FEATURE: The Independent Radio Scene in London

FEATURE:

PHOTO CREDIT: Andy Parsons 

The Independent Radio Scene in London

________

MOST of us…

IN THIS PHOTO: Ashley James of Soho Radio

will, if we think of radio and the best stations; our minds will often go to the big broadcasters and those ‘mainstream’ options. I listen to BBC Radio 6 Music and have a lot of time for other stations. The reason I listen to '6 Music is because of the variety of music and the quality of the presenters. They are passionate knowledgeable; each of them has a different personality but all are bonded by the ethos to uncover the best new music and ensure quality is at the top of their considerations. If I am not listening to '6 Music then I am tuned into BBC Radio 2. I like the vibe of the station and the fact it caters for a slightly ‘older’ audience. It is a fantastic station and there is a reason it the most-popular option in the U.K. I switch between the two but, apart from that, my tastes are a little limited. I will, in this piece, bring in an article from Time Out – they have been investigating the best stations in the capital and how the London radio scene has come to rule and define. I will mention two big stations that, I think, show two different sides to London life: Soho Radio and Hoxton Radio. The former, as I will show, was voted the world’s best station at the end of last year. The latter is a based in an ultra-hip part of the capital and projects a youthful and cool vibe.

IN THIS PHOTO: Lucid Stannard at Balamii/PHOTO CREDIT: Andy Parsons

Depending on where you are in the capital; you will find a station to suit your mood and situation. The same way one passes through London and notices the cultural and geographical shifts: local radio mirrors that diversity and ever-changing landscape. Rinse FM is a fantastic and ‘young’ station that boasts a superb roster of eclectic and knowledgeable D.J.s. Horse Meat Disco is, perhaps, the most-loved and best introduction to the station. On a Sunday, as you might today, Josey Rebelle gives way to Luke Howard and James Hillard (of Horse Meat Disco). It is a Vauxhall club-night and was named the best radio show by DJ Mag last year. Rebelle’s show ensures there is a terrific one-two on Sundays.

She has been hosting for six years and kicks things off from 10 A.M. She spins everything from two-step Soul and Funk through to current jams and consciousness-skewing experimentations. Her pleasant and upbeat demeanour makes it is a show one can wake up to – if you are lazy enough to still be in bed then! – and the sheer range and variation of music make it a must-listen for anyone serious about stepping aside from the mainstream. Consider NTS - which has a studio in Los Angeles – it is another young and hip station. That is what one notices with the best radio stations in London: they are aimed at younger audiences and helmed by young D.J.s although the likes of Rinse FM cater to all ages: one suspects their demographic falls within the 18-35-year-old bandwidth.

IN THIS PHOTO: Moxie of NTS

NTS has Moxie at their turntables: his two-hour show discovers the best Dance music in London and (she) is one of the most authoritative and her sheer drive captivates listeners – few have the same zeal and desire to bring music to the listeners. Worldwide FM has a base in London but broadcasts right around the world. Colleen ‘Cosmo’ Murphy hosts the Classic Album Sundays show and co-hosts with Gilles Peterson. Catch her on the Stoke Newington show as she spins vinyl and her own choice of records. One can experience anything from Jazz, Disco and Funk through to Rock – one never knows what is coming next. Have a listen to The Full English Breakfast Show on Balamii It is based out of Peckham and Aisha Zoe’s 9 A.M. show is chat-lite but, as one would hope, puts emphasis on quality tunes. They, luckily, come and spades: a wonderful and wired way to jump-start any lazy day. That is a look at some of the station ensuring London’s radio scene is among the finest in the entire world. I’ll come to look at the two stations, I feel define the diversity and quality in London.

IN THIS PHOTO: Narx at NTS/PHOTO CREDIT: Andy Parsons

I want to quote from an article - written a couple of weeks back. Time Out, like myself, have been exploring the London radio circuit and how it has fought its way to the top of the pile:

“Clandestine stations have clogged London’s airwaves since the 1960s. Stations like Kiss, Rinse and Kool FM were amplifiers for British underground culture in the ’80s and ’90s – playing genres like jungle, garage and grime that were ignored by commercial stations. The reaction was huge. DJs often needed two phones because the lines for shows would get so full, and if a station threw a party, thousands of people would show up. ‘We developed this culture out of nothing,’ says Rinse FM founder Geeneus, ‘and kept on pushing until the mainstream embraced it. Pirate radio was one of the biggest influences in our country and it has never been given the recognition it deserves.’

Just a few years ago, the future of creative radio in London looked bleak. While Rinse started broadcasting online and gained a community licence in 2010, Geeneus says there was a sense that pirate radio had run its course. Stations were disappearing, not just because Ofcom was shutting them down, but because they lost their relevance once the internet meant you didn’t need an FM frequency to share music. ‘There was a stage when there was no one else to relate to,’ says Geeneus. ‘We could see the pirates dropping off and there seemed to be nothing coming after us.’

 Just like the pirates that came before them, many of the new stations are formed from a desire to share music you won’t hear elsewhere. Over 70 percent of the music played by NTS isn’t available on Spotify or Apple Music. Instead, people with excellent taste, like Debonair, share the music that they discover with the world. It’s reflected in the nerdy way many stations are curated. All NTS shows are archived according to genre – from yacht rock to free jazz to leftfield techno. At Balamii they provide track IDs so every song can be looked up online.‘We cater to a subculture of music fans who want to hear something different to the mainstream. That’s who we care about, and who we’re committed to,’ an NTS spokesperson says. (They prefer to identify as a collective to reflect the fact they’re speaking for the NTS community)”.

The article explores stations I have already mentioned but all boils down to one thing: they play music no other station will. One of the main reasons I want to work for a station like BBC Radio 6 Music is to impart my own spin and dynamic. I feel a reason why there are few working-class people employed by broadsheet papers is the fact there is a set way and established order. The working-class, God forbid, might talk about real and gritty issues that could scare off the precious and protected readers – they do not want to hear about the issues in music or sexism whilst they are chomping down their cereal.

IN THIS PHOTO: DJ Goldierocks of Soho Radio/PHOTO CREDIT: Andy Parsons

I guess, in a way, the working-class D.J.s have been forced underground. The big stations do have people publically educated but, to get to those big stations, one has to work their way through the ranks – a certain level of education and experience is needed. We are not in the days of Radio Caroline – when a floating station illicitly broadcast the finest tunes; away from the jurisdiction and clammy hands of the law – and thrilled music-lovers. In a way; there appears to be an exciting movement in the underground that has fewer restraints and boundaries than the mainstream stations – they have edicts and defined playlists; catering to a defined demographic and ensuring the ratings are pushed ever-upwards. That need to compete and fit into particular slots is what sucks a lot of imagination and possibility out of radio. I can write a separate piece on the gender and racial breakdown of stations; why some are compelled to play chart music – others prefer to broadcast a wide range of sounds. As much as I love BBC Radio 6 Music; I know there is a gap in their otherwise glistening torso. There is, to the best of my knowledge, no show that focuses on the unsigned and great unwashed. Yeah, there are shows that scoop and shine the finest new nuggets from music – they tend to be bigger artists and those one can find on Spotify.

I am talking about the artists I interview and feature: the smaller acts who, despite a comparative lack of social media oomph, thoroughly warrant attention. That is where the best small stations in London come in. They are not mandated to play the latest chart hits: their scope is free from constraints and, as such, are the go-to stations to discover what is really happening in music. London is a buzzing city with so much life and musical personality: one feels this is not being honestly documented at our most-popular stations. Because of the passion and variation one hears on the best underground stations; listeners are not only loyal and stick with them but are happy, in some cases, to pay subscription fees – a lot of your biggest stations have to deal with capricious listeners who hop to other options and crunch numbers on a quarterly basis. The new and smaller stations worry not about the spreadsheets and pleasing the top-bods. Before I wrap up with a look at Soho Radio and Hoxton Radio – a summing up from that Time Out piece:

“Our homegrown radio scene is the envy of the world and it’s rapidly becoming the dominant cultural force in the capital. It’s proof there’s still an audience for lovingly curated music out there, even if it’s easier to book a tubby bloke to play Top 40 hits. But that’s not all. This radio revival demonstrates that communities can beat big businesses, and – just like in the days of pirate radio – it’s helping build a global audience for our city’s underground artists and DJs, like Ghose. ‘London’s music scene is healthy at the moment,’ concludes (Balamii founder James) Browning. ‘Very, very healthy’”.

IN THIS PHOTO: Balamii radio studio

Soho Radio, deemed as such, was voted the world’s best radio station last year. I am quoting from an article that explains why:

“Give yourself a pat on the back London, because we're the proud broadcasters of the best radio station in the world. Independent station Soho Radio was awarded the accolade at this year’s Online Radio Awards by Mixcloud.

The station has only been on air for two years and was set up by three mates – Finlay Morton, Adrian Meehan and Dan Gray – who felt the airwaves were lacking in an uncensored station where the DJs hand-picked the songs and weren't dictated by playlists. Or as DJ and musician Finlay put it: 'We wanted a station where a presenter could hear a song and say "That’s great" and just play it.'

The trio thought up the station down the pub and it's now broadcast 24/7 from Great Windmill Street. They beat stations from the Middle East, Africa and America to scoop the prize. So next time you have a crazy idea with your mates over a few pints, think of these guys – it might just be a winner”.

Whilst Hoxton Radio, which I shall end on, has a mainly young line-up of D.J.s – and seems to aim its satellites at the swankiest and most-fashionable destinations in London – there is something a little more grounded and established about Soho Radio. It is a station that has plenty of young D.J.s but brings in a lot of experienced and ‘lived in’ talent. One need only visit the website to see they are, in their own words, “Furiously independent”.

Soho’s online community radio station

Soho Radio is an online radio station broadcasting from the heart of London. Inspired by Soho’s vibrant and diverse culture, Soho Radio brings together musicians, artists, film makers, chefs, poets and the generally curious, from across the globe.

Street-side radio

Soho Radio is true street-side radio, broadcasting directly from our studio on Great Windmill Street. Awarded Best Online Radio Station in the Mixcloud Online Radio Awards 2016, Soho Radio broadcasts every genre, from soul to Japanese grime, rockabilly to the psychedelic, along with comedy, chat and satirical shows.

Radio you can swear by

Our eclectic roster is made up of shows from the likes of music journalist Pete Paphides, dub maestro Dennis Bovell, Hacienda legend Mike Pickering and Primal Scream bassist Simone Marie.

Soho Radio has grown organically since its humble beginnings in 2014, gathering talent, legends and support along the way. There are no playlists and no adverts, allowing the presenters complete, uninterrupted freedom to broadcast whatever they feel.

Take a look at the schedule and one sees a stunning mix of D.J.s and shows. A few of the reasons the station is so popular is listed above. They can swear and talk honestly. They do not take advantage of the fact but, because of the lack of nannying, can talk like human beings and provide a more relatable and honest show. The fact they are street-level and right in the beating heart of London means they have a perfect view of the happenings and goings-on in the capital. They broadcast from a small and colourful corner of Great Windmill Street and pack in some of the best talent in radio. Miles Copeland and Rob Da Bank run shoulders with Aaron Rush and Andy Smith. My choice shows – one should seek them all out - are:

Baby Bam

http://www.sohoradiolondon.com/presenters/baby-bams-good-vibes/

Bam is a DJ, producer and MC from hip hop pioneers Jungle Brothers. A key contributor to the golden age of hip hop as well as the Native Tongues movement; a movement that brought afro-centricity, social commentary, fun story telling with an eclectic mix of music to the art form.

Named after the founder of the Zulu Nation, Akrika Bambaataa, Bam, with Jungle Brothers, inspired conscious hip hop and hip house with the classic dance floor hit “I’ll House You”.

Currently based in London, Bam has been working on both sides of the Atlantic touring with Jungle Brothers. He’s a frequent guest MC at festivals working with The Mouse Outfit and DJ/Producer Mr. Dero. His latest project Bam & Mr.Dero “This & That” features the Jungle Brothers remake of “Because I Got It Like That” is available on Tiefparterre Records.

Clare Lynch

http://www.sohoradiolondon.com/presenters/clare-lynch/

Soho is a remarkable square mile with a remarkable history. From around the end of the seventeenth century it was already an established residential district and has housed such luminaries as Karl Marx, Casanova, Canaletto, William Blake, Isaac Newton, Dr Johnson and the great composers Haydn and Mozart.

The Soho Society was formed in 1972 “to make Soho a better place in which to live, work or visit.” Then as now the principal aims of the Soho Society are to protect the interests of residents and businesses and to enhance the environment which we all share.

Each week Clare Lynch and Leslie Hardcastle MBE, President of the Soho Society welcomes in guests connected with Soho and attempts to answer the question, ‘what is Soho to them?’

http://www.thesohosociety.org.uk/

Grace Woodward

http://www.sohoradiolondon.com/presenters/grace-woodward/

Grace Woodward is a presenter with a background in all things style related, retailer, stylist, designer from the famous to the infamous and everything in between. ‘Style Moves’ is an exploration of how music influences many aspects of our lives from the emotional to the physical and in particular the major impact it can have on what we wear and why we wear it. She loves a Siouxie make-up look the morning after

Sali Hughes & India Knight

IN THIS PHOTO: Sali Hughes

http://www.sohoradiolondon.com/presenters/sali-hughes/

Sali Hughes is a journalist, broadcaster, Guardian columnist and founder of the award-winning salihughesbeauty.com, a large online community forum for women. A former magazine editor, she has written extensively for Grazia, The Observer, Elle, Never Underdressed, Marie Claire, Cosmopolitan, Glamour, The Face, Shortlist, Stylist, Woman & Home, Look, Net-a-Porter and Mr Porter and is Contributing Editor on Red magazine. She is opinion columnist on The Pool and Beauty Editor on The Guardian, appears frequently on BBC Radio 4’s Woman Hour, You & Yours and Today programmes, 5Live, Sky News (where she is a regular newspaper reviewer) and ITV’s This Morning and Daybreak. She is a consultant to major beauty and fashion brands, and lives with her two sons in Brighton. She is the author of best seller Pretty Honest: The Straight-talking Beauty Companion (4th Estate) and is currently writing her second book, out next autumn. She tweets from @salihughes.

The Smoking Guns

http://www.sohoradiolondon.com/presenters/smoking-guns/

‘London’s most exciting DJ duo’- Flaunt Magazine

London born singer/songwriter Iraina Mancini and Canadian actress/filmmaker Samantha Michelle together are The Smoking Guns.

The ladies spin in London’s most exclusive hotspots, and internationally at top music and film festivals.

The Smoking Guns present their favourite 60s rhythm and blues, northern soul, ska, Latin boogaloo, funk and garage rock.

Tune in for a mix of rare finds and much loved classics as the girls offer a little sample of their DJ sets.

www.thesmokingguns.co.uk

Capeface

http://www.sohoradiolondon.com/presenters/capeface/

Capeface is the moniker of 22 year old Tom Smart based over in East London. He’s previously presented on Surrey’s Kane FM, Stag Radio and London based Radar Radio.Varying from Hip Hop to House, Disco to Dubstep, Garage to Grime, Capeface proves his versatility as an artist, and has featured on sites such as DJ Mag, Earmilk, Your EDM and Run The Trap. Gathering all the music that’s been personally influential to him over the course of each month, expect to see all these genres and a whole lot more featured in his shows.

It is no coincident the two stations I have chosen to single-out have gorgeous and eye-catching websites. Soho Radio has pastel colours and neon combining. It is vibrant, alive and reflects the sense of fun, diversity and rebellion of the station. Hoxton Radio has a sense of structure and class but is equally beautiful and engaging:

“Hoxton Radio sits at the top of the pyramid setting trends and influencing Londoners across habitual pop culture pursuits.

We innovate in bringing the freshest insight into fashion, style and new trends bringing fresh music to the airwaves, art to our viewers and picks in food, photography and creative networking across East London.

Our partners include Old Spitalfields Market, Tate, SOS Rehydrate, Frame, Supermalt, Eventbrite, The Hoxton Hotel, Vice, Intel, Shopcade, Tate, V&A, UAL, Foffa Bikes, The Breakfast Club, London Fields Brewery and Hackney Council.

Amongst our roster sits Ashley James, Stefanie Jones, Arielle Free, The Preshaah, Liam Young, Elspeth Pierce, Charlotte de Carle, Sabrina Carder.

Hoxton Radio works closely to support the arts and run in depth coverage for First Thursdays with previews, artist interviews, analysis and editorial coverage on air and online”.

Before I wrap things up; a trio fo Hoxton Radio D.J.s and their most-recent shows - and what they are all about:

Alternative Hour with Elspeth Pierce

http://hoxtonradio.com/alternative-hour-w-elspeth-pierce-9/

This week’s Alternative Hour was the perfect anecdote to the end of the Bank Holiday, with hot new music releases for the Autumn. She also shared her sonic discoveries from the fields of Reading Festival from The Wholls to The Shimmer Band.

Her very special guests this week featured her little rescue dog Edna, but more importantly Shoreditch Dog House, a flexible and alternative dog day centre based in the heart of Shoreditch and opening next week, September 5th.

Track of the week (second time lucky) was from Chroma, a punk indie group with female front harking from Wales. A refreshing change from the male heavy Reading lineup who played on the BBC Introducing Stage.

@shoreditch_dog

About:

http://hoxtonradio.com/presenter/elspeth-pierce/

"Elspeth Pierce hosts the Hoxton Fashion Show, Wednesdays 10am – 12pm and Elspeth Selects new music show Tuesdays 4pm – 5pm.

Style expert Elspeth has her finger firmly on the fashion pulse. She has presented all the off-court action at The Wimbledon Championships for Vogue magazine online, styled and presented live fashion events from The Clothes Show to Britain’s Next Top Model and hosted live radio shows from London Fashion Week. She is also in the thick of the action when it comes to sport having recently interviewed the New Zealand All Blacks and fronted premier league football show Betsafe Football.

As a fashion stylist and presenter, Elspeth started her career at ITV This Morning, styling models and celebs for the live shows. From there she landed a role as freelance fashion writer for Reveal Magazine and as fashion blogger to shopping centres countrywide.

Elspeth has recently joined Candid Magazine as a music writer, contributing a weekly post to Candid’s expansive digital music section and keeping readers attuned to what’s new, sonically.

With her fresh face and vivacious personality, Elspeth has also modelled for various companies, fronting commercial campaigns for companies as diverse as T-Mobile, Ted Baker, TGI Friday’s and McCains".

Ashley James x The Berlin Patient

http://hoxtonradio.com/ashley-james-x-berlin-patient/

Relationships, Dating, Doting and random donations?

Ashley James had it all plus the most banging beats for the weekend ahead

About:

http://ashleylouisejames.com/about-me/

http://hoxtonradio.com/category/ashley-louise-james/

"You can listen to me on my Hoxton Radio show every Friday from 2pm-4pm from anywhere in the world at www.hoxtonradio.com. I’ve recently been nominated and shortlisted for an IARA Award for Best FM / UK Radio DJ, which I’m so excited about. I’m crazy about rap, Hip Hop, trap, grime, and R&B. My love affair with music started when I was very young and I had my first radio show at the tender age of 7 (granted it was just on my own tape recorder taking songs from the radio and making my parents record the adverts, but it was a start). I got my first taste of real presenting at sixteen when I secured work experience at BBC Radio Cumbria, and then went onto work on URN, the University of Nottingham’s radio station, whilst studying for my BA (hons) French & English Literature degree (bonjour). I was also given a guest show on Rinse FM".

Sasha Brown – Happy Buddh Monday

http://hoxtonradio.com/sasha-brown-happy-buddha-monday/

About:

http://hoxtonradio.com/sasha-brown/

"Sasha Brown is a singer/song-writer working in electro-pop & dance/house music. Her sound has been described as Lana Del Ray meets Years and Years. She is also a DJ and has a show on Hoxton Radio Mondays 12-1.30.

Her debut track ‘Good Life’ received Radio Play on Hoxton, BCFM, UJIMA and Burst Radio. Sasha was Artist of the Week on America’s Blog Talk Radio with Cyrus Webb and she has been featured on UBTV, Coast2Coast and Virtuoso Entertainment.

