance is bliss.  Ellie Rose always mixes- in her songs and E.P. - maturity alongside humbleness; vulnerability with modesty.  While the song shows that need for human connection and making unwise choices- needed given the circumstances surrounding them- there is also humility and understanding- our heroine admits when she has been foolish.  Our girl is in hell- you believe those words more than anything- but is looking for that man.  Where he is (she does not know) and where he sleeps tonight (God only knows).  If you look at the accompanying video- which Ellie Rose is very proud of- the force of those emotions can be seen on her face.  Near the point of tears; that confusion and sadness are palpable and striking:  You cannot help but want to hug Ellie and ensure she is alright.  Rosining strings and persistent beasts- finger clicks and more subtle snatches- give Finding My Feet a near-symphonic sensation.  It is hard not to think of Kate Bush, on the one hand.  In terms of composition, I recalled elements of The Dreaming (Bush’s 1982, if underrated, album):  That same daydreaming, mystical beauty; the blend of vivaciousness and mood.  Unlike Bush- who is more oblique and unconventional with her themes- the young heroine is much more direct and to-the-bone.  Vocal laments and embracing compositions ensure the song stands up to endless plays- revealing new insights the more you investigate.  That central chorus is particularly pertinent and direct:  You find yourself singing along to it (however misjudged) the second and third times around.  At the heart of it- and barring indiscretions and missteps aside- you must remember this:  Ellie Rose is a young woman who is finding her way.  A teenager that is still growing as a woman:  Why be so harsh and judgmental when older/ (supposedly) wiser women are creating bigger folly?  The crisp and impressive production allows the vocal to reign free and not be fevered by needless noise and compositional emphasis.  The composition works well and perfectly backs/drives the vocal forward.  Uniting ‘80s strands and sounds- the likes of Bush linger on- with 2016 mainstream sounds- Goulding and Adele- ensure the track hits a wide audience and campaigns to a large demographic.  By the final notes- wordless and ghostly vocals pervade- you get that coda repeated:  It takes a long time to a tame a bad boy; maybe he cannot be tamed.  Ensuring those words remains long in the memory- and believe me, they do- our heroine is at her most insistent and determined.

It would be interesting to know what compelled the penning of Finding My Feet.  There is clearly a particular man in mind- whether a past sweetheart or someone currently in her thoughts- and names is never revealed.  That allows the listener to imagine and project their own images of the guy- we can all imagine the type.  Perhaps the two had excitement and love to begin with:  Things have turned a little and caused heartache and upset.  The song keeps pressing questions about the man- where he is and where he is sleeping- and you find yourself invested in the song.  Sympathy and empathy lie with Ellie Rose who shows such bravery and vulnerability throughout.  The boy may be insentient- or misguided to an extent- but our heroine feels like she can tame him.  We have all known someone who finds themselves confronted with mismatched love:  Where one party is hardly approved but has the potential to be pure and ‘good’.  Ellie Rose leaves some mystery and intrigue within Finding My Feet.  It does take some time to tame a bad boy- for that who want to be tamed- but is this line meant positively or negatively?  Maybe our girl is investing time in the hope he’ll change:  Perhaps she knows that it may be futile in the end.  Such an intriguing and curious track from a fertile young artist who always amazes me.  Combining a gorgeous and emotive vocal with some wonderful lyrics- that inimitable blend or mature and open- is backed by cinematic sounds and assured production.  I just know Finding My Feet will form the basis of (an upcoming) E.P.  It would be a perfect lead-off track and sit nicely alongside similar-themed songs.  To that end, Ellie Rose could bring Off the Record into the same set.  In the space of those two songs- both different but spectacular- and you would have fans’ mouths wetted and hungry.  This year will see the London-based wonder grow and build her reputation.  Finding My Feet is a personal and stunning effort from a young woman finding her way and developing her voice- surely it will not be long until she ascends to the dizzying heights of mainstream glory.

Ellie Rose is back and has delivered her most personal and impressive cut.  Finding My Feet finds instant beauty allied with nuanced composition notes:  All of these elements infuse together and deliver a heady scent that trips the senses and makes everyone reflect on their own lives.  Within Finding My Feet is truth and honesty:  We can all extrapolate something from the song that portrays our own feelings.  This is not just a personal song that negates the listeners’ feelings.  Here is a track that seems oddly relevant to me (as it will be everyone) and strikes a chord.  If our heroine is still finding her feet- and finding pressure is getting to her- she is surely not alone.  Penning something with universal relevance means the fans will be more engaged:  The song will hit harder and it will gain a lot of support.  We are all in the same boat as Ellie Rose:  She may feel alone at times yet her fans are all behind her.  It is not a shrewd trick or cynical move:  She has created a song that means more to her than any before.  I am not sure whether relationship struggles or personal discovery has inspired her plight.  Whatever the truth, you can be sure of this:  She will find her way and get the answers she requires.  Finding My Feet showcases a terrific voice whose pen prefers originality over trite clichés.  You get depth and fragility in the lyrics:  That all sits alongside redemptive hope and a lot of real maturity.  Before concluding business, it is apropos to circle back to my original points- looking at female songwriters; personality in music and revelation over time.  Ellie Rose is a young songwriter just starting out- although she has been performing for a long time- and has many more years ahead of her- she will be a mainstream act soon enough.  I have never seen another artist as ready as our heroine.  She seems ready-made for mainstream success and will be playing festivals in years to come.  I have enjoyed what 2016 has had to offer:  So many great songwriters coming through in the underground.  While the guys have shown a lot of hunger and talent:  It is the girls that are creating the biggest impressions to be fair.  While I shall have to speculate another day- as to why this gap has come to be- it is terrific hearing the range of female singer-songwriters around.  With every act, you get a new side and sound to discover:  Whatever your taste, you are catered for.  Ellie Rose has been inspired by her heroines but never wears her influences on her sleeve too obviously.  You have a Pop artist that prefers originality and personality above tribute and sound-alike.  With other artists pouring out their backstories and influences across social media:  Ellie Rose is making sure the music says what it needs; she is not giving too much away too soon.  Not only does her music- and particularly Finding My Feet- speak to the wider audience but it shows a talent that is improving with every release.  I know how relevant Finding My Feet is to Ellie Rose:  You can hear that passion and determination in every note.  Within the music, you get some vulnerability and self-discovery:  There is that need to find some truth and learn from mistakes of the past.  If the music portrays some hard emotions and stress, it seems worlds away from the woman behind the songs.  On social media, you have a bright and engaging woman who has a real connection with her fans.  I hope that bond continues for years, as we have a stunning songwriter who can play on for many years.  Whether there is an E.P. coming- or a series of songs- it will be fascinating to see what Ellie Rose can produce.  If you are new to her music then make sure you dive into Finding My Feet.  It is a great starting place for an artist who is developing her voice and staking her claim in the music world.  Congratulations must go to Ellie Rose who has penned her most immediate and personal song to date.  Its video is a dream-like vision- another facet she is very proud of- that does full justice to a memorable and emotional song.  Having loved Ellie Rose’s previous songs- the immediacy of Speed Bump; the nuance of Off the Record- you have another side to a tremendous songwriter.  Finding My Feet has already garnered a lot of fan praise and approval.  Take a look at Twitter- Ellie Rose’s account- and you get consistencies within the praise:  The strength of the vocals and lyrics; the mix of vulnerable and strong; the way the song speaks for everyone.  It is hard to write music that has that type of effect- and connects with listeners so instantly- but that is what Ellie Rose can do.  From each song, she manages to find new momentum and purpose.  Given that rate of progress- and the fact she is so young still- would you bank against Ellie Rose…