She has recently worked on a deep chill/house EP with German producers Verbund West which is set for imminent release. Her track ‘Talk On’ with Nathan Barato has just been released off the renowned underground label, Hot Creations and received Radio 1 airplay with Pete Tong".

Back from Vietnam and preaching Happy Buddhas like they’re the new Chanel-yes, Sasha’s back. This week Sasha was joined by Bokan’s Head Chef, Aurelie, to discuss Bottomless Brunch and the art of cooking/eating.
http://bokanlondon.co.uk/

Sasha also brought you new music from the likes of Alex Adair, Crazy Cousinz and Softmore.
https://m.soundcloud.com/crazycousinz

Top tip: Book a ticket to this!
XOYO
An Orchestral Rendition of Dr Dre’s 2001
Wed, 20 Sep 2017, 19:00

Notorious B.I.G ‑ An Orchestral Rendition of Ready To Die
Wed, 27 Sep 2017, 19:00

http://xoyo.co.uk/gigs/reimagine-presents-notorious-b-g-orchestral-rendition/

@TheSashaBrown
Instagram: SashaJadeBrown
www.sashabrownmusicofficial.com

That is a snapshot of the station – with a trio of awesome presenters – but, to get a better impression of the station; visit their website and make sure you tune in! Hoxton Radio, alongside Soho Radio, show what an array of incredible D.J.s are in the capital – each committed to provided quality shows and presenting the best new music to the listener. I hope that has provided an insight into the London radio scene and why the capital’s underground and growing stations are the very best…

IN the world.

FEATURE: A Ruby Kick: The Continuing Influence of Kate Bush

FEATURE:

 

A Ruby Kick:

 The Continuing Influence of Kate Bush

________

THE same way I placed an embargo on the mere mention…

PHOTO CREDIT: Evening Standard/Getty Images

of Billie Marten last year – so blown-away as I was with her debut album – this will be the final inclusion of Kate Bush for 2017! Actually, this is no flimsy and crow-barred excuse to explain my endless love for Kate Bush. Next year, in February, it will be forty years since her sublime debut, The Kick Inside, was released to the world – hence, the reason for the title of this piece (ruby is the gift one gets/receives after forty years of marriage). I wanted to focus on her debut but, more than that, explain how that album started the ball rolling – one that would hit and affect so many artists along the way. It is clear and evident Kate Bush affects and resonates in the heart with so many musicians today – male artists in addition to women.

PHOTO CREDIT: Pinterest

What I wanted to do, if I have not left it too late, is compile an audio documentary that brings recorded interviews (with Bush and other musicians) and pairs that with revelations and stories from new artists. There are so many out there who have taken from Kate Bush and carry their music wherever they go. Different albums/periods of Kate Bush’s career affect different artists. To me, and the reason I wanted to write this, was set the wheels rolling for a documentary of some description. It seems foolhardy and a shame to pass such an anniversary by without something authoritative and passionate. An article might not be sufficient so I am determined to find a way of interviewing some people and splicing it with archived interviews.

PHOTO CREDIT: Pinterest

Of course, as with any self-respecting journalist, the ambition would be to interview the woman herself! I realise I do not have the cachet and celebrity to warrant such an audience. If I worked for BBC or another station – maybe I would be able to get that chance (fighting off stiff competition, I can imagine). I wonder whether, as her debut is forty next year, there will be new material. None of us likes to think 50 Words for Snow (her last studio album came out in 2011) is all we will hear from Kate Bush this decade. Of course, she has been busy and stunned fans lucky enough to catch her at Hammersmith Apollo back in 2014. That is a gig that, if I could turn back time, I would make every effort to get myself to – the other one I regret missing was Jeff Buckley when he played New York cafes in 1993 (I was ten and based in the U.K. - so I can forgive myself that). I have Before the Dawn (the name of her live show in 2014) and it is a treasured vinyl that is exceptional to hear. I know I am diverging from the tracks but I am amazed at how, forty years after her introduction to the world, she continues to amaze and…wow.

IN THIS PHOTO: Kate Bush signing copies of The Dreaming in 1982/PHOTO CREDIT: Peter Still/Redferns

Whether you see The Kick Inside as inferior to The Sensual World, The Dreaming and Hounds of Love – seen as her finest album by most – one cannot deny how important The Kick Inside is. Without that album, and the response it gained, there would not have been any more material. It began the process and lit the fire: sparked a wave of fascination that continues to this very day. Before I come to look at the artists inspired by Kate Bush; I will outline why we should celebrate forty years of The Kick Inside. One needs to be patient – 17th February is the official anniversary – but, with four months remaining; it is ample time to dive into the album and chart its heritage. You can, from there, look ahead and draw a line between the album and so many other records. I said how many are inspired by Kate Bush: one finds elements of her debut in some unexpected places! My first experience of Kate Bush can be traced to, around, 1986, I guess. I would have been three (maybe it was 1987) and a V.H.S. of her collected music videos – a sort of ‘best of’ that included songs such as Wuthering Heights.

IN THIS PHOTO: Kate Bush in 1978

I think Them Heavy People is my earliest memory of Kate Bush – that incredible and charming video makes me smile every time I see it. That charm and quirkiness is one of the reasons Kate Bush stays in the heart this far down the line. The Kick Inside does not have the same variations and enigmatic diversions as Hounds of Love but, to me, it is a more solid and impressive work. Bush was a teenager when the album was released and broke ground with the album. One can argue about the voice and how that is the most notable and long-lasting facet. To me, it is the songwriting and control. There was a record label involved – and experienced musicians like David Gilmour helping with production – but look at those songwriting credits! Few albums in the mainstream contain one writer for every song – meaning, that artist takes care of ALL the songwriting. A few names are exceptions but, look closely, and it is hard to find musicians who write their own songs. That seems quite natural and many argue it is not a big deal.

PHOTO CREDIT: REX

A lot of people can’t write music so you can forgive them for bringing people in to help with that side of things. To me, the most worrying thing about modern music is the fact so many popular artists bring too many people in to assist their process. Kate Bush, as early as 1975 (when the recording began), she was putting out her own music and exploring her unique perspective. I have heard documentaries and interviews where she explained her childhood situation: writing songs and performing them to her family; some were so long, members would walk out half the way through! Her dad was especially supportive and would hear his daughter premiere her latest work. It is understandable why Bush would want to make a debut with no other songwriters – that does not make the achievement any less impressive. I shall not go into the song-by-song rundown of The Kick Inside – I have covered that a lot before – but wanted to celebrate an incredible record that helped inspire generations of songwriters.

IN THIS PHOTO: Kate Bush, 1978

I do not know whether Kate Bush realises how many musicians count her as an idol but she has an inkling, one suspects. To me, it is a familiarity and comfort that follows me wherever I go. From the whale song at the start of the album: Moving is a sensual and physical dance that kick-starts a fantastic L.P. I love all the machinations and interpretations of love: from someone who was a teenager at the time of the album’s conception (some songs written when she was thirteen), it is beguiling hearing so much confidence and maturity. We know there are teenage artists today who display a mature attitude and produce stunning music: there is nobody like Kate Bush; nobody who has those same talents and abilities. Stunning to hear someone fully-formed and striking from her first album. That talent and ability grew but, up until 1985’s Hounds of Love, there was some critical disappointment and personal doubts.

IN THIS PHOTO: A shot from the Lionheart photoshoot

Lionheart, her second album, was quickly released (to capitalise on The Kick Inside’s success) and contains fewer pearls – the fact it was released nine months after her debut meant there was a lot of pressure. Producing another record in such a short space would be like conceiving a child the day you give birth – it works in my mind but is going to cause issues, one way or another! With those words in mind (the final four); The Kick Inside’s success was all the more remarkable considering another legendary album released in 1978: Blondie’s Parallel Lines. If Kate Bush would not regain a true potential and spark (after The Kick Inside) by the time of 1982’s The Dreaming – Blondie were challenging her right at the start of her career. Bush won a chart battle with Blondie when Wuthering Heights reigned victorious. Wuthering Heights was released later to avoid clashing with (being beaten by) Wings’ Mull of Kintyre. The fact it was held back put it in the firing line up Blondie’s Denis – Debbie Harry aiming to score her first British number-one.

IN THIS PHOTO: Debbie Harry (1978)/PHOTO CREDIT: Mick Rock

Kate Bush, as we know, became the first British female songwriter to score a self-penned number-one. That is extraordinary in this day and age. When Dua Lipa recently hit the number-one spot for her song, New Rules – she became the first female since Adele (and Hello) to scoop that honour. That speaks more about chart issues and sexism but back in 1978, nobody expected an artist like Kate Bush to arrive. The Kick Inside is as much about its records and story as it is the sound and comparative quality. It is a record that changed so much and, with it, propelled a quixotic, alluring and endlessly brilliant artist into everyone’s lives. It is my favourite album of all time and that is why, by February, I hope to have something worthy of The Kick Inside’s brilliance...

IN THIS PHOTO: Kate Bush in 1979/PHOTO CREDIT: Pinterest:

It is inexplicable why The Kick Inside strikes me so hard because there are, actually, so many different layers and reasons why it remains so dear. I know that assertion is shared with many other musicians and writers. One need only look at the archives to Desert Island Discs and realise why Kate Bush is one of the most-selectable artists in its history. People feel a bond with her: even though they have not met and experience her personality in a second-hand fashion. If one were to compile a Kate Bush greatest-hits album; surely at least three or four of the songs from The Kick Inside should be in that assortment – the official release, I think, overlook the debut too much. I look around modern music and, when interviewing various artists, ask the same question: “Who are the artists you grew up listening?”. The fact Kate Bush comes up so often does not surprise me – it gives me cheer and cements my assertion she is among the greatest artists the world has produced.

IN THIS PHOTO: Kate Bush during a photoshoot for Hounds of Love (1985)

Most people who name-check her are women but there are plenty of men who take from her music and can relate. There is something gender-neutral and double-blind about Bush’s music. Call it an androgynous form of sexuality or an exceptional artist who can reach every human who hears her music – forty years from her first recording and it seems more people are inspired by her than at any other time. Does that mean musicians are uninspired by new music and finding more truth in older records?! Perhaps so but I think there are special musicians who transcend time and situation and have that perennial appeal. I cannot name all the artists who I have seen source Bush as an inspiration – you can look back at my blog if you wish – but there is no danger of a drought. One of the most interesting reasons albums like The Kick Inside are so important is the huge artists that have been touched by it.

One can hear shades of Kate Bush in Tori Amos. The American musician recently released her album, Native Invader, but if one looks back at her debut, Little Earthquakes; there is so much to compare with Bush. The cover-art shows Amos crouching in something that looks like a concrete picture frame. I cannot help think of Kate Bush and his mannerisms when looking at that photo. The same way Kate Bush carved a template for female songwriters in the late-1970s and 1980s: Amos wrote the book for female songwriters in the 1990s. Little Earthquakes arrived with seismic potency in 1992. It is a less flighty and quirky work than The Kick Inside but its softer and more emotive moments – of which there are many – can be traced to Kate Bush. One hears a lot of The Kick Inside in Little Earthquakes; the raw emotion and revelations of The Sensual World; the maturity and explorations of Hounds of Love. Under the Pink, released in 1994, changed dynamic and sound and, with it, put me in mind of The Kick Inside.

IN THIS PHOTO: Tori Amos/PHOTO CREDIT: Loren Haynes

I cannot listen to songs like Cornflake Girl and not be reminded of Oh to Be in Love or Them Heavy People. Kate Bush’s influence is clear throughout – whether Amos listened to The Kick Inside (or a later) album beforehand I am not sure. I will mention London Grammar and Björk a little later – but there are so many different acts that trace their roots to Bush. Lady Gaga’s comingling of art and Pop stems from Bush – not to mention her bold and confident persona – as does the songwriting brilliance and allure of PJ Harvey. Kate Nash (is another Kate) that takes inspiration from the divine Ms. Bush – one can add Joanna Newsome and Bat for Lashes to that list. Many easily jump to Kate Bush when they hear an artist who is different and a little eccentric. Those who do not fit into the mainstream and do not follow the pack are tied to Bush.

I am not sure whether this is lazy labelling but it is humbling to hear wonderful artists take Kate Bush’s example and continue her legacy into the modern-day. Other modern artists like St. Vincent were drawn to Bush’s theatre, narratives and oddities – St. Vincent has an attachment to Wuthering Heights. Bright Light Bright Light, Wild Beasts and Placebo are among the male artists who count Kate Bush’s work among their favourites – Bright Light Bright Light hails The Sensual World as his joint-favourite record. Goldfrapp is another act that springs to mind when looking at Kate Bush’s musical progeny. They have a connection to nature and the world – elements and facets evident right from The Kick Inside onwards. A 201-piece, written around the time of Bush’s performances in Hammersmith, spoke with a collection of artists who are inspired by her.

One reads the piece and is amazed by those artists one did not expect to count themselves as fans:

Catherine Pierce (The Pierces)

The first time I heard Kate Bush’s Running Up That Hill I was moved to tears. I don’t remember a song ever striking such a chord with me. I was going through a difficult time and it was as though she was reading my heart. Still, every time I listen to it, it invokes a feeling that makes me instantly go inward. It’s one of those songs that I wish I had written and would love to cover, but wouldn’t dare because I don’t think there could be a more perfect version.

Rumer

Having six older siblings, I got to listen to artists like Kate Bush from an early age. When rifling though my older sisters’ bedroom one day, I found Hounds of Love. I loved the album so much it barely left the tape recorder, although I always had to run across the room to fast-forward Waking the Witch because it was too scary! That was my first introduction to her wild and rugged musical landscape, and that unique inner world. She is such a rare artist of our time, uncompromising yet always feminine, with no walls to her expression.

IN THIS PHOTO: Catherine Pierce/PHOTO CREDIT: Ken McKay/ITV/REX

Sharon den Adel (Within Temptation)

We covered Running Up That Hill in 2003. I grew up with Kate Bush because my dad really liked her music. She was always in the background. When our band started there were some parallels with the way I was singing, the falsetto voice. People were always comparing us. It wasn’t a sound that you hear a lot, especially in rock like I do. With some of her songs, when you take them apart, they don’t seem possible. If you look at the rules for how you write songs, they shouldn’t work, but they do. She’s one of a kind. She’s the icon for a lot of female vocalists. She inspired so many of us.

Emily Kokal (Warpaint)

I was late to the Kate Bush fan club. A few years ago a friend of mine spent an evening showing me videos and songs and telling me Kate’s story, and I was so excited to have this woman’s work to dive into and to discover what a pioneer she was, and how influential she was on artists I have loved. Her melodies are unreal. Singing along with Kate is like vocal Olympic training. I floated down the Nile for a week and she was my constant companion. Cloudbusting — ahhh. She’s like Glinda the Good Witch’s punk sister. She’s a champion and an innovator and I’m so happy she exists and expresses her beauty for us all to enjoy.

IN THIS PHOTO: Imogen Heap at 2010's Grammys

The piece brought in Boy George and Donny Osmond into the feature – showing it is not only female artists that are compelled by Bush’s rare majesty. Benjamin Clementine is in there – someone who is about to release a new album – and, before moving in, two more examples the article sources:

Imogen Heap

When I was 17 and getting my first record deal, it was the likes of Kate Bush who had contributed to labels taking me seriously as a girl who knew what she was doing and wanted. I was able to experiment and left to my own devices in the studio. Kate produced some truly outstanding music in an era dominated by men and gave us gals a licence to not just be “a bird who could sing and write a bit”, which was the attitude of most execs!

Tom Fleming (Wild Beasts)

Like most people I started with Hounds of Love and went outwards from there. Now The Sensual World is my absolute favourite. There’s a song on there called The Fog, which I think was the most captivating four minutes I’d ever heard at the time. It’s remarkable. She was instrumental in moving our band down certain routes — her and Antony Hegarty, Michael Gira of Swans — these writers who are playing with sexuality and delicacy versus strength. It’s all really interesting and not macho, which is really important to us. Also, she’s seen as this pop star and doesn’t really get the credit she deserves as a producer. She was really ahead of the game. I haven’t met her but I expect she’d be quite sane and normal, which the best people usually are.

IN THIS PHOTO: Wild Beasts' Tom Fleming (2014)/PHOTO CREDIT: David Daub

That is an incredible and broad list of names. It covers the mainstream: look at the new artists coming through and you’ll find acts from five/six continents, playing all genres, who have been inspired by Kate Bush. Literally, I know an Israeli Future-Beats artist and Brighton Folk singer who counts Bush as an influence. I said I would mention London Grammar (but didn’t) but cannot talk about Kate Bush and not mention Hannah Reid. The trio’s vocalist has the same drama, beauty and range as Bush. I can hear elements of Kate Bush’s modern albums in Hannah Reid’s voice. Although Reid has a deeper voice than Bush: there are some definite comparison and that common (immense) beauty that both possess. Florence Welch’s Florence and the Machine, I understand, are gearing up new material. How Big, How Blue, How Beautiful was released in 2015 - and gained huge and passionate critical acclaim.

IN THIS PHOTO: Florence Welch/PHOTO CREDIT: Laura Coulson

Ever since the debut, Lungs; one can hear Kate Bush in the music. Pounding, bellicose decelerations such as Drumming Song and Rabbit Heart (Raise It Up) have the same percussive and vocal triumphant as Running Up That Hill (A Deal with God) and Babooshka. Welch’s tender songs find roots in albums like The Kick Inside and Lionheart. Unlike a lot of the artists I have mentioned – who, I feel, can be traced back as far as The Kick Inside – Welch’s Bush influence, to me, begins around 1985 – when Hounds of Love was unveiled. One can hear the same drama and compositional ambition/excitement in the early Florence and the Machine material. Although Welch wrote songs with Isabella Summers and Paul Epworth (and a few others) on Lungs does not detract from her songwriting ability and talents. There is a lot of the compelling and fascinating woman in that album. Welch has developed and changed her sound: growing more confident and singling herself as one of the finest singer-songwriters in the world. I am not sure what form a new Florence and the Machine album will take but there are rumours the heroine is laying down sounds – maybe we will get an album by the end of the year?!

PHOTO CREDIT: Daniel Jackson/Trunk Archive

I wanted to conclude this section by looking at two artists that have helped continue Bush’s work and bring it into the modern age. The first, actually, is someone who picked up the mantle in the early-1980s and was one of the first popular artists inspired by Kate Bush: that would be Madonna. Everyone can see comparisons between Kate Bush and Madonna. The same sense of show and self-empowerment; the incredible songwriting and sonic/thematic shifts between albums – the ability to stand out as an icon and inspire legions of fans. Madonna projected a more provocative and sexual version of Kate Bush but many critics and commentators noted how Madonna saw how Kate Bush blossomed and progressed in her early career and ran with that, to an extent. Madonna, as her career developed, went in different directions but her image, confidence and artistry can be compared with Kate Bush. I feel Björk is one of those artists who is seen as unique – she inspires so many others and is one of the most groundbreaking and extraordinary artists since the 1990s. Her debut album arrived the same year as Kate Bush’s The Red Shoes.

IN THIS PHOTO: Madonna

Not that the Icelandic pioneer would have had intel about the recording and taken from that – it is interesting and one can definitely hear some comparisons between the works. The Red Shoes arrived after Björk’s debut but The Dreaming (1989) arrived at a perfect time to inspire a hungry and original artist. From her earliest days; I could tell there was a bit of Kate Bush in Björk. The way Björk experiments and pushes the boundaries of music; the way each album has a different skin and brings in new elements, Björk does not repeat herself and ensures every record progresses from the last.

IN THIS PHOTO: Björk

Her forthcoming record will be prefaced by The Gate – her single is out later next week and gives an indication into an album she says explores the purity and luminous nature of love. It is her ‘Tinder album’, as she says, and represents transitioning from break-up to rekindling a desire to be in a relationship. The way Kate Bush put art and depth into music: Björk continues that and is the most notable and strong successor to Bush. I speak like Kate Bush has died but I mean – the artists mentioned – they are picking up the baton and keep the flame burning bright. I hope Kate Bush does release more material but, even if she does not, her music lives on through some of the best artists of our day. Björk is a perfect example of how Kate Bush’s incredible talent and music has inspired the new generations.

I am excited by the approaching fortieth anniversary of Kate Bush’s debut album, The Kick Inside. It is an album that means more to me now than it did when I was a child. I cannot believe how fresh and inspiring it is all these years down the line – yet, it sounds like nothing else and stands on its own. The fact few other Kate Bush fans do not rank her debut as the best does not dent my enthusiasm: I feel like it is my little secret and I have to explain why it is so good. Nobody can deny how important it is and how many artists, consciously or not, have been moved and affected by the record. It does not seem aged or outdated at all. The Kick Inside is a fantastic work that began a glistening and exciting career.

IN THIS PHOTO: Kate Bush in 1979

Later work would cement and elevate Bush’s name and brilliance to new heights and audiences. She is a talent that continues to inspire new artists to come into music and explore themselves with freedom, brash expression and boldness – unconcerned with the mainstream and fitting into holes. That might be the greatest thing Kate Bush has given us: an unorthodox and entrancing spirit who, back in 1978, could not be compared with anyone – she remains distinct and unique to this day. I am touched so many people have taken so much wisdom and beauty from Kate Bush’s work. People will be talking about her work forty years from now: it is timeless and, as such, when The Kick Inside’s anniversary arrives; we should not only celebrate a remarkable debut album but…

A truly brilliant artist.

FEATURE: The Gig Experience: Are We Losing the Ability to Connect?

FEATURE:

 

The Gig Experience:

  Are We Losing the Ability to Connect?

________

FUTURE pieces of the day will contain a lot more…

sugar than spice. In fact; this is not meant to decry gig-goers and question impunity. What I wanted to address – whilst not a new subject – is the way we are approaching the live experience: how many of our best venues are facing closure and extinction. I wanted to split the piece into two halves – without rambling on – and ask why we feel so inclined to buy tickets to see an artist – only to disconnect ourselves from the performance when we get there. This is not the case with everyone: there are many who take a more traditional and proper approach to music. I do not own a Smartphone and one of the reasons for this is I do not want to be endlessly distracted and obsessed by machinery and technology.

It not an original observation when I say so many people are hooked on their phone – to the point when one will walk the street to be met with an approaching horde of phone-staring zombies unaware of the logistics of walking. They careen towards you and, even if they look up, often go straight through you. It is a worrying sign we have to document our every movement – some of these emanating below the waist – and keep everyone updated with every pointless thought and irrelevant status update. I am guilty of indulging the anonymity and security of social media. We do not have to embrace and properly connect with a human on social media: one can say what they want and message someone without becoming involved with them or meeting them at any point. It gives us a rather strange group of ‘friends’ where can surrender sociability and dispose of the human touch. I worry we are more absorbed and fascinated by screens and technology – few are worried they are slipping away from humanity and spending their free time hooked to laptops and Smartphones.

PHOTO CREDIT: Getty

One should, when affording themselves the chance to get out into the world, should not carry their phones like a weapon – a warrior going into battle that needs to wield it at the mere whiff of approach enemies. I cannot judge people too much because I spend most of my free-time on the laptop. I have no choice when it comes to what I do. I never go to a gig and spend my time there taking videos. I understand someone might want to take a picture of the venue they are attending. It documents you were there and is good for prosperity. Why do people feel the need to catalogue the entire duration and development of their gig-going experience?!

IN THIS PHOTO: Prince; who wanted the audience to dispense with phones at his final gig

From the time they are on the train (or in the car); one is presented with an array of photos and videos – right until they get out the venue and are on their way back home. It is like, when seeing people hold phones aloft, there is an approaching alien craft from above. People put their phones up and seem to form some messianic circle. Smartphones have their uses (it passes me by but I am sure there are some) but photography is the main one. It is easier snapping something and is one of the biggest breakthroughs we have had – one does not need to wait days for films to be developed and processed before they can see their images. I am glad we have moved on in that sense: the fact we have gone to such extremes means we forsake eye contact and interaction altogether. One cannot go to gigs without people taking pictures of the artist. I have seen videos of people watching a gig and it made me think: they have not seen a second of the performance with their own eyes!

IN THIS PHOTO: Beyoncé; who is one of few big artist to ban professional photography at her gigs

One of the reasons I do not go to gigs a lot is because I feel alienated and distinct – like I am watching the performance on my own. So many people feel they need to prove they have been to a gig. We cannot, in this day, say we have experienced something without photographing it. We feel this need to visualise every movement and interaction we have – music should be immune from this. Music photographers are different. Their job is to take the best shots from the field; capturing artists at their purest and least self-aware. Live performances are the antithesis of the social media/streaming culture we are growing up in. It is the chance to see the artist in the flesh and connect with them on a human level. Why would one go to a prestigious and expensive gig only to record everything without seeing a moment through their eyes?! I know artists have tried to tackle this recently. Prince’s last gig was supposed to be a mobile-free territory but I know some did slip through the net. Kate Bush, when she performed a set of shows in London a few years back, insisted the audience stay away from their phones and watch her perform without them.

Largely, people abided and accepted this request – a sense of respect and obedience that is rare to find. One knows there would have been a few people that ignored the plea and filmed everything on their phone. Technology companies have released phones that can sense when someone is at a gig. Apple trialled this last year and, the way it works, was a radar/sensor can detect the environment and prohibit one from videoing and photographic at a venue. That is a positive thing every company should roll out. One imagines there would be an outcry but we are not stopping people from taking photos away from music. I find it pointless going to a live performance and doing anything but watch what you have paid to see. Live music is one of the most exciting and immersive experiences one could witness. We have become so entangled in the Internet we have forgotten how to be a human being and remove ourselves from the machine. This ignorance and self-obsession extend to dates, holidays and everything around us. I rarely take photos and, when I do, it is to document something I struggle to describe with words – a tourist site or rare event. I would never take a camera to a gig and have no interest boasting about the experience on social media. The fact I was there and know a gig happened is proof enough – I do not care what people think and whether they need evidence.

The Good Ship in Kilburn is one of the latest venues to face closure. The London venue’s doors will shut next month because of the curbs on late-night revelry. The Evening Standard reported on the closure:

“Last year, police and Brent council reviewed the pub’s late-night licence after concerns about events finishing at 3am and security arrangements. Mr McCooke was able to keep his licence with an earlier finishing time of 2am but it affected trade on Friday and Saturday nights.

It will be the third music venue to close in Kilburn since 2011, following the loss of The Luminaire and then Power’s Bar.

Mr McCooke said: “We are the only late-night music venue in Brent. When the council looked at our licence I thought this will kill the business.

“But the measures they put in place with the early closures meant it was a slow death.”

Mr McCooke said he now wanted The Good Ship to “go out with a huge bang”.

He added: “Kilburn has an amazing history, with The Beatles, The Smiths, Rolling Stones and The Who playing here. Kilburn has always punched above its weight but in less than six years three venues have been closed, which is shocking”.

One can, legitimately, draw a line between the closures and the way we choose to interact with other people. You can argue people have less disposable income to spend on live music these days. I do not think we have become poorer in that sense. I feel we prefer to stay in because technology allows us to watch whatever shows we want and opens a whole world of entertainment. There are plenty of great artists out there so one cannot say the lack of quality is driving people away. So many of us are absorbed in technology to the extent we forget how to interact and socialise. We are going to extremes. People are either not going out at all or they are going out and drinking to excess. There is no middle-ground that allows people to go to gigs and act cordially. The trouble and controversy that surrounded Fabric’s closure – and subsequent rebirth – was to do with drugs and trouble at the venue.

IN THIS PHOTO: Fabric nightclub, London

The Council and Government have tightened up security and regulations to ensure that pattern of events do not repeat themselves. A few bad apples do not represent the entire music-going public but it is troubling so much trouble and controversy leads to venues shutting their doors. Now people are filming gigs it means many are able to sit at their laptops and watch a concert. The issue is more complex and there are other reasons why so many venues are closing - there are so many venues it is impossible to keep all afloat; people are bonding more with streamed music – but I worry we are abandoning live music and not treating it with due respect. New artists need people to come see them and help them thrive: if we are glued to phones and prefer to spend our time online – how viable and prosperous is the future of music?

PHOTO CREDIT: Getty

I am pleased people are not sitting back and letting venues close without a fight. The fact so many big artists are banning people from videoing their gigs is a sign they want people involved and not streaming their performance to the masses. Eminem, when he played Reading and Leeds last month, banned the BBC from streaming his performance. He wanted paying punters to get exclusive access to his intense and near-career-best show. That is fair enough and I think he would have been aware people at that festival were videoing it themselves. I guess he cannot stop that but so many artists want fans to connect and watch what they are doing. If we get too reliant on technology and feel a desperate need to photo every stage of a gig – how does that impact on our enjoyment and the purpose of seeing an artist?!

PHOTO CREDIT: Holler London

One might as well sit at home and listen to the artist on YouTube if that is the level of involvement they want. I worry we are going further and further down a hole we will be unable to climb out of. The more prevalent technology becomes; the more we rely on it and replace human connection. I know many people are exempt from my point and many people use cameras/phones sparingly to capture important musical moments. One can understand if they want to take the odd shot of a band when they are in mid-flight. It is okay to video arriving at a festival but many people are taking things to an extreme. With so many venues closing its doors, it is imperative, more than ever, people fight for live music; put the Smartphones away and…

GET involved.

FEATURE: Living the Dream: An Initiative for All

FEATURE:

 

Living the Dream: 

 An Initiative for All

________

I am not sure whether the image above…

IN THIS PHOTO: The Manchester Arena

has any relevance to what I am saying – I like how striking it is but, in a way, it does link into what I am thinking. Right now, Manchester Arena is reopening after the horrific attack earlier in the year. Noel Gallagher is headlining and it will be an emotional concert. There will be nerves and doubts – security tightened to make it impossible another terrorist attack will happen – but there will be a lot of love, togetherness and uplift in the performances. One can only imagine the kind of electricity and physicality in the arena tonight. It will be talked about for years and a perfect reopening for a wonderful venue – one that was rocked and disturbed by one man’s callous and evil attempt to unsettle and shake our country. It did not work but, rather awfully, we have faced other terrorist attacks since then. It is becoming more frightening becoming a human being.

IN THIS PHOTO: The worker bee became a symbol for Manchester after the attack

One of my long-standing dreams has been to set up a charity movement, The Single Voice, that acts as a one-stop-portal that raises awareness, funds and support – based on a musical ethos and foundation. A lot has happened over the last few months that has made me more determined to get something together and rolling. Right now, islands have flattered and rendered uninhabitable by the fearsome and indiscriminate Hurricane Irma. It is bearing down on Florida and, let’s hope, it does not claim too many lives – the devastation it will wreak will be hard to recover from. Cuba has been hit and, even if it does go on its way in days to come, many will take years to come back and rebuild their lives. Dozens have perished in one of Mexico’s most-powerful earthquakes in the past day – it was also hit by the hurricane and has had to bear so much. We saw the awful right-wing atrocities in Charlottesville a while back and the calamity coming out of Virginia.

IN THIS PHOTO: Hurricane Irma

I have no solid business plan and forecast sheets right now: the sheer desire and impetus to unite all of music into a community with a common ideal. Social media is a tool that, when used effectively, can be incredibly powerful and influential. Too many of us use it for egotistical and shallow reasons. I, myself, am a little fixated with people-watching and idly spending time waiting for something to happen. The Single Voice would, essentially, be a commune of musicians and musical personnel – producers, D.J.s and creatives – that would help raise funds and awareness for those affected in society. I can throw superlatives to all the major events that have happened this year. All of them have left their mark and could be perceived to be the worst incidents we have seen.

IN THIS PHOTO: A potential Ambassador for The Single Voice, Björk

It is hard distinguishing between the terrorist attacks and natural disasters: whether political and social divisions are more scarring than physical devastation. What we do know is there is a hell of a lot of bad happening that is hard to contain. A charity/movement would not cure or eradicate any issues – instead, it would help profile and challenge issues that need addressing; use the power of music to fight against problems and evils in society. There is sexism and racism in the music industry that is not going anywhere right now. I am concerned these problems are not being addressed by people high up. I guess, in a way, The Single Voice is a dream or political movement. It is a way of creating a left-wing/left-of-centre force that has the same ideals as Labour but does not have to campaign and electioneer. I am concerned about the environment and the way peoples are being ravaged by global warming. I hate the right-wing movements and racism in wider society. Many, myself included, cannot stand the regime of Donald Trump and the way he is ruling America. Here, we have the threat of terrorism but there are so many splits and cracks in our fabric. The NHS is in peril and desperately requires finance and government support.

IN THIS PHOTO: The devastation caused by Hurricane Irma in Florida

Millions in the nation suffer depression and anxiety – many have to wait days/months to see a doctor and get adequate support. The human cost of lacking resources is seeing people take their own lives. There is gender inequality and sexism that sees women overlooked for managerial positions and denied the same opportunities as men – that is especially true in music, where there are far fewer women in top positions. What I propose would be creating two bases for The Single Voice. One would be based in London: the other over in New York. It means the two biggest music nations of Earth have an office in their territory. I want various ambassadors to represent The Single Voice and take its messages wherever they go. I would set up a website that acts like social media. One would register and sign in and be able to take part. Before I come to new developments; I will quote from an article I wrote a couple of years back:

How it Raises Money

The campaign is designed to bring together YouTube, Google, Apple and Microsoft: some of the most influential and important companies on the planet. I will go into more depth below but the way the user raises funds is through YouTube ‘views’: every time someone views a video you have uploaded; 10p is donated to your chosen charity.  YouTube is the ‘hosting site’: it is their website that is the basis of the campaign. Google will be the ones who are donating the money. Each user/member -who chooses to take part - will register on the main site (see below) and through advertising and increased search results, Google will gain revenue- which in turn will be donated into The Single Voice. Companies like Google and Apple generate enormous profits each year; they do great work but have a lot of profit coming in. Finding a legal and non-invasive way for them to generate more funds- by advertising and getting more ‘business’- would allow them to channel this money into the campaign.

IN THIS PHOTO: Googles profit/revenue from 2015

The Main Site

The initiative will have a homepage: which will be where each person goes to register. The campaign will be shared and spread to social media, but at the first point of contact, each person would start here.  Like Facebook and Twitter, registration is painless and quick: and a great way to connect with other users and like-minded people. The homepage will be well-designed and eye-catching. The top half will have various links: A-Z of Charities; Contact Details; Discussion Board; Events/Fundraisers; Latest Members; Links; Generated Profit so far.  The bottom half will be fun and interactive. Figures from music, film, T.V. and comedy past and present interacting with one another - they will be animated.

Registering

Each person will be asked to register simple details: name, D.O.B., location; campaigns; total raised and several others.  It will work a little like Facebook, where there is a profile page: it will be a simple process and contain plenty of information - although nothing too personal or revealing. From the registration page, there are links to social media - where you can easily promote your page/share your success.  When all the personal details/key details are entered, then comes the ‘fun part’. The Single Voice has the option of 8 different YouTube-based ‘initiatives’/ideas. Each new member is allowed to ‘sign-up’/choose five of the eight options.  For each initiative you will be selecting a different charity - I will go into more depth later. On the profile page will be your list of ‘initiatives’.  By each of your selections will be the total money you have raised; how many times your idea/entry has been shared- and how many times you have shared it. This charity campaign will run for a year- from its launch date- and your selected charities will get donations each month- at the end of each month; however much you have raised will be donated to them.

PHOTO CREDIT: Unsplash

Top-10 Songs

Like Desert Island Discs and Tracks of My Years, each user gets to choose their 10 favourite/most important songs.  There is an option- on each entry- for a user to commentate/explain why they have chosen what they have selected, but it is a great chance for the person to share their favourite songs.

New Music

This is an option that is a chance for new music to be heard.  A person can give the world a chance to discover new music/musicians.  If a new band/act has posted to YouTube, then their music can be shared.  There is a chance to select your ten favourite songs from new acts.

Music Videos

It is nice and simple: choose your favourite ten music videos.  Whether it is from a new band- or classic act- you get a chance to have a good think- what you consider to be the best of the breed.

Top-10…

The broadest option, this covers a multitude of music.  On this option there is a drop-down list: giving you a selection of options.  Includes is Decades- best music from ‘50s, ‘60s- all way to modern-day; Voices; Cover Versions; Guitar Riffs- up to 10 different selections.

Comedy

Whether it is a short clip- lasting a few seconds- or a full-length film/T.V. episode, this is comedy-orientated.  Whatever makes you laugh the most: get it uploaded!  I shall expand on this more- and what I would select- but you can choose a stand-up show; an episode of The Simpsons- or a comedic home-made video/prank.

Drama/film

Again, whether it is an episode of Breaking Bad- if they are allowed on YouTube- or a short film, this is the chance to get it shared.

PHOTO CREDIT: Unsplash

Beyond Social Media

Of course, the point of the campaign is not to share music/film- just for the sake of it.  The idea is to raise money and awareness of causes and charities.  On the home page, you get a chance to share your ideas and videos- and raise money each time they get a ‘view.  When you select a charity- for each entry- there is an information button: this gives you huge information and links.  If you select Diabetes U.K., then you get to find out about the charity.  There are links to their website; how to get involved in the community; how to spot the signs of diabetes; ways to further becoming involved with the charity- runs, fundraisers, volunteering etc.  This will be the case for every charity.  It means that, not only does the user get to learn more about their chosen charities and causes; other people do too.  On the site’s main page, there is an A-Z of Charities: a full list of all charities; information, links and videos for each.

PHOTO CREDIT: Unsplash

In addition engaging people more with charities and causes; there is a hope it will lead to more community involvement.  There is a chance to ‘represent’/choose to support women’s rights, stamp out gun violence, support local communities and boroughs- causes not usually represented by the big fundraisers.  In addition to giving information about each, there are ways for you to get involved: get out onto the street and make a difference.  Raising money will be a huge and important part of the idea, but it is hoped that the government will take note- issues and campaigns will be highlighted; a chance to change law- change people’s lives and initiate social change.

Not only does one get to learn more about charities and causes- the main objective of the campaign- there is a secondary bonus’.  Each time you compile a list; there is a chance to benefit others.  Say you have selected Top 10 Songs.  After you have selected each track, there will be a link on each video/selection.  Song and album information is provided; links to other similar acts; ways to record your own music/become a musician.  In terms of new music, there is a chance to help new musicians- links to campaigns; ways to share their music and causes; find great new acts; support local venues and festivals- ways to bring about equality and change for musicians.  The same goes for film and music videos: ways to become a director/actor; local schools and campaigns; links to similar films/videos; local schemes; ways to support other charities and causes etc.

Going Forward

At the moment there is the idea and determination: without contracts being signed; sites being designed- the big guns being involved.  Of course, it is not going to be as simple as it should be- celebrities and huge companies are as apathetic as they come- so will take a lot of effort and campaigning.  The point of this blog/the early stages is to gauge opinion: would people take part?  Would it interest people?  Could this work?  For each entry people select from the list you have to donate a small sum yourself- rather than relying on others- but this should not put people off- it is a chance to engage and unite social media; represent all charities; try to make some genuine change.  The rest of this year- in terms of this campaign- will be to get people talking; get names involved- contact YouTube and Google- and get them saying ‘yes’.  I want to launch this within a year- it sounds a long way off but will take a lot of work.  Above all, it will rely on people getting involved: I want it to be a lot bigger than the Ice Bucket Challenge.  It is a golden opportunity to raise millions and more for a lot of causes; raise awareness of various issues- get people involved- on the street; in the community etc.

The Website

Home page:

www.thesinglevoice.com

The bottom half would be interactive and animated: music figures would interact in a variety of locations: from Abbey Road to Reading Festival; to a recording studio and around London.  There would be music and video player that can be accessed- linked to YouTube, SoundCloud etc. – and the locations would be around the world.  The entire homepage is designed like a vinyl and has a record design; the front would be the animated figures and site name- the back would be the options and information; opening like a vinyl sleeve.

PHOTO CREDIT: Pixabay

Menu/'Track-Listing’

There would be eleven different options; each would expand/open like a song.  The options/’tracks’ are as follows:

SIDE ONE:

1.       Track One: Register

The user would sign-up-like a social media site- and be able to have full access to the site.