BECOMING a household name in years to come?

[youtube https://www.youtube.com/watch?v=mFXTEoCpntk&w=560&h=315]

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Follow Ellie Rose

 

Official:

http://ellierose.co.uk/

Facebook:

https://www.facebook.com/theellierose

Twitter:

https://twitter.com/ellierosemusic

Instagram:

https://www.instagram.com/ellierosemusic/

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Music

https://soundcloud.com/ellierosemusic

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Video

https://www.youtube.com/user/ellierosemusic/featured

The Classics Series: Beastie Boys-Paul's Boutique

The Classics Series:

 

 

Beastie Boys- Paul’s Boutique

 

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FOLLOWING my previous assessment of Rage Against the Machine’s self-titled debut…

it is time to look at another American effort.  From Rage Against the Machine’s Los Angeles-based political statement of intent:  across to a love letter to New York from one of the music world’s most enduring and stunning bands.  Like Rage Against the Machine- and their mesmeric debut effort- Beastie Boys’ Paul’s Boutique was a revelation upon its release- although most of its acclaim have arrived retrospectively.  Upon its release; critics were a little muted and not sure what to make of it.

In 1986, the 'Boys unleashed their debut cut, License to Ill.  The 13-track album was self-reverential and celebratory:  a testament of the joys of life; the experimentation of sound and making music that differed from what was out there.  At the time of its release; there was nothing like License to Ill:  nothing that was as daring and instantly memorable.  Not many bands- until this point anyway- had fused Hip-Hop and Metal sounds together.  The way Beastie Boys dropped Led Zeppelin and Black Sabbath into their witty and juvenile jams would have been risky- were it not for their expertise and skill.  Backed by Rick Rubin- whose guidance and experienced helped define the record- Beastie Boys’ comedy, joy and energy ensured the album exploded and resonated.  Regarded by some critics as one of music’s finest creations- as aspersion that is hard to refute- music had unearthed rare geniuses.

[youtube https://www.youtube.com/watch?v=SiMQygZFPGE&w=420&h=315]

Three years after their debut arrived Paul’s Boutique:  arguably Beastie Boys’ finest album and a work of art few critics recognised upon its release.  Maybe it was the scope and sheer ambition that scared many:  the plaudits and positives were not as forthcoming (as with License to Ill).  Regardless; time and sensibility have rectified this oversight:  Paul’s Boutique is celebrated as a masterpiece of sound collage experimentation and sheer mastery.  More sample-heavy than its predecessor- the entire album is longer and adventurous than License to Ill- it saw Beastie Boys change direction and refocus.  Licence to Ill had that commercial appeal and was more direct.  By contrast; Paul’s Boutique was more freewheeling with greater creative depth.  Housing themselves in L.A. - having relocated from their beloved New York; exiled from their producer, Rock Rubin- the boys were already been seen as one-hit wonders.  This mounting pressure and sense of dislocation would ruin lesser acts.  It was a scary time for the band (in 1988) but that pressure and lack of expectation saw them come together to create something majestic.

Bringing in Dust Brothers- who went on to work with artists like Beck- and their sample mastery:  there was renewed confidence and intention in the camp of Beastie Boys.  In total- throughout the recording of Paul’s Boutique- over 100 songs were sampled.  The band feared the dense sonic ambitions would not allow room for their patented rhymes and braggadocio.  Songs like Shake Your Rump- one of the finest on the album- had those heavy beats and busy guitar lines.  The boys feared adding vocals would ruin the track- the song was planned as an instrumental- but upon the insistence of the Dust Brothers, rhymes and vocals were added in.  The partnership of producer and band spurred the creative process and lead to huge revelation and new meaning.  After the uncertainty that followed License to Ill- not sure if a second album was required- nobody could have predicted Paul’s Boutique and what it did to music.

If critics were tepid upon its release; the subsequent years saw the album gain legendary status:  it was certified double-platinum in 1999 and is widely regarded as one of the greatest albums ever.  Rolling Stone ranked Paul’s Boutique as their 156^th best album (in a poll featuring 500 albums) of all-time.  A record that celebrated U.S. junk culture and saw a reinvention if the camp of Beastie Boys.  Those slick and sharp rhymes- the wit and genius displayed had reached its peak on this album- were matched with huge beats and impressive braggadocio.  The bravado and swagger Beastie Boys brought to the table was only one side (of an incredible creation).  The sampling was far-flung but everything hung together:  every element and layer fitted seamlessly into the nuanced and hugely addictive music.

In today’s climate- and if a band were in danger of being one-hit wonders- the sophomore album would be a rather nervous affair.  I have seen many bands go through this- where the hell did London Grammar get to?!- and produce a second album that demonstrated fear and a distinct shelf-life.  I do not think there is a band around (today) that are brave and talented enough to pull off a trick like Paul’s Boutique.  The fact there aren’t any bands as strong as Beastie Boys- will we ever see such an immovable force arrive?!- is a rather telling fact.  The New York group were definitely a one-of-a-kind and we shall never see their like again.  Paul’s Boutique could only have been made at a certain time and the fact it got made at all- considering the mess that proceeded it- is remarkable.  What is even more remarkable is the confidence and consistency that runs through it.  Beastie Boys are a band who has made few average/poor records:  Paul’s Boutique boasted sharp lines and compositions that revealed their scope and potential across multiple listens.  Getting into hot water with sampling- artists like Gilbert O’Sullivan took umbrage at being sampled- was just another obstacle that could have tarnished such a magnificent record.