2.       Track Two: About/Contact; Guided Tour

3.       Track Three: A-Z of Charities and How You Can Support Them

A list of every charity around the world- from local causes to international names- that you can raise money for

4.       Track Four: Social Media

A bespoke social media site that the emphasis on charity and music: the connection between the two and engaging users to become more involved in the community.

IN THIS PHOTO: The hope is to turn platforms like Facebook into a more coniencious and less egotistic platform/PHOTO CREDIT: John Holcroft

5.       Track Five: Creative Zone

This would pull together everything within Psychoacoustics:

This will be expanded, too.  Not only will there be a spoke music zone; there will be a similar ‘creative one’ for directors- film, T.V. and music video- and actors; in addition, there would be one for comedians, comedy writers and YouTube stars

6.       Track Six: This Year’s Initiative

The Single Voice initiative detailed at the top of this post.  This would launch the charity

PHOTO CREDIT: Pixabay

SIDE TWO:

7.       Track Seven: Local; Sites, Music and Points of Interest.

It would allow you to programme your town/city.  If you lived in London for instance, you would be able to find all charities in your area; the music sites and venues- in addition to points of interest.  It would work with Google to create a bespoke search engine that would allow the user to be productive and engaged in the community.

8.       Track Eight: Connected: Tools for Musicians, Fans, Lovers and Labels; Writers to Charities and Organisations

This is a list of contacts and websites; connections and tools that allow charities to connect with musicians and the public; creatives to link-up with the right people- essentially, a LinkedIn-style site.

9.       Track Nine: Listening Zone: Video and Media Player

Here, we have a huge library of music and video.  Bonding with YouTube, there is a defined and organised library of music, film and T.V.: One that is broken-down into sections and genres; decades and time periods- allowing listeners to discover new music and film.

PHOTO CREDIT: Unsplash

10.   Track Ten: Psychoacoustics

This is the bespoke shopping site- working with the likes of Apple, Amazon and Samsung- that would not only sell music, D.V.D.s and vinyl; it would sell apps. And subscriptions; instruments and tickets- all under the one site.

11.   Track Eleven: Search/Archives

This allows the user to search through the music; film, T.V. archives: discover lost gems and album covers; information and interviews etc.

Fundraising

There are so many great charities and people raising money every day.  Through social media and life, we see posts of people competing events: Running, walking and enduring for charity; doing something amazing.  One of the issues is that social media relies on sharing- in order to increase fundraising and awareness- a lot of time people can’t afford to donate a lot.  By engaging big businesses- see below- and utiilsing music and the creative arts; it allows for bigger fundraising; tying charities and people together- from all around the world.  The website lists all charities in the world; those that are both local and international.  The charity aims to proffer and promote all charities; put them under one umbrella- unite social media and posts to ensure that greater awareness is raised.  When users sign to the charity- and create an account- they can download music and support artists; discover great music and help musicians- earning points and rewards as they go along.  When they reach certain targets, they can cash-in these points; donate them to causes- the ability to raise thousands of pounds in a very short space.   It is not just reserved to charities and causes, either.  There is an opportunity to raise funds and money for bands and artists.  The artists themselves cannot raise funds, yet others can donate to bands and their recordings; filmmakers and projects- tying-in the likes of Pledge Music and Kickstarter.

Creativity

The charity/fundraising elements will all come together in more detail- as the charity is set-up and developed; the full details and plans will be explained- but there is another element to the charity.  Through the bespoke tools and links, it encourages users and people to take up and create music; become engaged in filmmaking and television- this is where the likes of Microsoft, Samsung and Apple will come into the fold.  The companies would not only assist with designing the bespoke tools and sites; they would gain revenue and profit: In turn, they would be funding some of the world’s most innovative and well-designed music/creative tools.

PHOTO CREDIT: Unsplash

Awareness

One of The Single Voice’s assets is the way it connects people around the world.  The charity looks at the user and tailors it around them.  If you suffer from an illness or disease, it not only puts you in touch with those who can help- giving information and advice; making sure the social media side of things gets people connected.  Every day we hear of new ills and issues- from gun violence to discrimination against transgenderism; animal cruelty and natural disasters- yet we feel helpless.  The charity puts these issues at the forefront: It mobilises people to tackle the issues; gets people working to fight discrimination- raise money and support quick, so we can stamp out these inequities and problems.  Issues like mental illness or still stigmatised; homelessness and social poverty is rife.  The charity aims to put them into the spotlight: Change ways of thinking and help bring about progression and discussion.

How Big Businesses Can Help

The biggest tech and business giants make enormous profits.  Every second it is estimated Samsung makes $6,000 revenue.  The likes of Google and Apple are not far off.  Of course this is earned and deserved to an extent- they provide services we all need and use- yet think about how much they earn a year?  I have seen reports where some of those companies are unsure what to do: They have so much money but nowhere to put it.  Whilst they are developing multi-million dollar headquarters and facilities; it seems there is a lot of money that could be better used- a tiny amount of their yearly profit.  This is why The Single Voice is so important to me.  It is not a Robin Hood Effect- taking from rich and giving to the poor- as each company will be earning extra revenue/partnering with the charity: It is taking a tiny percentage of their revenue; giving it to some wonderful causes/charities- helping to fit big issues and social ills.  With such extravagant and unfathomable profits pouring in; there needs to be a better and fairer balance: Ensuring the organisations are charity-conscious as they can be.  I am not suggesting they hand over, say 1%, of their profits a year: They are getting increased advertising and business; they will see their custom rise- it is a win-win, give-and-take situation.  As it stands, the charity that is an idea and a seed: It needs the investing waters of businesses to get it off the line- and to nourish and help it grow.  Without them it will take a long time to happen: It is advantageous a working bond is created as soon as possible.  There is no real downside to either: The big companies- such as Apple and Microsoft- rarely work closely together; there is a sense of rivalry and competiveness- this is a way of bringing them together- without denting their business profits and market edges.

The Bottom Line

This is a charity I feel needs to happen: With every passing day there seems to be bigger gaps- between people and countries- big topics that are being hidden- too many people suffering silently.  Money-raising is only part of the solution: Awareness and social activation needs to occur; governments and bodies need to be on board- it will take time to happen.  The first step is seeing what people think; getting it going- getting those big names on board.  There is more and more music created each day; most people on the planet love/have an opinion on music- using this to make money and help people seems icily logical and sensible.  There is a lot of big business profits coming out; a lot of compartmentalisation and social disconnectedness: Unifying and remedying this would counteract these points. 

IN THIS PHOTO: Jameela Jamil who, I feel, would be a perfect Ambassador

I am in the process of mailing companies- the likes of Samsung, Google, Apple etc.- and some big names- I hope the likes of Emilia Clarke, Jameela Jamil and Stephen Fry will back the charity- to get this thing going. Whilst there are a lot of words here (even for me!) the facts are this: Music and the arts is an easy and fun way of fundraising; we all need a little help and awareness; too many people are suffering needlessly- we all want this to change.  The Single Voice is not so much its own charity- raising for one specific cause- but a way of housing and promoting every charity there is- whilst encouraging creativity and social interaction; tackling issues our government is not.  In a way, it is a political party we can all get on board with - no false promises and crooked smiles- just a charity we can all support.

IN THIS PHOTO: Stephen Fry; another ideal candidate to support the charity

I hope my writing and grammar/punctuation has improved since then but I wanted to reinvestigate an update a concept I have shown to a few celebrities. Jameela Jamil, when I wrote to her, liked the idea – as did Stephen Fry. I want a lot of musicians to lend themselves to ambassadorial roles (including Björk) and ensure there is a constant sense of reaction and engagement. The charity/movement would incorporate all the concerns I laid out at the top: it would integrate the original premise/pitch and would widen the scope of ambassadors and functionality. The website would raise money but get people talking and issues highlighted.

PHOTO CREDIT: Unsplash

Musicians would perform around the world and films made – a chance to expand beyond music and get creatives involved. It may sound jumbled by the same passion exists in me – my sight and intensity have not waned in the past two years. The initiatives and components of the website might change but there is that intrinsic desire to create an all-for-one, common-voice for the masses that have no political barriers and divisions. It is a need to change things in the world and bring us all together. I am unhappy with the separation and fear that permeates every issue of every society. I am not saying The Single Voice is going to radically improve the world but it is a chance for each person that wants to see change, through music and the creative arts, to have their say and…

PHOTO CREDIT: Unsplash

HELP make a real difference.

FEATURE: Music Videos and the Art of Expression

FEATURE:

IN THIS PHOTO: The heroine in the video for Beck's Up All Night 

 Music Videos and the Art of Expression

________

THIS sounds like a rather grand title for something...

IN THIS PHOTO: Jay-Z who, in his video for The Story of O.J., created one of the most talked-about videos of this year

that is, in essence, a look at music videos and their importance in the current market. The music video has always been a pivotal and interlinked part of the marketing process. I have been watching videos on YouTube and unfortunately, as one is suspect to, there have been annoying promotional adverts (by Vevo) where various no-name artists talk about their music – and how important videos are to them. It made me wonder how modern artists use music videos and whether they see them as promotional tools – or they are a chance for creative expression and the chance to make something extraordinary. Newer artists don’t get the same chance/budget to film a video of epic scope and concept. Those kinds of dreams are reserved to the elite and wealthy of the mainstream. I do wonder if videos are a part of the process many stars feel weariness towards.

We have all seen recent videos by Taylor Swift, for example, absorb enormous numbers on YouTube. Her single, Look What You Made Me Do, was much-anticipated and, although it is not up to her best days, its build-up, fall-out and video put the song under the microscope. The video is full of symbolism and there are a lot of ‘what-ifs’ and ‘who-is-that-about’ visuals. It is a piece that, whilst hardly a visual feast, provoked a lot of interpretations and possibilities. I am surprised the video got as many views as it did. The views are into the hundreds-of-millions and it has been a huge triumph. I know YouTube videos that have surpassed two-billion and that is a rather eye-watering thing to behold. Swift’s recent video is as much about the existing fanbase and gap since her last release. If one looks at the quality and memorability of the video – you are not going to be talking about scene and shots days after seeing it. Returning to the Vevo/YouTube promotions and those artists – their names escape me! – chatted about how videos, to them, is about personalisation and bespoke films. It allows them a chance to express themselves and connect with their fans.

PHOTO CREDIT: Unsplash

In my mind, the music video is as important now as it ever was. The days of MTV have gone – or when it was considered ground-breaking and the go-to show for artists – as music T.V. does not have the same cachet and sheen as past years. I have written pieces about sexual exploitation and whether videos are being used to flaunt sexuality in order to get an artist trending. There is cynicism with a lot of videos that means they are used as weapons to utilise sexuality and feminism to shift units and get an artist into focus. That might sound cynical but there are those who freely admit it. To me, the most powerful and worthy videos fall into two camps. There are those that promote feminism and positive sexualisation – artists who display sexual freedom and promote a powerful and inspiring message. The other relates to the sheer memorability of a video. Whether it is funny or complicated: plainly simple or possessed of a U.S.P. – those are the videos that ensure through the years.

I fear those artists I saw on YouTube are no in the mind because their videos are quite generic and formulaic. One of the videos that has really stuck in the mind the past few weeks is Beck’s Up All Night. It follows an armoured heroine who drives in a modified Batmobile-type car as a ‘party vigilante’: scolding those who exploit passed-out revellers and try to take advantage. Her stern gaze repeals the worst high-jinx and her metallic clothing magnetically sucks keys and phones to her bodies – so people do not make foolish, ill-judged calls or drive home when well over the limit. It is a brilliant and simple concept that provides wonderfully rich scenes, comedy, pathos and filmic ingenuity – it could be made into a short-film, one feels. It is a brilliant video that matches the song’s lyrics and sticks in the mind long after it has finished. Other great videos this year are from Lana Del Rey and Kendrick Lamar.

The former, for Love, sees Del Rey singing as images are projected onto the screen. Kids get into cars, getting dressed and smiling. There are attractive beach-dwellers in sunglasses and a 1950s’-type family driving. It is a mix of nostalgic and modern that is another luscious and image-rich video. Kendrick Lamar’s HUMBLE. It is rife with symbolism and viral-worthy moments – the golf swing and burning heads; the re-enactment of The Last Supper and epic church scenes. It relies on a big budget and a lot of creative license. Few artists have the pockets and teams to be able to realise a video as stunning and ambitious as HUMBLE. Appropriately ironic in its posturing and scale: a fantastic video that will not escape the brain anytime soon. An history of music videos shows you one does not need a big budget to get into the consciousness. It is interesting arguing whether that is the case now. As much as I love underground artists and their music: the more money one has; the greater the opportunities when it comes to videos. A couple more mainstream videos have really resounded and resonated this year. Lorde brought the long-awaited Green Light earlier in the year. There was so much fever and build around that song.

The video arrived and instantly made an impact. It is not as grand in concept – compared with Kendrick Lamar – but it relies on a sense of triumph and confident imagery. The heroine barely smiles throughout but, whether skipping the street or hanging out of a car window – she is commanding, compelling and completely free. Haim’s Right Now saw its video directed by the legendary Paul Thomas Anderson. It sees the girls in the studio as they call up their mum's old student as he comes by and says "Why don't I just record a video right now?". Anderson shot the video in a single take – or near-as-dammit – and captures the girls perfectly. Their parts and performances are given gorgeous treatment as we get a glimpse into the recording process – based on a wonderful premise and backstory.

Kesha’s Praying, like Taylor Swift's video, gained a lot of success because of its sense of reaction and build. Following the court case with Dr. Luke and the attention that case gained; it was inevitable a video whose song addresses the turmoil and torment Kesha went through – it was always going to be huge and get into the forefront. Regardless of whether an artist has a big reputation or budget: a great video can arrive from any direction. The ones I have mentioned – aside from Kesha and Swift, perhaps – have succeeded because of their concepts and creativity. It shows even the bigger artists are not ignoring the importance of videos and making a statement. One can argue the fact these videos got big is because of the millions that support the artists. I am not interested in popularity and streaming figures – more the quality and role videos play in these times. Charli XCX’s Boys saw, um…boys doing various things.

These were no ordinary boys: these were big celebrities in rare and unfamiliar settings. Showing Pop music can have a sense of fun and playfulness – we see Joe Jonas with a milk moustache; Stormzy eating cereal and Mac DeMarco licking a guitar (as one does). It has sexy images and comedic moments; a lovable and fun-loving charm that subverted expectations one would have had. Rather than cavort with boys and create a sexual and sweaty video: Charli XCX went for something more creative, intelligent and wise. It got huge figures but, more than that, showed one does not need to sell videos through sex and easy routes - big artists do not need to have enormous concepts and budgets to make a celebrated video.

IN THIS PHOTO: A shot from the video for Charli XCX's Boys

There are so many great videos from underground artists – it would be a Herculean feat naming them and finding the best. To mainstream artists; they always need to make a video in order to make their songs more visible – it is part of the marketing route and one cannot release a song without making a video (unless you want it to pass people by). I am always against those videos that go for the sex angle: artists exploiting their assets to get the YouTube roof bursting. It is rather cheap and raises questions about morality and ethics. I wonder whether artists like Taylor Swift, in a video so symbol-heavy, has the right approach. If one wants an innocent and stunningly unexpected video this year go to Jay-Z’s The Story of O.J. I feel Swift could have learned something from that video – it is a Disney-esque/Mickey Mouse animation that adds new spin and angles to a fascinating artist. Look What You Made Me Do is all about symbols, controversy and enigmas.

Nobody remembered the storyline (if there was one) and it seems like the exercise was a chance to get people speculating and gossiping. I admire those big artists that do something inspiring and important with a video. Those who want to connect with fans and promote something positive should be applauded. Regardless of how much money their teams have: something simple and honest can do a lot more than a multi-million-dollar visual extravaganza. It is wonderful seeing a blend of Kendrick Lamar grandeur and a more modest Jay-Z film. We do not leer MTV and tune in for the big video of the week. We have sites like YouTube so are less reliant on T.V. for providing visuals in music. I wonder whether the sheer volume of music videos out there makes it harder to decipher the best – there are so many treasures waiting to be discovered.

This applies more to the newer artists who have a choice regarding music videos: they do not need to release one and it can often cost too much to even consider. I sympathise with them and hope, one day, more money is reserved for new artists who want to release a video. Most make do with a modest budget but you can get some really incredible examples coming through. They do not get the same views and attention as the mainstream stars but, in many ways, finer work is being created in the underground. Videos are a massively important way of showcasing an artist and allowing them license to create something magic. I would love to see a music channel – on YouTube or elsewhere – reserved for new artists and their videos. Every time I do a review/interview, and there is a video attached, I am amazed by the dexterity, resourcefulness and imagination of our best artists.

Many only have a few-hundred-quid and have to stretch that budget to a number of different people. It is getting easier and easier to stream a video but harder to get them made in the first place. Many yearn to have the same opportunity as the mainstream artists. All the acts I feature love videos and that chance to add a visual dynamic to their art. Many people write songs a certain way because they imagine a video in their head. One cannot write a song without imagining it and seeing how it will come to life. Even if you are a newcomer and on your first album; there is still the chance to do something incredible and striking. I will leave this piece and, as this year has (already) seen so many senses-striking videos – from the big and humble – it shows how much importance is placed on that side of the industry.

PHOTO CREDIT: Unsplash

Whether you see videos as a way of cynically marketing and engaging in popularity contests – one cannot deny how inspiring a wonderful video can be. I know the best of the underground can, with the right backing, conceive and create videos that endure for years to come. I think there is a division in the mainstream between those who are unconcerned with trending – and release videos that are there to amaze and compel – and those more concerned with grabbing headlines. That is always going to be the way but, whatever the motives, the video is as important (if not, more so) than it has ever been. I feel, although they don’t need to, many new artists realise how important platforms like YouTube are. Journalists and fans are attracted to songs because of videos, to a large extent.

I love to see a video as it embodies the story and emotions of the song – allowing the listener to appreciate the song in a new light. Because of this; I hope more subsidy and expenditure goes the way of new music. Anyone who questions whether videos have validity or worth should look at the incredible array out there right now. In a lot of cases; a video can be more memorable and celebrated than the song it accompanies. I love the medium and think, if new artists had the ability to make more ambitious videos, they would ascend to the mainstream a lot quicker. Whether it is a reactionary video or one loaded with symbolism; a comedic piece or one that engages the brain; one cannot deny the music video…

PLAYS a vital role in the music industry.

FEATURE: F*ck That! Is Censorship in Music Completely Necessary?

FEATURE:

 

F*ck That! 

 Is Censorship in Music Completely Necessary?

________

MY enjoyment of music is being sullied…

by this generation’s fear of anything honest and direct. It may seem odd to condone all censorship in music but I feel we are being too rigid and puritanical. Everyone today has exposure to bad language and controversy. The world is consensual and unfiltered. There is no way to shield the ears and imagination of those young and vulnerable. I understand why some songs need editing: homophobic and racist language, often heard in Hip-Hop, should not be allowed through the airwaves. There is a thin line between offensive and rude. There should be reasoned debate because, in order to get on the radio, so many artists either can anything mildly offensive – fearing mainstream radio will filter their songs out or edit them to the point of mutilation. That is how it sounds when music is edited so strongly: you get lots of gaps and it takes away the flow and reality of the piece. As I said; I can see reason and logic when it comes to offense. I am a big fan of Hip-Hop and Rap but know a lot of its artists (not all of them) perpetuate sexist ideals that seem natural to the culture – woven into the fabric of the genre so its artists are desensitised and immune to its toxicity. I wrote a piece about Eminem a couple of months ago in relation to his phenomenal record, The Marshall Mathers LP.

IN THIS PHOTO: Eminem (photographed in 2000)

The album received incredible praise upon its release back in 2000. One of the reasons some critics were left sour by the record was because of its misogynistic, homophobic and provocative language. One can argue Eminem is an artist imbued with enough genius and purpose – one should not sweat the odd off-the-cuff remark or acidic moment. The fact of the matter with the album is this: it is rife with offense, explicitness and vile. I am a huge fan of the album but do feel the homophobic nature of the songs – not all of them but many – does not represent who Marshall Mathers III is and what he talks about in his personal life. The same can be said regarding violence towards women and the misogyny one hears in many numbers – a man who is not prone to domestic violence and anything like that. Eminem is, as we hear in interviews, quite modest, shy and loveable. One hears no malice and he is an artist, one imagines, loosens morals to shock and get people reacting – rather than believing what he puts on the page.