[youtube https://www.youtube.com/watch?v=7vrUTfoUi0s&w=420&h=315]

As it stands- and given the reputation the album has collected- these ‘hurdles’ could never damage such a historic work.  Take the songs on their own merit:  Shake Your Rump is an oft-played and head-spinning assault that shows Beastie Boys ready and primed for the fight.  Sampling Ronnie Laws and Harvey Scales into the jam:  that is only the start of the magic the album holds.  Egg Man showcases Beastie Boys’ observation and knife-edged humour- “I looked out the window and seen his bald head/I ran to the fridge and pulled out an egg”- saw Sly and the Family Stone augment the fury, fun and frivolity of the song.  It is near-impossible to assess all the songs fairly- there is so much packed into every track- and it takes repeated investigation to take it all in.  Minimalism (High Plains Drifter) sits effortlessly with grand ambition (the nine-songs-in-one spectacular, B-Boy Bouillabaisse):  there are no weak moments and you have an album that is still being studied and scrutinised today- some seventeen years after its initial release.

Today’s music culture means we may never see anything like Paul’s Boutique.  Sampling is more expensive and less accessible:  it is easier to put samples into the mix; the litany, litigious and limitations have priced many musicians away from such experimentation.  Whilst some of our best and brightest- Kendrick Lamar; Jamie xx in particular- employ samples and show mobility within their genres:  you imagine they would sound even richer if sampling was not such a minefield.  Granted, Kendrick Lamar and Jamie xx are two wonderful (and hugely different) artists who blend genres, themes and sounds into kaleidoscopic and enormously potent albums.  Perhaps the last sample-heavy album arrived in 2000:  Australia’s The Avalanches' self-titled debut (and to date, their only cut) consisted entirely of samples.  That album took years of obsessive study and recording to get right and reach the market:  the fact there has not been a follow-up perhaps highlights how expensive/problem-laded sampling is.

Since the 2002-2004 regency of British Grime- when Dizzee Rascal and The Streets sparsely employed samples- there have been few artists that have gone as deep as Beastie Boys.  Some of the finest-ever albums- from D.J. Shadow and Beck’s best; across to Massive Attack- have used other people’s songs to give weight to their own creations.  Maybe Paul’s Boutique was a product of its time- something that we can never recreate- and that is a bittersweet realisation.  The 1989-diamond is a wonderful work of art from a band that looked in danger of collapsing.  Hugely influential and inspiring- new musicians are still studying the album like it’s a Bible- I hope we get to see a Paul’s Boutique 2.0 arrive in the 21^st century.  Given the financial boundaries and legal restrictions- it should be so expensive and hard to sample you’d think- that are in place; a lot of creativity is being stemmed and extinguished.

Let us negate and overlook the problems of the modern age:  instead, embrace an album that is peerless and utterly magnificent.  If you need a record that takes you to wonderful places- tracks that take you across New York and down strange alleys; meeting curious people and embracing life- then go out and buy Paul’s Boutique.  It is a record that is even more essential on vinyl:  just lie back and let the L.P. get inside the imagination and elicit a wonderful response.  Paul’s Boutique easily sits inside my ‘Top 10 Albums’ list because it’s timeless and near-perfect.  It may not be the most instant and accessible album- some of the tracks take their time to hit the mark- but that is the very reason it is such a revelation.  Songs get stronger and more meaningful with passing years:  the entire album becomes more impactful without sounding dated and restrictive.  Few record will take the brain and imagination on such a mind-f*** trip.  Take yourself back to 1989 and a time when music…

REALLY stood for something.

[youtube https://www.youtube.com/watch?v=hcy-MmpTkek&w=420&h=315]

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TRACKLISTING:

To All the Girls

Shake Your Rump

Johnny Ryall

Egg Man

High Plains Drifter

The Sounds of Science

3-Minute Rule

Hey Ladies

5-Piece Chicken Dinner

Looking Down the Barrell of a Gun

Car Thief

What Comes Around

Shadrach

Ask for Janice

B-Boy Bouillabaisse

DOWNLOAD:

Shake Your Rump; The Sounds of Science; Hey Ladies; Car Thief; B-Boy Bouillabaisse

STANDOUT TRACK:

B-Boy Bouillabaisse

TRACK REVIEW: Savannah Dumetz- Naked

TRACK REVIEW:

 

Savannah Dumetz

 

 

Naked

9.7/10 

Naked is available at:

https://www.youtube.com/watch?v=Eo-Rte6cNF8&feature=youtu.be

RELEASED: 23^rd February, 2016

GENRES: R ‘n’ B; Pop

ORIGIN:

London, U.K.

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THIS will be my last ‘regular’ (daily) review for a while...

as I make a return to the world of (full-time) work.  As I say a goodbye- albeit, temporary- farewell to reviews; I come to an artist who is an exciting proposition indeed.  One of the most interesting and passionate young solo artists emerging from London:  she is going to be someone to keep an eye on throughout 2016.  Before I come to my featured act I wanted to talk about emerging female talent in London; songs that look outwards- and embrace something positive- with a bit about diversity/recognition in music.  As this year keeps ticking; we are looking at the artists playing to see which will be making waves.  So far in 2016 there have not been many huge moves made in the mainstream:  the albums/songs released thus far are far from spectacular to say the least.  When it comes to new music, there are more positive/progressive signs.  That said, if you look hard enough, there are a few worthy talents worth sticking with.  I have mentioned Alessia Cara a lot in these pages- a hungry Canadian solo act who mixes feel-good Pop with charm and energy- and here is a star that is going to be a big proposition we need to concentrate on.  Kali Uchis is a Columbian singer who has ‘60s kitsch and stunningly beautiful songs- another musician to behold.  Anne-Marie is one of the best homegrown artists: mixing Lilly Allen-esque vocals with a very distinct style; this is going to be a great year for the Essex-born singer.  Glaswegian-based Kloe and R&B dream projector Nao are a duo of other names that can be added to the pack.  There are a hell of a lot of great female artists that are going to be shaking things up.  Whereas last year saw a rather limpid and unimpressive mainstream effort- the best artists emanated from outside the U.K. predominantly- this year looks set to show revival and promise.  A wave of British artists is starting to pole through:  all providing different sounds and styles; it is going to be wonderful seeing where they go from here.  It is not just the quality that is amazing but the variation and variegation.  From R&B style queens to uplifting Pop:  there is something for everyone and some fascinating personalities behind the music.  Once more, London is showing how fervent and dependable it is.  A city that continues to produce stunning musicians:  some of the best solo artists from this year will be coming out of London.  Savannah Dumetz is a 19-year-old who is going to nestle among the most promising and prosperous from this year.  Before I continue on my point- and raise a new one too- let me introduce her to you:

“19 YEAR OLD LONDON NATIVE SINGER-SONGWRITER SAVANNAH DUMETZ IS MAKING HER LIFE A WORK OF ART.  Growing up in a household where music from reggae to hip-hop and everything in between rang through the walls, the songstress is now 19 years old, and her passion and vision to celebrate herself, to promote self-love, to break through barriers and destroy limitations with her music, is stronger than ever.  Savannah is passionate about being active in the empowerment of people: "I sing what my heart feels. My music is my message, and that is to claim who you are and stand unapologetically in your own skin. My message is to wholeheartedly embrace every part of you. You can grow, you can be vulnerable, strong, sexy and in control all at the same time. I'm a lady who has taken control of her dreams, I refuse to give up." Soulful and sweet, sassy and powerful, the world of Savannah Dumetz holds no limitations and is welcome to everyone.  “Everything I do is bigger than myself, it’s not just about me, I feel so much joy in connection. I want to be active in change. I just want to empower people, push boundaries, be unapologetic. And even if I have days where I don't feel quite as good, I know that deep down I'm stronger than ever and ready to take on the world. I want people to come to my shows and have nothing on their mind but that moment, when they leave, I want them to feel inspired. I want my art to be the embodiment of limitless expression. I want to connect with people and make my life a work of art.”  Soulful and sweet, sassy and powerful, the world of Savannah Dumetz holds no limitations. "It’s just such a beautiful feeling to see your most genuine, vulnerable, pure moments of expression, unite as something beautiful and timeless.  I have so much to say and I am so excited to slowly start sharing the pieces that make my story!"  Savannah Dumetz’s vision to change the face of music has only just begun!”

 

There are few artists who write songs that are not personal/love-based.  Most artists concentrate on their own relationships and heartaches.  Those that stretch themselves and show more thoughtfulness- connect with the listener and get them to think more deeply- will always impress me more.  You do not get many songs/moments that project outwards and encourage positivity and togetherness.  Maybe a relic of past times- something more synonymous with ‘60s music- the modern-day artist is much more insular and self-absorbed.  Dumetz wants to create music that is deeper and more considerate to what is already out there.  Given her varied background- the types of music she was exposed to- it is no surprise to see that range reflected in her music.  The depth and passion is matched with adventurousness and bold compositions.  Ruling everything is that expressive and rich voice:  making sure every word is as enticing and entrancing as it can be.  The early signs are always a good assessment and hint at what past songs will possess.  Naked is a stunning statement and an original track from a young artist who wants to remain in music for many years.  There’s a lot of competition out there but Dumetz needn’t worry:  her voice/music/lyrics are as strong as I have heard from any solo act this year.  I will keep an eye on her and see if an E.P. is forthcoming:  that will give listeners a chance to hear the Londoner let loose and fully exploit her many talents.  Music- and music award shows- have been critisised for their lack of diversity and fairness.  The lack of black faces being recognised this year has shown there is a real problem within music.  It extends to acting too- and the issues with The Oscars- yet music is facing quite a tough time.  The Grammys recognised black acts like Kendrick Lamar; though it was still too stringent and limited- Lamar deserved more awards than he won.  It is the white artists that still get the majority of kudos- whether they deserve it or not- and some wonderful musicians are being overlooked.  I am not sure whether this issue- the racial inequality and imbalance- is going to be rectified any time soon.  Dumetz among a roster of black artists who will be making terrific music throughout this year.  I do wonder whether artists (like Dumetz) are going to struggle for kudos and award nods:  will the situation improve in years to come?  It is hard to say but the best thing we can do- as consumers and fans- is promote the music and hope things work out.  A damaging and telling sign of the times- how we have not moved on or developed our attitudes- let’s hope things improve soon.  For now- and before Dumetz looks at awards- I am excited to see Naked drop and mark the 19-year-old out as a definite name to watch.

Naked is really the first real original from Savannah Dumetz.  In the past- and leading up to this moment- the young Londoner has tackled other people’s songs.  Having built a reputation as an expert interpreter- tackling everything from Bob Marley to Labrinth when covering songs- it is hard to see how she has progressed.  There is certainly no dip in confidence or quality when looking at Naked.  Having transitioned seamlessly from covers to originals (or original) you do not sense any nerves or slip.  Every cover Dumetz tackled had that inimitable stamp and personality injected.  Naked is a song that keeps that stunning voice firm but shows a real songwriting talent.  Given the progression and impressions from her debut single:  who knows just how good she will sound in future months?  The reviews for Naked have been universally positive to be fair.  The vocal has been commended and the rawness of the track has been commended.  That ode to self-love has impressed critics- fed up with the samey nature of many songs out there- and the track has resonated with a lot of people.  Having amassed thousands of listens across SoundCloud- the official video has obtained over 2,000 views- we have a song that is growing in stature by the day.  Not many artists make such an impression this early on so it is testament to the talent and originality of her work.  Dumetz is not going to be an artist who betrays her voice and integrity- writing songs that sound just like everything out there- so I feel we have a very promising talent on our hands.  Just where she heads next is down to her:  I will be following her plight with passionate eyes.