PHOTO CREDIT: Unsplash

The same way the troublemakers at school would rebel and create conflict: they are doing it for show and to get noticed; take them away from that environment and they are very different people. I can do not defend or condone the contents of the album – when it comes to racism, sexism and homophobia. The fact The Marshall Mathers LP is a fantastically intelligent and accomplished work is a testament to the phenomenal wordplay and commanding performances throughout. How does one reconcile and adjudicate the debate between talent and controversy?! I love the album (and Eminem) but feel he is someone who walks a dangerous line between off-putting and encapsulating. Recently, after his performances at Leeds and Reading; he whipped the crowd up in an anti-Trump shout – getting them to flip off the President; Eminem used his set to tirade against Trump and his governance. That, to me, is a good use of language and offense – rebelling and protesting against tyranny and allowing that crudeness to articulate an aggression and anger that straight, more refined language cannot articulate. I use Eminem as an example as his songs, as you’d expect, are heavily redacted – few manage to get regular play on the airwaves.

PHOTO CREDIT: John Gress/Getty Images

I do worry we are being over-protective and hysterical when it comes to artists. Any slightly mild language gets edited and erased: even the merest suggestion of a bad word get cut before you hear it. In spite of that; there are plenty of songs that are sexually suggestive and lurid. Why do we feel it is okay to allow sexual language and intimations to slip through?! Is swearing a lot worse than talking about sex and chasing girls/boys? People do not sit down and discuss what is classed as genuinely unacceptable – or that which is deemed offensive to a small sector. I find no rationale for including any racist or homophobic language in ANY song. I understand, in some ways, racist language is part of certain genres. Is it okay for a black artist to use the N-word? Is it okay for a radio station to broadcast it? Those are different debates: I agree with the first statement (to an extent) but disagree with the latter.

It is a lot more acceptable for a black artist to use the N-word than other person but does that mean we should allow them to get onto radio unedited – and white artists, who use the same word, being censored?! If a gay artist used homophobic language than we would not allow that to make its way onto the airwaves – there cannot be any exceptions and loopholes in these areas. We are a modern and progressive society and feel we should not be so rigid when it comes to language. I get fed up hearing so many songs with pauses in them. A lot of times word like ‘crap’ are removed – if we have a scale and gradation of explicit language; where does ‘crap’ fall on the scale? Radio can be heard by anyone at any time. We can pick up albums with explicit content and play them to anyone. There are no age-limits when it comes to selling C.D.s – or, people are not enforcing them if there is. We can sell a Hip-Hop album to a child and they can experience a torrid of foul language and terrible messages.

Why, then, do we allow the same songs no freedom when they are on the radio – a platform where the same child can listen to the same song; only without all the language and explicitness they heard before. I was reading an article about Hip-Hop/Rap and artists re-recording songs so they are deemed radio-friendly and safe. Looking at the piece and some interesting points emerge:

“LISTENING to rap radio is often like reading a declassified government document in which thick black lines obscure the most tantalizing parts. Except that instead of black marker, rap singles are doctored for the public with sound-effects CD's. Gunshots, sirens, car screeches, turntable scratching and lyrics played backward conceal words deemed dirty, derogatory or harmful to minors. Some songs, especially ones with obscene words as their chorus, become so bowdlerized that their meaning is no longer even fathomable on the radio.

But recently, certain rappers have made it their duty to go back into the studio and rap extensive new lyrics to a song being considered for airplay. In one extreme example, Eminem takes ''My Fault,'' a song about fatally overdosing a girl with psychedelic mushrooms, and makes it PG by rapping instead about how he slipped normal, everyday mushrooms onto his friend's pizza, triggering an allergic reaction.

PHOTO CREDIT: Unsplash

Typically, the notion of artists changing their music to please the prudish and commercial elements of society is odious to critics, but in the case of several recent singles, the editing has actually improved the song. In a pop landscape in which the crude come-on has replaced the sly innuendo, some remakes are bringing a touch of subtlety back to urban music”.

That piece was written in 2000 – the same time Eminem was alienating a lot of media types with his album The Marshall Mathers LP – and one wonders whether things have got any better? More recently, in 2014, another piece added a new dimension:

“Music censorship has a long history. As early as 1940 George Formby had his song “When I’m Cleaning Windows” banned due to its alleged smutty lyrics!!! The Sex Pistols infamous Jubilee punk anthem ‘God Save The Queen’ suffered a similar fate, and one of my favourite anarcho-punk bands Crass, had to suffer the indignity of a record pressing plant refusing to press  the song, "Reality Asylum", accusing Crass of blasphemy. Instead, they had on the record a blank space with silence in its place, which Crass humorously dubbed "The sound of Free Speech" in protest.

More recently fewer songs are getting outright bans, however the BBC, and similarly the USA radio network Clear Channel, also deemed some songs inappropriate for airplay during the Gulf War such as “War” by Edwin Starr, “Give Peace A Chance” by the Plastic Ono Band and “(I Just) Died in Your Arms” by the Cutting Crew-which in my humble opinion should be banned outright for just being plain awful.

 IN THIS PHOTO: Sex Pistols

However the ‘alteration’ of lyrical content to enable airplay, or ‘radio edit’ versions is becoming more commonplace as artists strive to express themselves more freely whilst their record labels try to maximise airplay by remaining within broadcasting guidelines. Of course with the availability of music online, either as downloads or streams, censorship is now losing some of its bite as listeners are freely able to source ‘explicit’ versions of popular songs”.

It is interesting posing a straight question: Should we allow censorship in music? Many would say we shouldn’t: everyone has a choice to listen to what music they want and do not have to subject themselves to anything distasteful and ‘adult’. I mentioned how we, in the streets and homes, are open and free to swear and say what we like. How is that kind of permissiveness fine and healthy for a child, for instance?!

PHOTO CREDIT: William Matthews Photography

Many parents swear around their children and take them through streets where one might hear awful expressions, violence and sex – that might be a rough area but one can see some rather risqué and sworded sight if you are on certain streets at a particular time. Do we wrap children in cotton wool and shield their eyes and ears?! No, of course not, as that is ridiculous nannying and hysteria. The government is busy doing that so it should not be down to broadcasters to deem what is acceptable. I listen to BBC Radio 6 Music daily and find a lot of new songs are censored really heavily. Artists, in a bid to be accepted, popular and radio-worthy are dumbing—up their music and carefully picking their words – so their song can remain virginal and unspoiled when it gets to a D.J. I do get annoyed hearing a song with many gaps. You know that is their way of bleeping the swearing out but I know what the words are! We all know what is being said so what is the point of removing them?!

I think we have become less hysterical and overreacting when it comes to censorship. I remember a time when a ‘Weird Al’ Yankovic song was edited/banned on MTV because it name-checked banned streaming/downloading platforms. Sex Pistols and other Punk bands of the time were barred because of their anti-establishment rhetoric. More recently, artists have been censored because of the rather mild language on their albums. The braggadocio and womanising rituals one hears spat and boasted by many male Hip-Hop stars, apparently, is more acceptable than someone saying the S-word a few times.

PHOTO CREDIT: Juneberg Weddings

I agree we should have barriers to prevent homophobia and racism reaching people’s ears but, actually, that is only for radio consumption. One can never (nor should) tell an artist what they can say and how far they can push themselves. If we start limiting expression and speech we are impinging a human right. By the same token; one should not indulge hatred and vile sentiments. That might seem like a contradictory standpoint but, when it comes to radio-play, I agree listeners of a younger disposition should not be vulnerable to that kind of extreme language. Play those songs later in the day but why do we need to be so strict when it comes to language?! A lot of artists, knowing sexual expression and innuendo is less immune to censorship than bad language, are upping that side of things in a bid to express themselves through sex – that bad language manifests itself in something a lot more controversial. It is good to see artists reacting this way and finding ways to circumvent censors. Should we arrive at a time when the big acts have to do this I wonder? There should be no limits or boundaries for artists at all. If they do release a song/album that causes controversy then that is on their own head. Eminem, in 2000, was a subject of derision and accusation.

Many saw him as the worst kind of musician; a villain who was trying to corrupt the impressionable. He was, in actuality, verbalising cultural and pre-existing traditions countless artists projected before him. The fact his celebrity was on the rise was the reason he was targeted and criminalised. Hip-Hop artists are those recidivist characters who say exactly what they want to. They should be allowed to write about anything but people do not have to love certain aspects of their music – homophobia is something that needs eradicating. There is a school of thought that argues those who hear artists swear, use disparaging expression and perpetrate causal sexism are setting bad examples. Everyone has their own mind and should not be guarded and monitored. There are worse things in the world and if we castigate musicians for expressing themselves it damages the threads of music and undermines its power. Music is an immense platform that can bring about change and inspire generations. Part of that is the freedom to say what you should and put a bit of spice into the music. If artists can talk about sex and violence; if they can brag about shootings and blaspheme – why is swearing the enemy of the radio bastions?!

I should end this argument soon but think a lot of the problem lies in other areas of the industry. Consider T.V. and film, for example. Swearing is a lot less rigidly policed than sex, for example. There is nothing offensive about sex but it is seen as more corrupting and provocative than bad language. I watch sex scenes that see the parties disrobe slightly and, someone, have sex in underwear and layers of bedding. They usually get through with things in a matter of seconds without any nipples, genitalia or organismic moaning being revealed to the audience. Even if there is a suggestion people are naked and fully committed – when you see them in the morning, they are either clothed (or underwear, at least) or wrap themselves in sheets! How unrealistic and stupid is that?! There are a lot of syndicated shows, even The Simpsons, where a minor bit of swearing or explicitness if cut. One sees entire scenes removed and the show butchered. It is happening in music and it is completely unnecessary. I am not suggesting we allow the F-word to freely flow through the daytime schedules: I am arguing we should be less rigid and show some common sense and understanding.

One can look back at the ridiculous days of Mary Whitehouse and how insane the censors were. That is still happening now – to a lesser degree – and it is stopping artists fully expressing themselves. Swearing is all around us and, while it something that should not be encouraged to breed unnecessarily, we cannot ostracise and eviscerate those who indulge that habit. We are all human and responsible for our own minds and voices. That is true of music so I wonder why we still ruthlessly and obsessively censor music in such a regimental fashion?! The argument about censorship is not binary, by any extension of reason. In terms of what we hear on the radio, of course, we need to judge things on a case-by-case basis. I agree Eminem is an artist whose music needs to be heard a lot more – his peers and many like him find few stations who play their music. Artists who rely on certain times of day to get exposure are angry and aggrieved. A daytime show should not play a song like Kim or The Way I Am (The Marshall Mathers LP) unedited. That said; why is every suggestion of swearing removed?! It is a tiresome fallacy that needs to be removed from its cloistered environs and shown the unfiltered reality of the modern world. We are less stringent about political censorship because artists do not write about it so much. How successful and likely would a Punk movement be if we took every song by The Clash, Sex Pistols, Ramones and took our all the edgy and anti-establishment messages?!

IN THIS PHOTO: Mary Whitehouse

Music needs to address a lot of issues and problems: censorship is right near the top. The same way the lack of working-class journalists and musicians exist – to show the country the realities of a less-privileged society – censoring an artist so candidly is turning music into a scholastic and overly-disciplined forum – it should be Socratic and rational (with a leaning towards the liberal and accepting). Censors and the music industry cannot reasonably edit music and think issues like sexism and racism do not exist in music. Those are big concerns but not being tackled as energetically and persistently as censorship. I think we have become more tolerant and less parental but still lack the perspicacity and reasoning to work pragmatically. There are, however, areas of society where the spicier and more human elements of the human psyche are allowed to fly unharnessed and without surveillance. An interesting article by Rockandrolljunkie.com looked at some older examples where censorship reached extremes - words and phrases being misheard and misconstrued:

"When the Taylor Swift song “Picture to Burn” first hit airwaves, some radio stations changed the line, “That’s fine, I’ll tell mine that you’re gay” to, “That’s fine, you won’t mind if I say”.

In Tom Petty’s “You Don’t Know How It Feels”, the line usually censored from airplay is “Let’s roll another joint”. In MTV’s airings and on many radio stations, the word “joint” was reversed, obscuring it.

In 2009, Britney Spears’ single “If U Seek Amy” sparked controversy in the United States due to the implications of the title. When sung fast, as Spears does in the song, the words “if you seek Amy” appear to spell out F-U-C-K me. The song was censored in the United States and retitled as “If U See Amy”, removing the “k” from “Seek”. However, the song went uncensored in most other nations. In the United Kingdom, the song was retitled “Amy” in which the chorus and bridge lyrics are mostly removed or replaced. This is the version that has been played on BBC Radio 1 and most other radio stations in England.

IN THIS PHOTO: Britney Spears in 2009

In many songs, the word “ass” is usually censored when it is used as an insult or sexually, usually by distorting the word, or silencing part or the whole word. The word “asshole” is usually completely censored, but sometimes, only “ass” is censored, while “hole” is not.

The word “crap” is usually censored in songs, like in the clean version of “Hip Hop is Dead” by Nas featuring will.i.am. When the word “sex” is used in a sexual way, it might be censored; exceptions include rapper 50 Cent’s “In da Club” and Ed Sheeran’s Don’t (in which the entire first line of the chorus is removed). The word “pissed” would not be censored if used in a way meaning “angry”, like in Papa Roach’s “Scars”, Lloyd Banks’ “Hands Up” and Lil’ Kim’s “Lighters Up”, but censored if used in a way meaning “urinating”, which is also on “Lighters Up”.

In a time when we should encourage our artists to articulate their anger and discontent with less mediation and fearfulness, censorship is a parochial and unstructured matriarch that needs…

TO allow musicians to say whatever the hell they need to!

FEATURE: Walter Becker: Here’s to You, Sir…

FEATURE:

 

Walter Becker:

 Here’s to You, Sir…

________

MY promise of chirpier and more uplifting pieces…

IN THIS PHOTO: Walter Becker with Donald Fagen

has lasted a matter of hours. To be fair; few of us imagined we’d lose a music giant today. Steely Dan’s Walter Becker has died and, with it, left a huge hole in music. Social media is filling up with tributes and remembrances of a giant of the music world. I had to have my say for a number of reasons. I will come to those but Becker’s death is extra-poignant as Steely Dan has gigs lined up before the end of the year. I can only imagine how his Steely Dan brother Donald Fagen is feeling right now. Becker’s death, aged sixty-seven, is a shock to the world: few expect him to die at such a young age. Fagen has written a tribute already - claiming how smart he was and funny; a terrific songwriter and cynical human. Becker was due to perform at Steely Dan’s Classic East and West concerts but missed it – due to an unnamed and unspecified ailment. One assumes there is a connection – it will be interesting discovering what the illness was and why things deteriorated so soon. Becker and Fagen met one another and started collaborating as students at New York’s Bard College. From there, an instant bond was forged – they moved to L.A. in the 1970s and formed one of the most influential and spectacular acts in all of music. I think Steely Dan were due to play in the U.K. very soon - it would have been great to catch them - that was a ticket I was keen to get my hands on. It is weird knowing we will never get another album from Walter Becker. His death has not sunk in yet but the realisation he will make no more music is a hard thing to take. My exposure to Steely Dan was a chronological one.

PHOTO CREDIT: Chris Walter/WireImage/Getty Images

I discovered their debut album, Can’t Buy a Thrill, through my parents, when I was a child. That album, released in 1972, remains a Jazz-Pop masterpiece with so many different styles and wonderful moments. The line-up changed after the debut album but hearing David Palmer (who took lead vocals on Dirty Work and Brooklyn (Owes the Charmers Under Me) and Jim Hodder (an exceptional turn on Midnite Cruiser) is fascinating. The band, at that time, was more a collection of musicians finding their feet. To me, Steely Dan stood out and cemented when they released their second album, Countdown to Ecstasy. By then, David Palmer has been let go: the dynamic had changed and there was a more streamlined, focused unit. Songs (on Countdown to Ecstasy) like Show Biz Kids and My Old School are classic cuts – in no small part because of Walter Becker’s role. In fact; go back to Can’t Buy a Thrill and one hears the development and genius of Becker right through the album. Incredible bass-lines on songs like Do It Again and Reelin’ in the Years; the phenomenal command and inventiveness on Kings and Dirty Work - such a master of all he surveyed!

It was not only about the bass: harmonica and backing vocals were all part of Becker’s Can’t Buy a Thrill legacy. Becker said, in 1974, how uninterested he was with Jazz/Rock fusions – he felt that marriage was ponderous. Steely Dan played Rock & Roll with a swing. That desire for rush and energy was crystallised on albums like Countdown to Ecstasy and Pretzel Logic. That, in many people’s view, is the high-point of Steely Dan. To me, Pretzel Logic is the moment when everything fell together and became Steely Dan. The exceptional bass on Night by Night and Any Major Dude Will Tell You; the groove of Rikki Don’t Lose That Number and the eccentricity and delight of Charlie Freak – so much talent and variation from an incredible player. The bond Becker has with Donald Fagen meant every song was a display of the telepathic and telekinetic. I won’t go into the back-catalogue but it is worth mentioned the albums and moments that made Steely Dan one of the biggest and most important bands of the 1970s. Walter Becker often gets overlooked - as Donald Fagen took lead vocals and was at the front. All the songs were co-written by Becker and he was as essential and pivotal. Throughout the 1970s; Steely Dan created wonderful album-after-album – the cerebral and beautifully crafted Katy Lied (1975); the stunning moments of The Royal Scam (1976).

There were some who felt Steely Dan failed to evolve between those two albums but there was no need for giant leaps: they had reached a point where they were on fire and near the peak of their abilities. Becker, especially, growing in confidence and providing some of the finest bass-work on any album of the period. Aja, perhaps, represents the band at their most celebrated and flawless. The title-track is a sweeping, multi-part song that goes through stages and sweeps. It is mostly instrumental a fantastic odyssey from Steely Dan. Becker, as a central cog in the machine, provided so much fluidity, drama and beauty with his bass – able to direct the song but produce groove, rhythm and passion. Black Cow and Peg are funky and sassy: Becker, again, cool-as-a-cat and sensational throughout. For so many out there; Steely Dan can be defined by the exceptional masterpiece, Deacon Blues. From 1975, Steely Dan has surrounded themselves with a team of expert musicians and Becker assimilated more guitar duties. Becker and Fagen did not feel a large supply of musicians was an embarrassment. To them; they had options and were allowed to give full flight to their imaginations and ambitious songs. Without that crew of musicians, Deacon Blues would be a weaker song. It is, to me, the greatest song ever – Walter Becker is a huge reason for that assumption.

It is the moment music made sense and meant so much to me. I have been listening to it on-repeat today and finding new brilliance in the song. The sublime and titanic composition packs in so much. I imagine Walter Becker and Donald Fagen sitting in a Malibu apartment – where the song was conceived – and chatting about the composition and swapping lines. The song was written for an Alabama football team who called themselves ‘The Crimson Tide’. Steely Dan’s duo, finding this beyond pretentious, came up with their rejoinder: ‘Deacon Blues’ would be the name given the losers in the world. It is a wonderful idea and, from there, the song came to life. They have said how it was one of the easiest songs they ever wrote – and the fact they listened to it over and over again. It is an addictive and epic track that involves the listener and brings them into the music.

PHOTO CREDIT: Danny Clinch

I implore everyone to listen to the track and discover why is regarded as the band’s best song. Steely Dan would go on hiatus after their album, Gaucho – featuring the incredible Hey Nineteen and Babylon Sisters – in 1980. They returned in 2000 with Two Against Nature and followed that album with Everything Must Go (2003). The records did not represent the best days of Steely Dan but are solid and interesting listens. Walter Becker produced two solo albums: 11 Tracks of Whack (1994) and 2008’s Circus Money. Both were well-received by critics and showed he could stand on his own and still shine. It is a testament to a fantastic and adaptable musician whose supply of brilliance and nuance was not reserved for the albums of Steely Dan.