Given the reputation and applause Naked has received; I was excited to get to grips with the track.  There is a clear interpretation and definition from the song:  the joys of self-love and the need to embrace with the outside world.  Going in with fresh eyes; the initial notes get straight inside the mind and elicit instant reactions.  Serene and romantic strings are the first sounds heard.  That electric guitar is serene and languid; enticing and seductive.  You drift inside the notes and start to let your mind drift and dream.  Such a head swimming and luscious sensation:  one that perfectly introduces Dumetz’s voice to us.  When that voice does arrive, it is filled with intention and raw edge.  “Open your heart/Let me in” are the first words and a real insight into the song’s objectives.  The vocal swoons and gets straight inside the heart.  Even in the earliest moments you have honest and deep words that are filled with intention and direction.  There is no cynicism or objectives:  jut a young woman who wants people to let their guard down.  Whether Naked is directed at a single person- or just a general message- there is that need to stop being so closed-off and guarded.  People need to embrace life more and let others in.  It is clear there are some romantic/relationship inspirations behind the song.  Whether a particular man has hurt our heroine- and lead her to put pen to paper- you can detect a semblance of heartache lingering within the words.  It is clear the song’s ‘hero’ has been reserved and really not let his feelings out- or has said something to end the relationship- which compels the heroine to think more widely about the world.  She wants to trust the man but pain lingers through.  For so long she has been trying to find that trust and believe in the guy.  Whilst documenting the dissolve of the relationship- and the problems that have arisen- the sweet and sensuous voice coasts every word with sugar and chocolate.  Dumetz is one of the most beautiful and gorgeous singers around:  her spine-tingling and shivering voice captivates and draws the listener firmly into the song.

The tears that have been cried have left our heroine drained and dry.  There is that sense of loss and heartbreak has caused a huge amount of damage- some positives have emerged from it.  Given the fracturing of bonds there is that resolution to be more open:  for others to be more expressive and show their feelings more clearly.  Baring her soul- with her heart breaking into the bargain- you sense a rather one-sided love.  Maybe the guy was too stringent with his honesty and feelings:  it has left the relationship scarred and in tatters.  Our heroine is going to be naked and open- against the instincts of her man- and is struggling to connect with her lover.  Whether this love has broken down- and the bond has reached the point of no return- or is still ongoing you have two people with different ideals and personalities.  Backed by Jazz-tinged strings and some subtle bass:  the composition matches the foreground and demonstrates emotion and passion.  This central love has left its marks and caused some reflection in our heroine.  In spite of the dark and damaging days there is a good outcome:  our girl is looking for more open people who are not afraid to bare their feelings.  Scared and uncertain of being a lone soldier- so “you don’t see my fall”- there is that reluctance to let go.  Having hidden her feelings inside for so long; you sense there is an awaiting explosion- maybe those feelings will come out.  The vocal has such a luscious and breathless quality- especially when multi-tracked against one another- that makes the words so scintillating and delicious.  You draw into the song and become seduced by the utter nakedness of the sound.  The heroine lies in the bed naked- physically and emotionally- and you feel the drift and distance between them.  Naked is a song that shows how comfortable Dumetz is in her own skin:  she wants others to feel the same and experience that self-love.  Maybe traditional romance has been fraught and caused too much pain.  Just being happy with yourself is the most important thing:  connect with your feelings and let your soul come out.  People need to embrace themselves more and not be so insular and secretive.  As universal and impressive as the words are I was drawn to that flame-like vocal that is so beautiful and smoky.  You get sweet notes and child-like purity nestling inside the hazy smoke and bold soulfulness.  Towards the final moment, those R ‘n’ B sounds come through- the big vocals and layers augment the foreground- and that vulnerability-cum-confidence mixture is more evident.  Strands of ‘90s R ‘n’ B- from Aaliyah to Brandi- spars with modern-day Pop and Soul.  The end result- once the song has come to an end- is one of amazement and instantaneousness.

I know Dumetz is planning new material and will be headlining The Social (London) on April 15^th.  If Naked is anything to go by- and what is to come in the future- the fans will flock and there will be immense demand.  I cannot wait to see our heroine in the flesh and it will be wonderful seeing her blossom and mature.  The social media numbers and SoundCloud plays are only a small fraction of what she deserves.  One of this country’s most spectacular and stunning voices cannot be ignored and overlooked.  Naked is a song that has some familiarity to it- the issues of love and hiding feelings- but goes much deeper and does a lot more.  There is that message of self-love and embracing your own self.  Feeling good in the skin is not a subject that is touched upon in modern music.  Not only is Naked a song that will inspire others:  it is sure to garner huge radio play and a lot of critical attention.

Savannah Dumetz has come onto the scene with quite a bang, it seems.  Having performed cover versions previously- cutting her teeth and finding her voice- Naked is a brave and memorable song from a musician who stands aside from her peers.  I have stated the problems with diversity- acknowledging the best black artists around the world- and what a struggle there remains.  Maybe the protests and public will affect change:  perhaps it will take years before there is equality and less discrimination.  You would think music would not succumb to the worst traits of society:  that colour and race is not an issue; there would not be that discrimination.  Sadly, there are real problems that need to be overhauled and sorted.  With the likes of Dumetz liable to be award-worthy- if her career continues this way- you wonder whether she’d have to struggle to gain plaudits and awards.  It is a divisive and explosive issue that needs more exposure- I shall save that for another day- but my point is valid and timely.  More positively- and something we can ALL agree on- is the wonderful female acts coming out.  London is brimming with eager artists all ready to make their impressions heard.  I mentioned a few acts at the start of the review- from Alessia Cara to Anne-Marie- and the U.K. as a whole is showcasing some prodigious talent.  I was disappointed with 2015 and the real lack of defining artists:  there were few that stuck in the mind and compelled me to follow them closely.  The mainstream provided some terrific albums for sure- mainly emanating from outside Britain- and I wonder how 2016 will fare.  The underground artists are showing real heart and potential already.  Shaking off the cobwebs of the past year:  there is ample evidence to suggest we are in for a bumper year.  Dumetz is a young artist who has a distinctive voice and a real rare songwriting ability.

Naked shows her at her most impressive and memorable.  A song that implores listeners to think more deeply and connect with the outside world- not another heartbroken song that is introverted- you cannot help but be involved and take something away.  Before finishing off the review it is worth looking at Dumetz and what she is capable of.  Naked is a brilliant song that glimpses into her psyche and soul.  I would love to hear some similar songs appearing on an E.P.  Whether she goes down that route- or choose to release a series of singles- it will be interesting to see how she develops.  There are no immediate tour dates planned- although she has one or two important gigs in the coming months- but that is likely to change.  Many new artists struggle for airplay/longevity because they are too rigid and predictable.  If you have hundreds of Pop stars all saying the same thing- and there are hundreds out there- it is impossible to decipher which ones are worth attention.  Dumetz is still a teen yet mature enough to understand the necessity of originality.  You get some inner reflection (in Naked) but overt passion and that need to feel comfortable in your skin- no matter what life throws your way.  Our heroine has a real joy and love for music that is evident and unwavering.  The social media numbers will start to rise- they are impressive as they are now- and the radio play will arrive thick and fast.  What she does from there is anyone’s guess.  I would love to see Dumetz more as 2016 progresses.  There are so few young artists that come in with that originality and unique edge:  we should embrace those who want to stand out and provide music with something fresh.  Among the armies of solo artists who will be campaigning- and there are legions of them right now- here we have someone who is sure to succeed.  If Naked is any indication of future stock- and the follow-ups we will be witnessing- then we have an artist who…

CAN affect positive changes in music.

[youtube https://www.youtube.com/watch?v=Eo-Rte6cNF8&w=560&h=315]

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TRACK REVIEW: Howlin' Ric & the Rocketeers- Cannonball

TRACK REVIEW:

 

Howlin’ Ric & the Rocketeers

 

 

Cannonball

9.3/10

Cannonball is available at:

https://howlinricandtherocketeers.bandcamp.com/track/cannonball

The E.P., Cannonball is available at:

https://howlinricandtherocketeers.bandcamp.com/album/cannonball

RELEASED: January 11th, 2016

GENRES: Rock ‘n’ Roll; Rhythm-and-Blues

ORIGIN:

Leeds, U.K.

TRACK LISTING:

 Cannonball

Sweet Ella May

Take My Hand

Take That Bottle

If I Didn’t Care

______________________

New from Gin House Records.

Recorded at Chapel FM in Leeds by Adam Richards onto 4-track tape.

Mastered at Ghost Town by Ross Haldon.

Released January 11, 2016

Howlin' Ric- Guitar/Lead Vocals

El Nico- Lead Guitar/Backing Vocals

Adam Richards- Double Bass/Backing Vocals

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IT is hardly an exaggeration to say my featured artist is among the most...

unique and distinct I have reviewed for months.  Brought to my attention via Chris Wallum (of The Holcombe Family String Band):  it is great to discover a musician that differs from everyone out there.  One of the biggest pleasures (from this blog) is finding an artist that sounds distinct from what is already out there.  It does not have to be radically and paradigm shifting:  something that lodges in the brain and shows some originality.  Depressed by the mass of vague and uninspired sounds- one-off bands and short-life musicians that are hopelessly directionless- it is great to find music that leaves impressions.  Before I come to Howlin’ Ric & the Rocketeers, it is worth looking at vintage/1950s sounds; a bit about Leeds and its retro. artists- finishing with a bit about revoking and revitalising ‘older’ genres.  Looking at Howlin’ Ric’ and you get a musician whose heart and soul belong to another time.  There is a modern production value and look to him- he is a man that understands the importance of technology and embracing the 21^st century- but the music stems from decades past.  There is a lot of emphasis (among modern artists) recalling ‘90s bliss and the magic of the time- understandable given the music coming out of the decade.  Occasionally, you get bands/musicians that are inspired by the ‘60s masters- The Rolling Stones etc. - and the best from that period.  It is rare to find anyone who places their music in the ‘50s:  a period that was defined by urgent Rock ‘n’ Roll smashes and Rhythm-and-Blues beauty.  Many people today consider that- the music that came from that time- to be a bit uncool and square.  From Little Richard to Elvis Presley:  you have artists that are trailblazers and defined music today.  While there was not that huge amount of great bands and memorable artists; that is not to say that decade was completely forgettable.  Acts like The Beatles, The Rolling Stones and Bob Dylan- a trio of legends- could not (debatably) existing were it not for those visionaries and musicians  of the 1950s.  Too much of music is being consumed with obvious time period and replications.  So many emerging solo artists have rigid influences and are not as daring when it comes to blending genres/decades together.   Maybe there seems to be a natural stopping point- somewhere around the ‘60s- and if they go back to the ‘50s:  that will distill their music and limit their possibilities.  Genres like Rock ‘n’ Roll, Rhythm-and-Blues and Rock can be blending together- alongside something of-the-moment and modern- to lead to full-bodied and exciting music.  It is hardly a shock to be back at Leeds and mention the county with passion and applause.  If you discover an artist who is playing bygone sounds- from Rock ‘n’ Roll to Swing- you can bet with certainty they are from Yorkshire.  I keep trying to figure out why Yorkshire houses so many musicians who are keen to revoke the glories of the past.   From Little Violet to The Holcombe Family String Band:  Yorkshire has acts that are keen to rebel against convention and present something more interesting.  Those acts have been among my most memorable reviews- the way they do things; the blend of sounds- and Howlin’ Ric a& the Rocketeers joins that list.  Another treasure from Yorkshire- split between Wakefield and Leeds- you have a musician with a passion for 1950s Rhythm-and-Blues and the greased hair masters of Rock ‘n’ Roll.  Just looking at our lead- and the publicity photos he shares- and he certainly looks the past.  Before I continue on this point; let me introduced the man (and act) in question:

“An exciting take on a great American tradition with a sound that channels the stylings of Eddie Cochran, The Johnny Burnette Trio and Little Richard. Howlin' Ric and Gin House Records present traditional Rock & Roll and Rhythm & Blues with a classic and fresh sound!”

Howlin’ Ric’ himself claims how important American artists are to him.  Bringing that vintage U.S. vibe into modern British music can be a gamble and a bit of a risk.  The current scene is largely composed of musicians who rarely dabble with ‘50s artists/sounds.  Howlin’ Ric & the Rocketeers’ lead has the slick hair and handsome look:  the stylish clothing and logos/artwork that takes your mind back to the legends of Rock ‘n’ Roll.  Part-kitsch; part-retro.:  you have a musician that puts his heart and soul into everything he does.  Those of you thinking negatively about the songs- they will be for older listeners- need to investigate our hero and reassess their preconceptions.  I am a fan of The Baseballs:  a German Rock ‘n’ Roll band that can be compared to Howlin’ Ric & the Rocketeers.  The German band mainly performs cover versions- their take on Rhianna’s Umbrella among their most memorable- but are by-no-means uncool and fuddy-duddy.    Our Yorkshire group define cool and have such a wonderfully rich and smile-inducing sound.  Whereas Howlin’ Ric & the Rocketeers have done covers before; their latest E.P.- the exciting and nuanced, Cannonball- is their most confident and personal work to date.  The five-track release sees the band embrace fully their influences- the U.S. Rock ‘n’ Roll legends- and give it a modern twist.  That lo-fi production and slow-burning sound may go against the impulses of modern recording:  what you get is music that reveals new insight and detail over future listens.  Maybe the song will take a few spins to grab attention:  when they do, the effect and reaction is stunning.  Having followed/championed The Holcombe Family String Band before; it is wonderful discovering another band that has similar strands and sounds.