I was hoping for a new Steely Dan album and cannot believe a musician who played on Deacon Blues is not with us anymore. There are so many reasons why that song is the one that takes me somewhere special and safe. I love the drive and energy of My Old School; the experimentation and multi-genre-desires of Can’t Buy a Thrill: I love everything they ever produced. Walter Becker was, as Donald Fagen said, a hugely funny and cynical human. That wit and brilliance made their way into the lyrics and the compositions: an artist who was quick with a line but could provide myriad emotions and oblique sentiments through his bass and guitar. Becker and Fagen loved the fact Deacon Blues made its way into the public consciousness. It slipped through the cracks and, a song from two outsiders, getting into the collective bosom was a huge surprise – they were inducted into the Rock and Roll Hall of Fame in 2001 and used the opportunity to take questions from the crowd! It is sad knowing Walter Becker is gone from the world but his music and incredible legacy will never fade. He is one of the finest musicians we have been lucky enough to witness and to me. To his millions of fans out there; Walter Becker is someone who will always…

REMAIN in our hearts.

FEATURE: The Texan Ten: The Best New Acts from The Lone Star State

FEATURE:

 

The Texan Ten:

IN THIS PHOTO: The Suffers/PHOTO CREDIT: Greg Noire 

The Best New Acts from The Lone Star State

________

LIVING in the U.K. can be a blessing and a curse sometimes.

IN THIS PHOTO: White Label Analog/PHOTO CREDIT: Nicki Gell 

I am glad people here have not had to witness and experience the devastating floods that have ravaged Houston (and Texas) recently. My heart goes out to everyone affected in this difficult and unprecedented time. In honour of a wonderful state; I have collated ten of Texas’ finest new acts you need to get your ears around.  Among the impressive selection of artists we have Psychedelia, Country and Soul – from a good old-fashioned band to experimental clans; solo female artists and an incredible Punk band.

Ensure you check out all these artists and follow their music – fantastic examples of the type of music emerging from Texas right now. Everyone in the U.K. is sending out warmest wishes and affection to the people of Texas.

Take care of each other; keep making music and stay strong – you shall overcome!

_________

The Suffers

LOCATION: Houston

GENRE: Soul

FOLLOW: https://www.facebook.com/thesuffers/

Jackie Venson

LOCATION: Austin

GENRES: Indie; Blues

FOLLOW: http://jackievenson.com/

Frythm

LOCATION: El Paso

GENRE: Future-Beats

FOLLOW: https://www.facebook.com/frythm/

PHOTO CREDIT: Ryan Vestil/HRV Images

Calliope Musicals

LOCATION: Austin

GENRE: Art-Rock

FOLLOW: http://www.calliopemusicals.com/

Giant Kitty

LOCATION: Houston

GENRES: Punk; Alterative

FOLLOW: http://www.giantkitty.com/

White Label Analog

LOCATION: Austin

GENRES: Indie; Alternative-Rock

FOLLOW: http://www.whitelabelanalog.com/

Tele Novella

LOCATION: Austin

GENRE: Psych-Pop

FOLLOW: https://www.facebook.com/telenovellamusic/

BLSHS

LOCATION: Houston

GENRE: Synth-Pop

FOLLOW: https://www.facebook.com/BLSHSmusic/

Golden Dawn Arkestra

LOCATION: Austin

GENRE: Alternative

FOLLOW: http://www.goldendawnarkestra.com/

John Baumann

LOCATION: Austin

GENRE: Alt-Country

FOLLOW: https://www.facebook.com/JEBtunes/

FEATURE: The Working-Class in Music: Are Their Voices Being Heard?

FEATURE:

 

The Working-Class in Music:

 Are Their Voices Being Heard?

________

I promise my final piece(s) of the day will be more positive…

as I am aware I am a bit ‘preachy’ and serious this weekend. I have just got through looking at politics in music: whether we need artists to activate their political outrage and direct their musical talents in the direction of the world’s leaders. Now; I am looking around the music industry and wondering whether those who, traditionally, have been at the forefront of revolutions and change: the working-class. One can argue socialists or Marxists have been more effective – and would not, necessarily, deem themselves as ‘working-class’ – but I am concerned, journalists like me, might struggle to get into the industry. I will bring in a few articles to support my arguments (as I often do) but am scanning Google and typing in the words ‘working class’ and one gets some troubling results.

Working-class students at Oxford University – as few as there are! – are being assigned ‘buddies’ because there are so few social peers. It is a sad indictment of the educational system – and the elite institutions – that they have to treat the working class as remedial students. It is encouraging getting more working class students into the top universities – they are still the vast minority and something needs to change. Looking around music media and it seems there are fewer working-class journalists in prominent positions. Caitlin Moran, a Times columnist, is one of the few working-class journalists who work for an ‘up-market’ newspaper. Maybe there are working-class in your tabloids but I fear, even they, are recruiting a majority of the middle-class. An article by the Huffington Post looks back a few years - and some concerning statistics:

“In 2012, a report undertaken by the NCTJ discovered that only 3% of new journalists derived from a background of parents who worked within “unskilled” jobs. In stark contrast to this, the report also found that 65% of the industry’s new intake came from a background of parents working within “professional, managerial or director positions”.

PHOTO CREDIT: Unsplash

James Cropper, writing two years ago, laid out his personal concerns:

“For student journalists like myself, the prospect of an unpaid internship is worrying as my financial situation will more than likely prevent me from gaining crucial work experience, which could postpone the chances of obtaining a permanent position.

These worries are only emphasised by more recent Sutton Trust analysis that discovered young individuals who undertake a six month unpaid internship in London are forced to cough up a minimum of £6081 without support. For journalists wishing to take a six month unpaid internship outside London, a slightly less but still hefty sum of £5087 is required.

PHOTO CREDIT: Unsplash

This automatically prevents certain individuals, even in areas known for their large working class populations, from gaining crucial experience whereas young people of higher socio-economic backgrounds would be more likely to cope with costs.

The fact that aspiring working class journalists are forced to relinquish potentially career changing internships while others don’t due to the pretence of their socio-economic background is fundamentally wrong. In simple, this is class inequality within an industry that strives to highlight injustices”.

That, right there, seems to distil the problem inherent in journalism. It seems most of the newspapers and online sites have their basis in London. If one wants to live/commute in London; that takes a lot of money. The working-classes, due to their comparative lack of ‘necessary’ education and opportunities have to take internship-level places – these are unpaid and, therefore, not viable options for people of a certain age. I am thirty-four and cannot even contemplate the possibility of doing an internship! Even if I lived in the centre of London (which I don’t) I’d have to sell my body to make rent – I fear I would be giving refunds at a rapid rate! It is worrying seeing how elitist journalism is becoming. Maybe that is always the way but I am noticing, as more sites and channels emerge; fewer chances for the working-classes are available.

IN THIS PHOTO: Caitlin Moran

Caitlin Moran, one of the few working-class success stories, used to write for Melody Maker and grew from there. She was discovered very young and worked her way where she is by sheer talent and determination – writing about her near-impoverished roots and being raised on benefits (read her work in The Sunday Times). We need more working-class people coming into music journalism. If anything; they provide a unique perspective on the musical landscape and how skewed and defined it – I shall come more to that later. It is a simple step-system that means, at no part of the chain, are there any easy answers. I studied History at university and was not sure, at that age, what I would do with my life. Many people at my university were in the same predicament: we all wanted to experience time away from home and being around like-minded people. I got into music journalism six years ago, and by that stage, I was working in regular jobs and out of the educational loop. As good as my work is; I fear it takes actual qualifications and academia to get my foot in the door of a London newspaper/website.

If I were to do that, even with a grant, it would cost thousands to study a course – the debt would mean I’d be spending most of my wages repaying the government. It is a sad state of affairs when we need to learn music journalism through such a structured and defined basis. I have been writing since 2011 and find I am far ahead of many professionals. I would not stand a chance, were I to apply to NME, Mojo or The Guardian for a music job. They would run internships but, as I say, that is not a viable option. Even with the portfolio I have at the moment: that would not be as profitable and relevant as a journalism degree. The middle-class journalist that festoon and dominate the industry have been to great universities - and got qualifications that led to their jobs.

Maybe they had their heads screwed on and knew what they wanted sooner than me – if I had studied journalism at university then I would be working for a great paper. It is not that easy and, when I started university in 2001, there were not a lot of journalism courses and opportunities to follow your passion. My school was not promoting this line of education and there was that poverty of expectation – the alumni were not going to be in the arts; more your blue-collar workers and low-earning type. Even if I had wanted to be a journalist back then; I would have had to wait years to study a degree and, even if I survived the mountain of debt, it would have taken years more to get into a prominent position. It seems ludicrous most of the working-class journalists are reserved to blogs and online sites. Look at your big papers – The Times, The Guardian; The Independent and The Daily Telegraph – and, searching their music reviewers/journalists, and the majority of them are middle-class.

That is the case with Time Out, NME and Mojo. Yes, there are working-class journalists in their ranks but they are the minority. I feel the majority of business leaders should be working-class; politicians and leaders the same class – this is certainly the case with music. That is not my way of making the world more rational, for-the-people and accessible – there are industries and areas of life where a more educated and privileged sort is the best option. My experience and complaints are not unique. Consider a piece in the Metro by Erica Crompton. She penned an article about her experiences in journalism – and how much of a struggle it has been:

“You see, LinkedIn tells me today that I’ve been writing for Fleet Street newspapers for 14 years, with spells in and out of full-time employment and a spell of unemployment that lasted the entire length of a two-year relationship.

You may think being open about my schizophrenia, or simply having such a diagnosis, is what stops me from reaching higher.

But I believe it’s because of my working class background.

I started out well – having gotten a job as an assistant at an esteemed broadsheet, I was young and full of hope for my future.

I look back now and my heart sinks.

PHOTO CREDIT: Bigstock 

I’ve watched other assistants at the same publication go on to become world famous columnists and heads of large departments, but I’ve never really pushed on from £10 an hour.

I feel my background has held me back considerably.

My story is just one example of the class pay gap and a wider lack of social mobility in Britain today.

This isn’t a problem confined to one industry – it happens across the board.

This year, research for the Social Mobility Commission revealed that, on average, people from working class backgrounds are paid £6,800 a year less than those from middle class backgrounds.

Even if they’re doing exactly the same job and have the same experience as their colleagues, those from working class backgrounds receive nearly £2,250 a year less.

LSE research fellow Dr Lisa McKenzie, a Class Wars activist, recently said that Oxbridge-educated commentators should stand aside and let working class journalists like her do the talking about working class issues.

PHOTO CREDIT: ALAMY

Referring to Oxford alumna and Guardian columnist Polly Toynbee, she told the Morning Star:

This is my challenge to Polly Toynbee: Why are you still talking? Your voice is redundant. If you mean what you say, step over and give me your column.

Personally I agree – we need more than Oxbridge graduates as the monopoly masters of the media circus.

In the meantime, I’m actually writing a travel book on Birmingham.

It’s not as bad as you think here in the working class wastelands of the Midlands.

And we know everything there is to know about wellies”.

Journalism is a white, middle-class, Oxbridge institution that wants to retain its middle-class mentality. Working-class journalists receive less money than their middle-class equivalent. Women earn even less: one can see so much discrimination and inequality in the industry. I want to move things onto music – and why we need a working-class injection – but will end by looking at my ‘tribe’ – and how likely it is we will get into a professional position. I’ll bring in some snippets from other journalists, first.

PHOTO CREDIT: Negative Space/Unsplash

A 2016-piece from The Guardian made a good point:

“Another major consideration for aspiring journalists is that getting a work experience placement is essential. Yet the majority are London-based, unpaid, and acquired through contacts. That means those living outside the capital, and without financial resources or well connected parents are immediately at a huge disadvantage.

Everyone in the industry acknowledges these issues in the same resigned how-will-this-ever-change tones. To become a journalist it clearly helps to be well educated, well connected and wealthy, so it’s not difficult to see why the public perceive us much like politicians: all the same and out of touch”.

To support this; another piece by The Guardian showed the discrepancies in terms of class and gender:

“The findings, announced at the Changing Media Summit today, reveal that 65% of journalists who have joined the profession over the last three years are female, but that women remain underpaid and under-promoted, while almost all ethnic groups and religions are significantly under-represented.

Researchers reported that just 0.4% of British journalists are Muslim and only 0.2% are black. Nearly 5% of the UK population is Muslim and 3% is black.

The issue of equality and diversity in journalism came under the spotlight last month when 94 men and 20 women were shortlisted for this week’s British Press Awards.

City’s research indicates that women are paid significantly less than their male counterparts. Nearly 50% of female journalists earn £2,400 or less a month compared with just a third of men.

Female journalists also tend to become stuck in junior management positions, while more men fill senior posts, the research found. Nearly half of women who have worked in the industry for between six and 10 years are still “rank and file journalists”, while 64% of men with equivalent time in the industry had been promoted into junior or senior management positions”.

PHOTO CREDIT: Unsplash

It might seem like I am cobbling together pieces from the Internet to make a vague point. The reality is that is only the tip of the iceberg. Have a search yourself and see how many articles there are fulminating and outraged at the class wars going on in journalism. It says a lot that, when a petition was put onto Change.org – to urge The Guardian to employ more working-class – only eight people signed it. One suspects, if the petition had been successful, nothing would have changed. Trailblazers like Moran are part of a minority whose voice alone cannot out-shout the out-of-touch, elite nature of the press. We need to get more working-class writers in better positions. Get out of this white mentality and employ more journalists from minorities.

PHOTO CREDIT: Unsplash

Hire more women and make the press a more communal, unified and class-less forum. I have shown – I hope – I am able to hold a pen to the best of the middle-class hacks. I can pen a pretty decent piece, and yet, will be held back by virtue of my modest academic achievements. I drive a second-hand car and earn less than £20,000 a year and have fewer A-grades than the majority of people employed at the broadsheets. I can change circumstances and my background: I wonder whether I can change things in any way. The industry is so geared against the middle-classes; many are ignorant and blind to the privation and exclusivity of their business. I will end my scorched earth rantings – that is how many might see it – and apply my class theory to the music industry as a whole.

IN THIS PHOTO: Stuart Maconie

Before I come to my own conclusion; I have been reading a fascinating piece Stuart Maconie wrote for NewStatement in 2013:

“The great cultural tide that surged through Harold Wilson’s 1960s and beyond, the sea change that swept the McCartneys, Finneys, Bakewells, Courtenays, Baileys, Bennetts et al to positions of influence and eminence, if not actual power, has ebbed and turned. The children of the middle and upper classes are beginning to reassert a much older order. In the arts generally – music, theatre, literature for sure – it is clear that cuts to benefits, the disappearance of the art school (where many a luminous layabout found room to bloom) and the harsh cost of further and higher education are pricing the working class out of careers in the arts and making it increasingly a playground for the comfortably off. The grants are gone and the relatively benign benefits system that sustained the pre-fame Jarvis Cocker and Morrissey is being dismantled daily.

IN THIS PHOTO: Morrissey

…to Mumford & Sons you can add the likes of Coldplay, Laura Marling, Eliza Doolitle, Lily Allen, Florence Welch, Pixie Lott, La Roux and Mark Ronson, as well as talent-school academy graduates marshalled by one Simon Cowell, an old boy of the then £3,995-a-term Dover College (now £4,750). Unscientifically, but still persuasively, it is detectable in the names on sleeves. The top indie act the Maccabees include a Hugo, an Orlando, a Felix and a Rupert”.

Maconie, himself, is working-class and currently works for BBC Radio 6 Music. Alongside Mark Radcliffe - another working-class, salt-of-the-earth chap - he has had to work bloody hard to get where he is! Maconie’s piece, even though it is four-years-old, is as relevant to this day – as it was back then. When Maconie was a student/promising journalist, the scene was a little different. You had working-class heroes in music. He would have reviewed and seen the likes of John Lennon as a boy; John Lydon a bit later on – he coined the word ‘Britpop’ when the Gallaghers were taking the piss out of Blur. He has lived through generations where the working-class, in a minority, have produced some of the finest music ever. There are plenty of working-class musicians in the underground: how many are there making waves and impressions in the mainstream?!

IN THIS PHOTO: Jarvis Cocker/PHOTO CREDIT: Herbie Knott/REX/Shutterstock

Returning to Caitlin Moran and, when she was on Desert Island Discs earlier this year, she made an interesting point to Kirsty Young: would we have left the E.U. if working-class musicians were in a position to break to the masses?! Say a ‘new Jarvis Cocker’ wrote music about the heritage and diversity of Britain. Instead of people being brain-washed by the tabloids and their propaganda crap – they would have been better-informed, educated and aware. We would still be in the E.U. and, one could hope, Labour would be in Downing Street. That is not the case and, as a result, we are in a royal-bloody-mess! That is a simplistic distillation but there are links between the class of musicians and how that reflects on society. Not only does a majority of the middle-classes mean messages are less political/social and more personal – the quality, bite and authenticity is lost. Remember back in the 1990s when we experienced the last real wave of working-class bravado?! I was a child when that swept and it enforced and infused my life in such a primal and real way.

IN THIS PHOTO: Blur

Me and my friends would converge to the playground to chat about Pulp owning Top of the Pops; Blur and Oasis going toe-to-toe in the chart battle of 1995 – how Liam Gallagher got himself in trouble for sticking it to the P.M. Those were giddy times and, because of that, by the time Britpop ended (1997-ish) we had a Labour Prime Minister. There is a correlation between the dissipation of working-class activation and the rise of the Conservatives. Britpop ended for a number of reasons but (one of the reasons) was the need for a change and new influence. Britpop had done its work and needed to bow to its successor. Unfortunately, and disturbingly, that was the last time we saw a genuine voice for the working-class in this country. Such is the sterile and vanilla-white nature of the mainstream; we are in desperate need for a class revolution and sense of guidance. Among the posh songwriters and generic Pop artists – where are those genuine characters who write about life and the realities of the street?!

IN THIS PHOTO: Oasis/PHOTO CREDIT: Kevin Cummins (1994)

Stuart Maconie, in his article, stated how Hip-Hop and Rap are built by the working-class and is among the most honest and socially aware music around. Look at genres like Rock and Pop and they have become so impotent and meaningless. It is all meaty riffs, big hooks and aimless choruses. Where are the crafted lyrics and brilliant observations?! Where are the sort of choruses we all got giddy to when Live Forever came out?! Where are Punk bands like Sex Pistols that kicked against the establishment and exhilarated a generation?! Maybe the passing of time means it is impossible to revert to that better state. I feel there is a rigidity and ignorance that could be overturned quickly. It would take small changes but we need to give a bigger platform to working-class musicians. It all starts with journalists: if the working-class musicians feel they have few peers in the press; their music is not going to get the respect and attention it deserves. In order to revitalise and repurpose music; we need to look at the broadsheets and get them to sort their ranks out!

IMAGE CREDIT: Metro

Stop being so snobbish, elitist and stupid. The working-class and those who know what life is really like and have a much more open and loving approach to different races, colours and backgrounds. I am not suggesting the middle-class are oppressive and closed-off – the working-class deserve a voice and a chance to influence music. I fear, if I submitted this piece to a broadsheet, rather than look at the points I make and the articles I source, they would criticise my scansion, grammar and structure. That is one of the issues with the press: they are more about academia, precise English and a certain class of writer – unconcerned with something truthful, honest and real. The more we allow journalism to refuse the working-classes, women and minorities – the more that impacts on music and means the likes of Noel Gallagher and John Lydon will never be seen again.

IN THIS PHOTO: Sex Pistols

There is enough to be pissed-off with in the news. One feels the musicians in the mainstream – largely middle-class – snort with derision and, even if they are angered by what they see, are not incensed enough to write about it – they might offend and shock the labels and people who command the millions they earn. How controlling and damaging are records labels and the type of music they want their artists to play?! Maybe it is hard expressive anything the way Jarvis Cocker did back in the 1990s if (all the) label wants is something commercial and radio-friendly. Class expression and unconventional wisdom is such a shocking commodity for the mainstream. The reason I listen to stations like BBC Radio 6 Music is the fact they extol artists that represent the country more honestly and reliably than the so-called ‘best’ of modern music. Even so; I am hearing few artists speak about things relevant to people like me: the working-class that wondered how my country split and why we are leaving the E.U. Do we need to challenge music journalism to ensure music as a whole embraces more working-class artists?! Is it a more complex and intricate conundrum?! I don’t think so. What I do know is we are so far away from the glorious working-class bands and artists that shook music up and changed it forever. Aside from a few unique and pioneering artists here and there; we are stagnating and falling into a lukewarm tar pit – one we will struggle to extricate ourselves from. One can (and will) wag their index finger at the music media who are shutting doors to promising and willing working-class journalists.