Cannonball is the first E.P. from Howlin’ Ric & the Rocketeers.  Difficult to see how the band has evolved and developed:  the best thing one can do is discover the E.P. and judge for yourself.  I’ll Keep on Trying- a cover of the New Orleans Jazz musician Eddie Bo’s song- was unveiled last November.  A chance to see the band tackle another musician’s work- doing so with aplomb and confidence- you get a great reinterpretation of an old favourite.  Whilst Bo’s original is quite obscure and unheard-of:  here, you get the song given a fresh lick of paint and brought to life.  The vocal/composition remains fairly faithful to the original whilst showing plenty of unique insight and new nuance.  It is a great starting place for anyone new to the band and the genres of Rock ‘n’ Roll/Rhythm-and-Blues.  Cannonball is a brave leap that shows the guys are just as comfortable with their own material.  Whilst songs are built from exciting numbers- Sweet Ella May is a largely instrumental track from Earl Hines; Cannonball (Damien Rice) and Hold My Hand (Hootie and the Blowfish) are familiar titles- you get songs that sound like they were penned in the ‘20s and ‘30s.  I am not sure what has inspired the songs- whether they were motivated by old records or relationship insights- but the five-track E.P. has consistency, plenty of layers and diversity.  Every track has its heart in classic Blues/Rock ‘n’ Roll with a modern twist given to every moment.  There is an immense confidence and passion that comes through in every song from the E.P.  You would expect some nerves and uncertainty to show itself on a debut E.P.:  the Yorkshire clan suffer no such fate and sound completely ripe, ready and assured throughout.  It will be great to see what the future holds and whether they can parlay their sound into a full-length album.

I was keen to single a particular track from Cannonball to show what the band was all about.  On the suggestion of our lead- who wanted the title track featured- it was great to sit down with Cannonball’s most instant track.  It opens proceedings and makes an instant impression on the listener.  Scuffed strings welcome the track in and ensure the energy and intrigue is there right away.  Our hero sounds a countdown- a number run down that calls for unity- and you get a spirited and lustful opening.  The band lend their double bass and guitars together to give a hoe-down and Rockabilly blend that gets the feet moving and looks back at Rock ‘n’ Roll masters of old.  Everything is done with affection and genuine passion for the genre:  the initial moments take you back to the ‘50s (and earlier time periods) and have a real retro. feel to them.  The guys show how tight-knit they are with an introduction that leaves little room for breath and pause.  Our hero wants (the girl) to put her Sunday best on- it seems as though the pair are perhaps hitting the town.  When hurt strike it will be “like a cannonball”, it is said.  Allowing those vocals to press and cut through the mist- they are put high in the mix to ensure they resonate- you get immersed in a song with some mystique to it.  The coda and mantra- pain and split will hit like a cannonball- you wonder whether we are looking at a relationship in trouble.  Maybe there is more innocence at the root but you feel like something fragmented is being talked about.  From those early words of Sunday dresses and hitting the town- you think the couple is going on a playful date- you start to think about something more negative and fraught.  The band combines vocals when the chorus hits- to reinforce the importance and prescience of the song’s title- and you cannot help but be seduced by the drama and passion unfolding.  Howlin’ Ric is a frontman whose voice is hard to compare with anyone else.  You get little impressions of past artists- a touch of Little Richard and his contemporaries- but to be fair, there is such originality and personality in the vocals.  That is a rare thing in today’s scene:  so many musicians copycat others and are far too close to other musicians.  By having that distinct voice and sound:  it ensures Cannonball sounds new and completely fresh.  The band would be betraying their instincts were the song to be completely modern and fresh.

The composition and production have their heart lodged in the golden era of Rock ‘n’ Roll- the production is impressively lo-fi and sparse.  All the best songs have some obliqueness and beg for interpretation.  Gives the themes/mass of Cannonball- songs that have purity and celebrate love- it is hard to extrapolate anything negativity or heartbroken from the title track.  Those gut-hitting sensations keep coming back and make you wonder.  Love will spin you “like a hurricane” and knock you dead:  take you off your feet and cause quite a sensation.  I feel like our hero has seen pain and heartache but is (essentially) celebrating his beau.  There's effusiveness and passion in the performance- without spite and sadness- your mind looks at the positives and soul nourish of love.  The band backs our lead with a catchy and hypnotic composition:  it spirals and twirls with dancing eyes and smiling teeth.  Lighting the fuse and letting it go- whether lighting up love or setting off a bomb of hurt- the vocal grows more rapturous and emphatic as the verses progress.  I always love discovering a singer that is able to switch from tender to wracked.  Howlin’ Ric has that Blues soul, and as such, his voice can reach electrifying heights and really cut like a knife.  Whether Cannonball was influenced by an older song- I have been searching the Internet to see if it is a cousin of another song- but you get something universal and mysterious all in one.  As the notes progress; I start to think more deeply and my mind goes to-and-fro.  Punctuating the pressing and insistent verses:  you have compositional breaks that allow reflection and a chance for the band to shine.  The guys do not throw too many instruments into the pot- mainly guitar and double bass- but that is appropriate given the song’s themes and nature.  Blending the bliss of Rhythm-and-Blues with current Rock:  you have instrumentation that will unite older listeners and young followers.  It seems a lot of time has been expended to make the composition as compelling and catchy as can be.  The notes dive and duck; the double bass scratches and strums- so much energy and pace come through.  Cannonball is a song that will get the head and feet moving whilst ensuring the listener is fully involved and captivated.  In spite of some sunnier weather- the band allowing the instruments to speak- the returning vocal is no less vivid and descriptive.  Being twisted up inside- and contorted by the ways of love- once more you get another burst of pain.  Maybe my mind is over/under-thinking but I'm always conflicted as to the true nature of the song.  It is clear love has an effect and primal reaction- twisting the stomach and hitting the gut- but whether our man is happy or sad?  It is clear his girl is beautiful and firmly in his mind:  maybe there is tension among the love and devotion.  The relationship is knocking him off guard:  you always wonder the origins of the song and what has inspired the words.