We/they are being told to get ‘relevant’ degrees (not sure any university runs a course in ‘Patronising Arsehole Studies’) and go via the internship route. They are so unaware of the realities of working-class life and how much of a financial struggle it is for regular, hard-working people. I read a lot of articles/reviews from broadsheets and they don’t exactly blow me away. Why does one need a degree in Journalism to write fifty words about the latest LCD Soundsystem album?! It seems education, as useless and irrelevant is in a lot of cases, is holding back progression and equity. The media needs to change their ways because, not only are they corrupting their industry and discriminating against the working-class – they are damaging music and ensuring we are far less likely to see exceptional working-class artists that pushed music forward and made real changes. If the music press/industry continues the way it is; it will put off journalists like me off and, as a result, it will create a system where entry into the press/higher echelons of the industry are…

RESERVED to the middle-classes only.

FEATURE: The Times They Aren’t a-Changin’: A Need for Greater Protest in Music

FEATURE:

 

The Times They Aren’t a-Changin’: 

IN THIS PHOTO: Eminem/PHOTO CREDIT: Ben Bentley/NME  

A Need for Greater Protest in Music

________

THE world is not getting any prettier…

That is axiomatic but, seeing the news, it appears the people we put in charge of our world are not protecting it the way they should. Often, when one puts the words ‘politics’ and ‘music’ together; they are met with a scrunched-up face and derision. There have been attempts, by musicians, to articulate a sense of outrage and disgust through their music. I wonder, in the past couple of decades, how successful and influential their efforts have been. I am reminded of classic Folk artists of the 1960s – such as Bob Dylan – who, despite claiming not to write political messages, seemed to represent a fear and trepidation that was percolating in the masses. Back in the 1960s; the world was faced with war and corruption: political scandal and financial burdens were affecting so many people in society. Given the spirit of rebellion and love-based antithesis movement that reached its apex in 1967 – people were fighting against war and poverty through peaceful means.

That is not something possible in today’s world. Musicians back then, like The Beatles and Love, were releasing sensational around this time. Both of these records (Sgt. Pepper’s Lonely Hearts Club Band and Forever Changes) seemed to project a feeling of freedom and togetherness. I am casting my mind to see how many albums around the time specifically dealt a blow to the leaders of the free world. The Velvet Underground released The Velvet Underground & Nico but their themes were more aimed at drug use, sexual liberation and experimentation – little time expended tackling societal issues. It has long been the case few artists have immersed themselves in a political mindset. There is a danger of being judged and seen as sallow. If the messages don’t compel people to take to the streets then what is the point? I do wonder whether Bob Dylan, despite his assertions, was writing deliberately political songs. One cannot listen to an album like The Freewheelin’ Bob Dylan or The Times They Are a-Changin’ (1963 and 1964, respectively) and feel there is not a political edge – the former’s best tracks, Blowin’ in the Wind and A Hard Rain’s a-Gonna Fall feel apocalyptic and prescient in their urgency and wisdom.

IN THIS PHOTO: Bob Dylan, fans looking into limousine in London, England (1966)/PHOTO CREDIT: © Barry Feinstein, 1966

Maybe Dylan did not want to be labelled a protest singer. There are a lot of artists that have written political songs but that number is becoming fewer with every passing year. Is it, in a time where the mainstream is becoming more pronounced and less world-aware, a danger writing a political song? Prophets of Rage unleash their eponymous album later this month. You can bet they aren’t going to be talking about kittens and yarn; getting their heart broken or cleaning the dishes. The U.S. giants will be sticking it to President Trump and turning the volume wwwaayyyyy up! I cannot wait to see how Chuck D, Tom Morello and company are going to represent the feeling of malaise and division in the U.S. I recently saw quotes from Eminem’s stunning sets at Reading and Leeds – he ensured the performances could not be streamed to anyone for free – and the vitriol he aimed at Trump.

IN THIS PHOTO: Eminem/PHOTO CREDIT: Ben Bentley/NME  

He got everyone in attendance to shout “Fu*k Trump” with as much gusto as they could. With this anger and energy running wild: his set was one of the finest of his career. I feel more musicians should be unafraid to speak out against leaders. It is not treasonous or worthy of backlash if you are honest. I did not vote to leave the E.U. nor did I vote-in the Conservatives – I feel justified in having my say about how they’re running the nation. I will come to look at our nation soon but, before then, the U.S. and the way they can weaponise their lyrical talents right at the groin (if there is one) of Trump. Eminem, in my mind, is among a small group of artists unafraid to tell it how it is. Hip-Hop elite like Kendrick Lamar, on albums like To Pimp a Butterfly, talk about racial tensions and gun violence in the country. In fact; a lot of black Americans have vocalised how they are discriminated against – the government lets it happen without batting an eyelid.

IN THIS PHOTO: Kendrick Lamar

Even Hip-Hop is expended little time talking about what is happening in the White House – a building whose name, post-Obama, has become ironic and very literal. The U.S. is, under Trump, becoming a place of opportunity and freedom: if you are white and a Republican. Any sensible resident of the nation is being short-changed and shafted. I do not know whether Trump will be impeached – or die of a very painful rectal disease – but there are many, atheists like me, praying there is a vengeful God in the sky. In any case; there needs to be a more pronounced and visible show of protest. Consider the past few months and the catalogue of atrocities Trump has allowed to happen. We all remember the terrible carnage that took place in Charlottesville a matter of weeks ago.

One woman died and many were injured when the far-right let their (vile) voices ring out. It led to widespread disgust and provoked condemnation across the world. Normal, rational leaders, would have reacted immediately: Obama would have been on the news offering his sympathies with those affected; toil and scorn at those callous enough to create such an environment. He would have been quick and ruthless in his retaliation. The same goes when one processes something as devastating as the flood we have been seeing – Houston especially affected. It has been distressing seeing the images and loss reeked by the terrible floods there. Many are still struggling to piece it together – the damage will endure for an awful long time. It is not good enough to acknowledge it has occurred and say nothing about it. When the rain/storms first struck; the people of the country were more vocal and visible than Trump. It was only a few days after the event he actually did anything at all.

IN THIS PHOTO: U.S. President Donald J. Trump

It is clear President Trump is someone seemingly unconnected with humanity and unaware of the plight of his people. God knows who elected him but many must be regretting their decisions. What does an American do when faced with this kind of separation and destruction? The fact there is a lot of hatred means, if they are going to respond through song, they need to tread carefully. One could easily undercut their good intentions by penning something crass and needlessly offensive. I mention Eminem because he is an artist who, yes, causes offence but is able to sublimely voice what many are feeling. His charged and scintillating U.K. performances show we here are with him and responding to what he putting out there. I hope there is a new Eminem album because it seems like now is a perfect time to react. I know Rage Against the Machine are readying their album. How many other musicians are writing songs that protest against the current political order?!

IN THIS PHOTO: A shot of the floods in Houston, Texas

Either there is a lack of willing or a consensus of fear that is holding back their inner-most anger. I am not suggesting a Band Aid-style single but something from a range of American artists wouldn’t go amiss. It does not need to be an accusatory and vilifying song. A charity song, to raise money for the Houston victims or those caught up in Charlottesville, would be a positive step. It could bring together artists from various genres/time periods that would show a rare unity and togetherness. There are divisions and compartments in music: breaking this down, for a song/album, would be a great concept. I would still like to see great political creativity and fire from U.S. artists. Whether Eminem is releasing a record soon remains to be seen. I look around U.S. music and feel their mainstream – artists like Katy Perry, Taylor Swift and their ilk – are not unqualified to change their voices. Maybe there is a commercial risk inherent if they decide to sing about politics.

PHOTO CREDIT: Unsplash

I know they feel the pain of their people and are eager to ensure as few tragedies occur as possible. Music is a powerful medium and one that should allow its artists to have freedom of speech. There is such a rigid set of rules for mainstream artists. They are tied into contracts and expected to create music of a certain manner. I guess, when you have created an identity over the years, you have more flexibility. I have mentioned Kendrick Lamar but Beyoncé is someone who sings about racial tensions and injustices. She speaks of empowerment and females being heard. I suspect, whether she is off musical maternity leave or not, there are ideas and articulations that need venting. Whether she will return with an album as intense and of-the-moment as Lemonade – or favour a more reflective album that addresses her new twins, I am not sure.

IN THIS PHOTO: Beyoncé

There are fantastic artists in America living in a nation run by a bumbling buffoon. He is a businessman and, as such, has little empathy and responsibility in regards the people and humanity – there are conscientious business leaders but few that we hear about. I am not proposing a revolution but I often feel, the same as has been seen with great uprising and progress, the smallest ripples can lead to huge waves. If some of the biggest artists took the gamble – maybe, getting odd remarks from small-minded fans – and spoke out against what is happening, through the medium of music, then that would create a huge impact. The more people who speak out against corrupt and hopeless leaders – in all industries – that will, in turn, reflect with the American people who will, in turn, apply pressure on Trump. He cannot assume everyone is happy with him and who knows: if music’s finest start a campaign; it could have the potential to bring about real change.

IN THIS PHOTO: P.M. Theresa May/PHOTO CREDIT: EPA

I wanted to end the piece by looking at the situation in Britain. We have had to ensure our fair share of tragedy this year. There have been some muted, half-baked attempts at a political protest from British music – nothing that truly summarises and distils the sense of confusion and betrayal a lot of people feel. We have much to chew over and speak about. There is the ongoing Brexit debacle. We have the (still raw) tragedy at Grenfell Tower. Against that, there has been terrorism and growing radicalisation. With all this in mind, like Trump, one would expect P.M. Theresa May and Foreign Secretary Boris Johnson to take a more proactive and quick-time approach to these concerns. The fact there is a backseat rebellion shaping-up in the Conservative camp suggests there will be upheaval very soon – one can only hope a coup allows Labour to swing in and gain the reins of power. Our government took a distressingly long time to say anything about Grenfell. May did not even get out among the people until after the Queen had. The head of our monarchy was more motivated than our P.M. to see if the people will alright and assess the extent of the damage.

IN THIS PHOTO: Grenfell Tower, following the devastating blaze from earlier this year

Rightfully, there was outcry and derision from all sides of the political spectrum. That sort of pacificity and cold inhumanity has no place in any democratic society. Again; I feel like those who elected the Conservatives into power need to take a hard look at themselves – not quite working out the way they’d hoped, huh?! I am not going to jab and judge those who made bad voting decisions – life will do that, trust me – but wondered why, when we can see such lacking leadership, is it down to the people solely to react?! Musicians should not be fearful of reprisals or any sort of negativity if they decide to pen a political song. There have been charity events set up to raise funds for the Grenfell victims; a charity song was recorded but, most certainly, was not political or angry at all. Aggression is, when properly channelled, a very useful weapon that can bring about actual change.

PHOTO CREDIT: Pixabay

Let me leave this with a look at this year’s best music; a quick glance at the past and whether we have made any strides. I mentioned the 1960s because, to me, that was the last time there was an effective political movement in music. Perhaps I am over-romanticising how things were and whether artists like Bob Dylan were true protest singers. Now, music is more accessible and visible than any other time. There are so many artists out there: it would be good were more to break away from the obvious and commercial and let some fire out of the belly. A protest/political song does not need to be foul-mouthed or aggressive. It can be articulate and calm but still possess the same degree or dissent and outrage. Maybe, as I type, there are those going into the studio to record a great political song.

PHOTO CREDIT: Picjumbo

There are artists capable of writing a credible song: one that is shouted by the masses and that, in turn, makes it more voluminous and noticeable to those in power. I am not suggesting a few well-crafted political songs can make the likes of Trump and May have an epiphany. That would be a stretch but to know the best and brightest musicians are not happy with the way the country is being run – that is a very powerful and potent thing to witness. Newer, underground artists have the potential to reach the surface and make their voices heard. If thousands of people in Leeds – watching Eminem do his thing – are more-than-happy to shout a direct and profane message to Donald Trump; it is clear there is a populist attitude that needs adequate satisfaction. It is down to musicians to take a more active stance and ensure our elected leaders know…

PHOTO CREDIT: Unsplash

ALL is not happy in the democratic world.

FEATURE: Albums to Look Out for This Month

FEATURE:

IN THIS PHOTO: Phoebe Bridgers 

Albums to Look Out for This Month

________

THE past few weeks have been pretty awesome…

IN THIS PHOTO: Prophets of Rage

for exceptional new albums. I just missed the wire but, the first day of this month was given a slice of genius with LCD Soundsystem’s American Dream. It is shaping up to be one of the most celebrated and acclaimed albums of the year. That is not to say the remainder of September is a gangrenous wound of crap...far from it, in fact!

Over the coming few weeks; we will see some spanking releases from The National, Tori Amos and Sparks. Throw into the mix some Foo Fighters, Miley Cyrus and Prophets of Rage and it promises to be a pretty impressive!

_________

The National – Sleep Well Beast

Release Date: 8th September

Label: 4AD

Why You Should Buy It: In a year that has seen Indie stalwarts Grizzly Bear and Arcade Fire stage returns (with mixed results); it is the turn of Ohio’s The National. Initial buzz surrounding the album – their first since 2013’s Trouble Will Find Me – suggests it will be one of the year’s best. Many of the songs document lead singer Matt Berninger’s divorce – the fallout and complexities of it. It is sure to be a staggering, beautiful and troubled work – an album, oddly, 2017 really does need. Expect the traditional blend of sonorous and moody vocals; delicious astute and memorable lyrics – and an album crammed with some of the finest songs you’ll hear all year.

Toris Amos – Native Invader

Release Date: 8th September

Label: Decca

Why You Should Buy It: It’s Tori Amos, dumbass! Okay…I shall expend a bit more consideration. We might see a new album from Björk this year: alongside Tori Amos; one of the most innovative and influential artists in the world. We do know for sure Native Invader is almost here – it is her fifteen studio album. Unrepentant Geraldines was her previous record (released in 2014) and, whether addressing vengeful women or something else – an album that resonated with critics. Like that album; Native Invader was recorded in Cornwall (at Martian Engineering Studios). Unlike her previous release; there is a very different story behind Native Invader – as Amos herself explained: “The songs on Native Invader are being pushed by the Muses to find different ways of facing unforeseen challenges and in some cases dangerous conflicts. The record looks to Nature and how, through resilience, she heals herself. The songs also wrestle with the question: what is our part in the destruction of our land, as well as ourselves, and in our relationships with each other? In life there can be the shock of unexpected fires, floods, earthquakes, or any cataclysmic ravager -- both on the inside and outside of our minds. Sonically and visually, I wanted to look at how Nature creates with her opposing forces, becoming the ultimate regenerator through her cycles of death and re-birth. Time and time again she is able to renew, can we find this renewal for ourselves?”

Sparks – Hippopotamus

Release Date: 8th September

Label: BMG Rights Management

Why You Should Buy It: This is the twenty-fifth album from Ron and Russell Marl. The guys seem to be in peak form as, on Hippopotamus, they look at everything from Shakespeare to camper vans. Sparks are renowned for their innovative and off-kilter songs – work that differs from what is out there by delivering intelligent and imaginative tracks. This collection, from what we have heard so far, shows Sparks have lost none of their, well…you know?!

Gary Numan – Savage (Songs from a Broken World)

Release Date: 15th September

Label: BMG Rights Management (UK) Limited

Why You Should Buy It: There are few artists who have endured like Gary Numan. He remains one of those special and unique talented that, through the decades, is able to adapt and amaze. The new album, Savages (Songs from a Broken World) documents a global warming-like disaster. The songs deal with serious subjects but, as we can hear in new single My Name Is Ruin, there is plenty of energy, Rock demand and huge quality. I am not a big Numan fan but will definitely be getting this album – it will inspire many artists to up their game and reinvent their music. Numan is a pioneer and leader who, thirty-nine years since his debut record, is still turning heads.

Wyclef Jean – Carnival III

Release Date: 15th September

Label: Legacy Recordings

Why You Should Buy It: The Knocks and Emile Sandé are among the collaborators on the latest albums from the former Fugees man. Jean, speaking with Rolling Stone, talked about the concept of his Carnival albums: "My Carnival albums have always been about celebrating music culture from all parts of the world and Carnival III is no different,” the former Fugees member said in a statement. "It's outside the box. There’s genre-bending. There's new talent on there. Carnival III is more than just an album. It's a celebration of what I love about music: discovery, diversity and artistry for art's sake... It's about putting music together that will outlive me and live on for generations to come that is full of emotion, vibration and fun. Get ready."

Gucci Mane – Mr. Davis

Release Date: 15th September

Label: Guwop Enterprises/Atlantic

Why You Should Buy It: The rags-to-riches rise of Gucci Mani is one that demands focus and revelation through music. Collaborations with Nicki Minaj (Make Love) and Big Sean (Changed) mean there are bodies in the mix: the focus is very much of the rapper and his eleventh album. He was released from prison a year ago: this is his third release since that release. Friends like Chris Brown and Monic help make the album a success – their input and personalities are all part of the incredible brew.

Phil Selway – Let Me Go

Release Date: 15th September

Label: Bella Union

Why You Should Buy It: The Radiohead drummer is no stranger to solo territory. He has already released two sole L.P.S – 2010’s Familial and 2014’s Weatherhouse – and, in two weeks, prepares to release the music composed for the soundtrack to the film, Let Me Go. The title-track is especially impressive but the album as a whole shows what an accomplished composer and songwriter he is. One wonders, if Radiohead release another album, Selway might be afforded a rare lead vocal – perhaps greater writing responsibility. He has shown – as George Harrison proved during his time with The Beatles – there are often three great songwriters in a band. Thom Yorke and Jonny Greenwood are not the only Radiohead members capable of making a huge impact away from the band.

Prophets of Rage – Prophets of Rage

Release Date: 15th September

Label: Guwop Enterprises/Atlantic

Why You Should Buy It: The supergroup are touring their native U.S. at the moment but, when their eponymous album is released; let’s hope they find time to come to Europe. The fact the band brings together legends Chuck D and (Rage Against the Machine’s) Tom Morello almost pales into insignificance when you consider how charged and angry the record is likely to be. A band that are not exactly ‘friends’ of President Trump, on their debut, will have much to say about his style of leadership. Prophets of Rage is likely to be one of the most combustible, gripping and exciting albums of the year.

Foo Fighters – Concrete & Gold

Release Date: 15th September

Label: Guwop Enterprises/Atlantic

Why You Should Buy It: Recent singles The Sky Is a Neighborhood and Run suggest Foo Fighters are on fire right now. They are a lot heavier than on recent releases and seem to have revived some of their early energy and quality. Sonic Highways, released in 2014, garnered mixed reviews and was seen as a bit bloated and contained too many collaborations. Concrete & Gold – despite the crap title – is a more stripped and focused album. In a year when some of Rock’s more promising artists are failing to live up to the hype: Foo Fighters seem ready to deliver an album that could kick Rock’s butt awake. It will be interesting seeing whether critics agree!

Phoebe Bridgers – Stranger in the Alps

Release Date: 22nd September

Label: Dead Oceans

Why You Should Buy It: Producers Tony Berg and Ethan Gruska did not have to work too hard to make the ten songs on Stranger in the Alps sound haunting and staggering. Phoebe Bridgers is a stunning young talent and a fine writer. Her songs tap into the personal and manage to articulate common themes with a unique insight and incredible sense of wordplay. A confessional and tender singing style mean her music, on the surface, would not sound dissimilar to anyone else. One need only hear a few lines (of any song of hers) to realise that is a myopic determination – her magic and vocals are racemose and highly intoxicating. Bridgers wanted the songs to represent who she is and what stage she is at: someone discovering their voice and taking the first big steps through music.

The Horrors – V

Release Date: 22nd September

Label: Caroline Distribution

Why You Should Buy It: With Paul Epworth on production duties; The Horrors’ fifth album sees the boys at their most progressive and dark. There is Dystopia (on V) but plenty of nuance and layers. Machine, the lead single, is one of this year’s best: the album is likely to contain the same level of quality and assuredness. This year, for British bands, there have been few standout releases. Few expected new material from The Horrors so, from out of nowhere, the band might well (already) have produced the best British band album of 2017.