A deeply thought-provoking and interesting song:  you cannot help but repeat it and try and get to the bottom.  I know I say that about other tracks- ones that are not that obvious- but that is a good thing.  So many songs are obvious and do not compel further listening.  Cannonball is not only a terrific lead-off song- that ensures the E.P. gets inside the heart- but the title track makes you wonder and interpret.  That is in no small part due to the band and composition.  Our lead has a terrific voice that is so bold and heartfelt.  At once controlled and investigative- looking at the vicissitudes and potential of love- it explodes and hits hard the next moment.  That originality of tone and freshness- you cannot easily compare him to anyone else- it is a stunning performance.  Making sure every word comes to life- and is done full justice- you have to commend that vocal.  The rest of the band is no second fiddle, you know.  The strings keep the song buoyant and constantly mobile.  The E.P. has a lot of different strands and ideas:  the title track is perhaps the most direct and memorable of the five.  Packing so much into a short time (the song is not even three-minutes long); that is a testament to the musicianship and energy of the boys.  They combine supremely and are a tight and intuitive band- that knows each other’s strengths.  Backed by a production sound that strips the layers- and gives it a great, lo-tech rawness- and you can imagine this song filling the dance clubs of the ‘40s and ‘50s.  Uniting decades and genres- from ‘30s Blues to ‘60s Pop- you have a song that has huge ambition but plenty of focus.  Make sure you check out a wonderfully interesting and direct track- from a band who will inspire and impress.

A palette cleanser that washes out the taste of Indie/Rock- the genres I am used to reviewing- it is great welcoming Yorkshire’s Howlin’ Ric & the Rocketeers to the fold.  A band that has a great energy and connection:  the songs recall the swing and cool of the ‘50s; given a modern take and adapted for current audiences.  Whilst that blend of Rock ‘n’ Roll and Rhythm-and-Blues might not gain widespread appeal:  that is not to say the boys will have niche appeal and struggle.  Their music is very much for a particular audience:  that audience/market is growing by the month.  More and more music lovers are looking for something different- sounds that spark and differentiate from the norm. - and that bodes well for future fandom.  At the moment, the group has a small (and devoted) following across social media:  it is only a matter of time before those numbers swell and rise upwards.  In the same vein; I would not be surprised to see the group played across national radio- it may take a while but they can get there.  At this time, the guys are touring and playing around Yorkshire and beyond:  it would be terrific were they to come to London and bring their music right across the U.K.  I feel the scene needs a kick and energy boost:  something that overhauls the bland mass of faceless Rock and sugary-sweet Pop music.  Maybe it will take a few more years for this to happen- and variation to replace predictability- but there are small steps being made.  Once again, Yorkshire is showing how things should be done.  The county has plenty of ‘traditional’ musicians- that do not seem out of place in today’s music- but are expert when it comes to producing quirky acts.  From Swing revivalists to Rock ‘n’ Roll lovers:  barely a month goes by without another treasure presenting themselves.  Like The Holcombe Family String Band- who are friends of Howlin’ Ric & the Rocketeers- it will take a while for the group to gain mass acclaim.  At the moment, the boys are enjoying touring and seeing how the E.P. is received.  Cannonball is five tracks of 1950s-recalling Rock ‘n’ Roll with a sprinkle of the modern day.

   Sweet Ella May is “sweet as apple pie” and drips with innocence and charm.  The passionate vocal looks at the heroine:  someone who needs to “come home” soon; her blue eyes and beauty being recalled in fond tones.  The girl can see through lies and players- someone who gets a lot of attention- and has the heart of the hero.  It is a song that assesses a loyal love and wonderful bond.  With a constant swing and energy to it:  you have a number that is among the E.P.’s most addictive and compelling.  Following from the title track’s majesty and bliss:  Sweet Ella May keeps that momentum going and ensures the E.P. does not suffer any weakness.

Take My Hand is a slower number- with Country vibes to it- and a chance for the band to become more reflective and sensitive.  Another sweet-natured love song:  our man implores to his girl and wants her to take him by the hand.  Whilst there is turmoil and uncertainty in the world:  his sweetheart can rely on him and find security in his arms.  The band keep the composition light and languid- the strings are woozy and vibrating- while the vocal shows plenty of soul, heart and passion.

   Take That Bottle has more rousing spirit and kick than its predecessor.  The vocal is gristly and raw whilst the composition chugs and propels with each passing second.  It is impossible to not get caught in the mood and rabble:  get taken in by the wave of energy and underpinning threat.  Our man wants the bottle taken away- as it makes him blue and down- and needs something more sobering and safe.  Maybe drowning his sorrows or getting carried away in emotions:  this is an invocation to have the temptation stripped away and control his turmoil.  It is hard to say whether a relationship split has caused this drinking:  maybe he is trying to forget the memory of a particular girl.  A song that strays against the lyrical themes of the E.P. - the dedicated passion and burning love- we get another side to the band.

  If I Didn’t Care is the most direct and shortest tracks on the E.P.  Ending the record with plenty of swagger and heart:  you get a return to that positivity and loyalty.  Our hero wants to make things better- whether for his girl or a friend- and offers support and comfort.  There are fears and uncertainties burning:  our boy will balm the wounds and offer strong hands and a loyal heart.  The band combines wonderfully in a rich and adventurous composition that changes course and pace throughout the track.  Ending the E.P. with a huge high:  it shows what consistency and talent the guys have.

Offering an original and tight E.P.:  the Yorkshire group is showing what the music world is missing.  They have few like-minded contemporaries and that is a real shame.  Maybe it takes some time to effect change in the music world.  I hope more bands turn away from predictable sounds- Rock and Alternative- and look at a time period with more innocence and grace.  Whilst the ‘50s may lack the edge and limitlessness of modern music; that is not to say you need to be rigid and tightly defined.  You can start with a building block of Rock ‘n’ Roll and bring other sounds into the mix.  Maybe bring in Electronic influence and edgy guitars- to summon a blitz of genre-fuse and glory- and you have a world of possibilities.  Musicians need to be less static and predictable:  the likes of Howlin’ Ric & the Rocketeers are going to lead the way and hopefully take other musicians with them.  If you want to take a chance on music that mixes the vintage with new:  you owe yourself the opportunity to revel in the potential of a fantastic young band.  Cannonball is an E.P. that everyone can enjoy, and for that reason, it should be…

ON the top of your priority list.

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