Miley Cyrus – Younger Now

Release Date: 29th September

Label: RCA Records

Why You Should Buy It: The sixth album from Miley Cyrus is a more matured and settled affair. She is, and one can tell, happy, healthy and fondly in love. This does not mean her new album is a sappy and saccharine affair. The biggest shift is away from 2015’s experimental, Miley Cyrus & Her Dead Petz. Younger Now, with a more sensible and mature cover, is a calmer and less scattershot work – more focused songwriting and a woman tired of the party, controversy and troubles. The album title seems ironic and clever at the same time – she is wiser and more grown-up; aware of the reputation she still holds. Those who struggle to get past her former image – from Hannah Montana to her infamous Wrecking Ball video – will be pleased to see, before us, a serious artist utilising her Pop and Country roots. Singles Malibu and Younger Now are two of her biggest and finest singles to date. It seems this ‘new’ Miley Cyrus – a '2.0' or a natural maturation – is a lot more stable, secure and likable than some of her former incarnations. I suspect many critics will have some fond words to pay to Younger Now.

INTRODUCING: Skott

INTRODUCING: 

Skott

________

OVER the weekend; I hope I can find time to…

PHOTO CREDIT: Ken Grand-Pierre

collate the finest artists playing in Australia – a part of the world I do not examine nearly as much as I’d like to. Before then, and, with a duty in mind, I wanted to highlight an artist who, to me, seems to represent all the good things about modern music. I will collect interview snippets and biography about Skott; a selection of her tracks/videos (at the end) and why she is someone to watch closely. In the coming weeks, like my Globetrotting series, I am going to bring some great artists into the fold. There is something teasing and mysterious about the Swedish artist. She is gaining traction in this country – thanks to her incredible songwriting and dedicated P.R./promotion teams – but, it seems, there is even more to the eye than one might imagine. It would have been easy for Skott, arriving from a modest community and background, to play a simple and aimless brand of Folk. At the weekend, again, time-permitting, I want to examine the rise of singer-songwriters and whether the acoustic/Indie movement is coming back – and whether artists like Ed Sheeran are taking it in the right direction. I have a lot of fondness for Folk artists – Billie Marten and Laura Marling, between them, have created two of my favourite albums in recent years – but, outside of that, I look for artists who manage to bring colour, contrast and eclectic insight into their music.

Skott is an independent and intuitive songwriter who does what is best for the song. She does not follow the patter and direction of the mainstream. Heavyweight Pop stars like Lorde and Katy Perry are fans: between them, the former especially, is no stranger to defying convention and producing an intelligent and mature brand of music. It is kudos and encouragement to Skott she has that patronage but, to be fair, she has earned her stripes the honest way. Rather than flaunting her (very obvious) natural beauty and femininity: the talented songwriter is the embodiment of the Antifolk movement that, thankfully, is starting to grow. Against the gloss, glitter and glamour of the mainstream; rather ironically, a song like Glitter & Gloss is a song one can compare to few others. There is an aspect of the legendary and established Pop/Electro scene in Sweden. Skott, someone who spends a lot of time here, takes aspects of classic Swedish Pop with their modern Electro; aspects of British Folk and American Pop. It is a kinetic, compelling and sense-heightening creation from a songwriter, you know, takes time to craft and consider elegance. The physicality, rush and unexpected intensity of the track grabs sunshine, sexuality and sensation together: drips in a suggestion of gasoline and sets the mother*cking thing alight! A summer-ready song that, rather unsurprisingly, has received healthy radio-play since its release – the fact it was released late in January was a premature, but confident, slice of summer.

IN THIS PHOTO: The cover art for Skott's latest single, Mermaid

Porcelain, the debut single, was a more beautiful and fragile bird. The rare and unique lyrical impressions, matched with a combination of Pop edge and Folk tenderness, is a song that addresses the fragility of structure and certainty. Even if one constructs and carefully curates a trust and relationship it can, for instance, break and shatter without warning. Lesser artists could throw cliché and tropes into a song lazy of composition and nuance. In many ways; Skott is a younger and less eccentric version of Björk. Mermaid, the new and already-celebrated track from Skott, is getting a massive amount of love from social media and journalists alike. Whereas earlier songs have emphasised the beats, electronics and sonic mood: here, there seems to be a bigger role for the voice. Skott, in all her peacock-like plumage, spreads her voice to create a song, at once striking and rushing; the next, sensual and ruminating. The song, in the manner its vocal soars and the composition creates tapestry and visions – and some typically assured vocals – reminds me, in a good way, of Björk and her innovations. It is hardly a shock, considering Skott was raised in a forest commune with musical outcasts, she has the dexterity and resourcefulness to find nutrition, sustenance and guidance from resources around her. In her mid-teens was the first time Skott experienced the rush and activity of the city – that, contrasting her more rustic and impressionistic lifestyle. One hears these disparate lives combine in songs like Mermaid. From a young woman who, during her childhood, would have been surrounded by a fair degree of art and storytelling – I can see where her she has gained those skills and qualities.

PHOTO CREDIT: Ken Grand-Pierre

In every song, not only Mermaid; the music videos are as striking and important as the song. Looking at Skott’s social media feed and it seems like the set-up and filming of Mermaid’s video was more complicating and time-consuming that one might imagine from the timelapse, accelerated videos of its creation. Few artists take as much care when it comes to videos: the feeling time is money and - money is best earned rather than spent. There is such a desire for quick music and fast turnaround. Skott is the antithesis and counterculture pin-up girl who throws an imperious look to those seeking a sexy, lurid video and easily accessible tune. Her music and visual/aesthetic sense is one of the main reasons Skott is unlike anyone else. She has topped various charts and been featured on Spotify’s New Music Friday lists – radio support from Annie Mac and Zane Lowe. Some big names have given their views on a rare talent but, in fairness, that is the least she deserves. There are so many like-minded artists who are competing in a compacted market. So few expend time forging a real identity and freshness: something that is mainstream-worthy but not too polished and generic. Skott takes guidance from artists in the mainstream but her music, as much as anyone, is from her own imagination and experiences. That transition from Swedish woodland to the various cities she has played in can only go into their music – it is impossible not to be impacted by that transition and awakening.

PHOTO CREDIT: Sarah Louise Bennett/Dork

Skott has spent a lot of time in the U.K. and has a connection with the fans. She is someone who belongs to the world but, if she was to reside and settle somewhere; one hopes it would be somewhere like London. I am not sure if that is in her thoughts because, right now, she is making plans. Mermaid suggests an album cannot be far away: I am not sure when/if it is imminent but one can detect the approaching murmur of an L.P. I can imagine, when that sees the light of day, the visual/physical aspect will be a huge consideration. I have not mentioned Skott’s single artwork which, uniformly, is eye-catching and stunning. Each song gets a different design and, alongside the videos, one is treated to incredible sites and beautiful designs. The ‘Skott Experience’ is more than the music itself. I cannot wait for an album because, when it makes its way to vinyl, you can bet there will be lots of pictures, inserts and great bits of arts. Maybe she will release different-coloured records and create a unique promotional campaign. I am not sure how the end of the year looks but, seeing as Skott is a woman whose music is capable of adding warmth in winter – raising the sweat-levels in summer – she is not bothered fitting in with festival schedules and releasing an album at the ‘perfect’ moment. She will unveil one when she’s damned ready and, let’s hope, there is something more before the year-end. Dates in Stockholm and London will feature in the next couple of months: she has played Lollapalooza and big festivals around the world.

So what of Skott's future?! Why should one spend time listening to her music? Take a listen to the videos below and experience how she has matured and developed as an artist. All of her songs are fantastic but, charting her rise and evolution; a distinct upping of the confidence and desire to succeed. With every passing month; Skott seems to pick up new influence and incorporates that into her music. Big tour dates and attention can only add to her confidence and drive her even more. Most her life has been spent moving from one life to the other: acclimatising to the first flourishes of music and adapting to the demands of the road. Things will get easier and better but, considering how many people are throwing their arms around Skott, she is doing something right – and doing it right now. There’s urgency in everything she does: success and fame are not the big motives and drives: she wants to create spellbinding songs that mark her aside from her peers. That is happening and, more than that, a personality that is hers alone. I have mentioned artists like Björk - but mentioned her in very flattering circumstances. Both are different but, like Björk; Skott is finding new ways to push music forward and create something long-lasting. I believe Skott’s music will distinguish itself so far above her peers she will have the same effect and impact as Björk. From album to album; one will chart developments and new themes – whether the heartache of love or the need to discover new lands and people. Sounds and visuals will go with that: whether Skott gives herself a personal makeover – or invents a new sub-genre – it is exciting watching the Swedish-born artist grow and smile. The music is sensational and winning hearts. The future is open for Skott: a woman who can change music and take the, rather stilted, mainstream to…

 PHOTO CREDIT: Sarah Louise Bennett/Dork

RARE new heights.

__________

Follow Skott

 Official:

http://www.skottmusic.com/

Twitter:

https://twitter.com/skottmusic

Facebook:

https://www.facebook.com/skottmusic/

Instagram:

https://www.instagram.com/skottpeace/?hl=en

YouTube:

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

Spotify:

https://open.spotify.com/artist/6J3RPKUwZlKMzh3vWa9wPc

SoundCloud:

https://soundcloud.com/skottmusic

FEATURE: Music from the Motion Picture… Discovering Music Through Film

FEATURE:

 

Music from the Motion Picture… 

 Discovering Music Through Film

________

THE image you see above is, as advertised, from Baby Driver…

the recent film from British director, Edgar Wright. It scored huge reviews upon its release and, if you are curious about the plot; Wikipedia assess it like this:

“Baby is a getaway driver in Atlanta, Georgia. He ferries the crews of robbers assembled by Doc, a heist mastermind, to pay off a debt he incurred after stealing one of Doc's cars. When he was a child, a car accident killed his parents and left him with tinnitus, which he blocks out by listening to music on various iPods. Between jobs, he creates remixes from snippets of conversations he records while caring for his deaf foster father Joseph. While visiting a local diner, he meets Debora, a waitress, and the two start dating.

His next robbery goes awry after an armed bystander chases them down, but Baby evades him and the police. Informed by Doc that they are now "straight", Baby goes legit, delivering pizzas. During a date with Debora at an upscale restaurant, he is threatened by Doc into performing another heist at a post office.

The crew consists of easy-going Buddy, his wife Darling, and trigger-happy Bats, who takes an immediate dislike to Baby. While the crew attempts to purchase illegal arms for the job, Bats realizes the dealers are ex-police and opens fire, killing them all. Afterwards, Bats forces Baby to stop at Debora's diner, unaware of Baby and Debora's romance, and nearly kills her in a hold-up.

Doc, furious at the botched deal, tries to cancel the heist, but Baby convinces him to go through with it. He attempts to flee, hoping to take Debora and leave Atlanta, but is stopped by Buddy and Bats, who have discovered his recordings and believe he is an informant. When they and Doc hear his mixtapes, they are convinced of his innocence.

IN THIS PHOTO: A  shot/promotional still from Baby Driver

During the heist, Bats kills a security guard. Disgusted, Baby refuses to drive the crew, causing Bats to beat him. Baby rams the car into rebar which impales Bats, killing him. The three flee the police on foot. After police kill Darling, Buddy blames Baby for her death, and vows to kill him. Baby steals another car and flees to his apartment. After leaving Joseph at an assisted living home, Baby drives to Debora's diner to pick her up, where he discovers Buddy waiting. Baby shoots Buddy and flees with Debora as the police close in.

Baby seeks help from Doc, who initially refuses to help. After seeing he truly loves Debora, Doc supplies them with cash and directions to get out of the country. Buddy ambushes them in the parking garage and kills Doc with a stolen police car. A cat-and-mouse game ensues until Buddy has Baby at his mercy; he fires his pistol close to Baby's ears, deafening him. Debora disarms Buddy with a crowbar and Baby wounds him with the pistol, causing him to fall to his death.

Fleeing Atlanta, Baby and Debora run into a roadblock. Debora prepares to ram it, but Baby surrenders. At his trial, Joseph, Debora, and several people Baby saved during the robberies testify in his defense. Baby is sentenced to 25 years in prison with a parole hearing after five. Baby receives postcards from Debora who promises to wait for him. Upon his release, he finds Debora waiting and they kiss”.

That is a simple premise: you need to watch the film to get a much better impression of Baby Driver. One of the reasons I have bonded with the film is the soundtrack – I have not actually watched Baby Driver myself. I have the soundtrack on vinyl and it has opened my eyes to new artists and long-forgotten songs. Aside from all the interesting plot and exposition of Edgar Wright’s film: it is the conceit and central hook that really appeals. Someone who, suffering tinnitus, blocks it out listening to music, is a perfect way to construct a varied and passionate soundtrack. Wright did this and, whilst curating, was able to seamlessly link together a wide array of genres and artists. Bob & Earl’s Harlem Shuffle is one of the early songs one hears – Let’s Go Away for Awhile, by The Beach Boys, not long after. Looking down the tracklisting and you get T. Rex and Beck – Debora/Debra – and a bit of Blur (Intermission). Not only does one get a blast of the classic artists: modern examples such as Sky Ferreira and Run the Jewels appear towards the end. It is a quality-heavy balance that allows one the opportunity to discover (rediscover) some terrific music. To me, it is brilliant for two reasons...

IN THIS PHOTO: Baby Driver's Writer-Director-Executive Producer, Edgar Wright

The first, because it provides younger listeners/viewers the chance to discover music – artists they might not have thought of before – and, through their association with the film, go out and discover more about them. The second, when looking at the concept of Baby Driver, makes me excited to see if any more similar-themed films will crop up. I am going to feature other films in this piece but, considering the premise of Baby Driver, it seems appropriate to start here. I bought the vinyl of the soundtrack because of the music included on it. Maybe there should have been more dialogue snippets included – like Pulp Fiction’s soundtrack – but, given an almost mute sense of dialogue in place; it wasn’t the easiest thing to do. One gets a fantastic impression of the film but, more importantly, a genre-blend of artists that will open many eyes to terrific music. I know most of the songs on the soundtrack but know many will not have.

IN THIS PHOTO: Sky Ferreira, who appeared in the film (and on the soundtrack)

I cannot argue how crucial it is we preserve music from past generations: pass them onto the new and ensure we do not become slaves to the modern and machine-created. I do worry we’re too narrow with music tastes and chase after songs promoted via Spotify. That is necessary – so we can conserve and profit our best new musicians – but so many of us are genuinely spending adequate time listening to the best music of the past. I am not saying Baby Driver, and its incredible soundtrack, is powerful enough to turn the tide – that would be quite a feat, I know! What it does do is (I hope) inspire other directors/writers to feature music more prominently in film. In a sense; Baby Driver has that classic feel: the likes of Easy Rider, Pulp Fiction and A Hard Day’s Night. More-modern films like Garden State have been important platforms to promote great/underground music; Trainspotting and Superfly, diverse and hugely memorable – Help! and Purple Rain: titanic soundtracks from legendary artists.

There is an enormous emphasis on studio albums: we forget how important film soundtracks are. In a way, they are a bigger-budget way of stringing incredible music videos together. Essentially, one gets a visual treat, accompanied by a tremendous song. It is a powerful combination that appeals to all the senses; firing the imagination and lodging in the brain. Baby Driver, the way it brings so many different time-periods and artists together, has sparked something in me. I would love to see a film like that further down the line – where music is prominent and the epicentre of the piece. In the days/weeks following Baby Driver’s cinematic release; I have heard so many people talk about the music – in so many different, impassioned ways. The way certain songs augment scenes and perfectly suit visuals: how songs from different eras effortless sit alongside one another.

Edgar Wright’s knowledge and intuition helped turn, what could have been a potentially ill-judged, mismatched vanity-project, into a symphonic, explosive piece of cinema, is a credit to his talent and experience. Of course; full props must be given the actors and crew that helped make Baby Driver an engrossing and perfectly-acted piece of cinema. It is the music, for me, that draws me to the film. I have, since purchasing the double-vinyl soundtrack, reinvestigated artists like Bob & Earl; Dave Brubeck is back on my mind (Unsquare Dance appears in the film’s first-half, I believe); rekindled my childhood passion for T. Rex – discovered new musicians like Carla Thomas, Alexis Korner (and his Blues Incorporated) and Kid Koala. (I, by the way, do not italicise film/T.V. titles so I can differentiate them from music – a little aside I thought I’d bring in). I am not a fan of T.V. adverts because, I feel, they are among the most irritating things on the planet – that list is getting longer by cyclists are at the top of it!

IN THIS PHOTO: Carla Thomas

Many people have discovered music through adverts but there are few (adverts) that make me want to keep watching – the songs used are never really that striking or unexpected. I do question people who allow their songs to be marketed in that way – scoring some cheap and noxious product/service. Film is different. The artists are not hocking some crappy insurance provider or pointless product: they are helping lift and define a unique moment of film. The connection and close relationship between film and music have always existed. I am fascinated by films that employ music as a background device - a few songs that do not feature prominently; a more traditional score, perhaps – and those that put songs in the forefront. Of course, one cannot discount film scores that use orchestration as an important use of sound/music. The greats like Hans Zimmer and John Williams have encouraged many to study music and follow their heroes. To me, it is the interconnection of popular music and film that fascinates – how music can reach new audiences by featuring on celluloid. I will move on from Baby Driver to another recent example: the Guardians of the Galaxy franchise.

IN THIS PHOTO: A promotional shot from Guardians of the Galaxy

My parents, when watching the first film – the second instalment was released earlier this year – highlighted the incredible music that was played throughout. In that first film; one got a pre-'90s-heavy confection of selections. Everyone from 10cc, David Bowie and Blue Swede appeared on the soundtrack. The second, bigger-budgeted and, in my view, finer, featured everyone from Fleetwood Mac (The Chain) to Sam Cooke’s Bring It On Home to Me. Jay and the Americans’ Come a Little Bit Closer rubbed shoulders with Parliament’s Flash Light. Glenn Campbell and George Harrison featured and, whilst remaining less-than-contemporary, the film’s soundtrack was built around a mixtape concept. Whereas Edgar Wright compiled a mixture of older and new: writer/director James Gunn went for slightly older recordings – the character Peter Quill/Star-Lord had all the songs (on the soundtrack) as part of his mixtape; hence the reason the music is not of-the-moment. In fact, tracking back to that earlier point: Wright contacted Gunn to ensure both films contained different songs. Each knew the other was working on a music-heavy release – to have both films replicate would have been a bit of a fashion faux-pas.

As it was; both films rocked out into the world in f*ck-me pumps and a head-turning outfit. Both films eschew the worst necessities of the modern music market: emphasising the importance of Spotify streams and getting those mainstream artists racking up the viewing figures. Edgar Wright, a child of the 1970s and '80s, grew up in a time when music was as much to do with hardware and the physical as it was becoming ‘popular’ and ‘cool’. I, growing up slightly later, appreciate how important it is to preserve the heritage and true value of music – I am not someone who follows the apparent-cool who lust after everything digital and Taylor Swift-endorsed. The reason films like Baby Driver and Guardians of the Galaxy resonate is their incorporation of music. Neither film employs the songs synthetically and casually: one detects a deep and studious approach; both directors crafting a soundtrack that perfectly links visuals and sounds – the near-obsessive/nerd-like crate-diving that must have gone into the soundtrack makes me smile.

IN THIS PHOTO: James Gunn/PHOTO CREDIT: NYDailyNews

The same way a wonderful music video balance the beauty and power of visuals and sonics: a wonderful soundtrack can have its scenes elevated (by music) and put an array of stunning musicians into the hands of the uninitiated. As I said earlier: my musical education has been given an additional government grant by the likes of Edgar Wright and James Gunn. In FACT; I can trace my obsession with music to those legendary film soundtracks from Quentin Tarantino and The Beatles. The former, Pulp Fiction especially, again, created a film where music played a pivotal role. Pulp Fiction – deriving its name from hardboiled crime novels and pulp magazines of the mid-twentieth century – had that neo-noir quality and aperture to it. Consequently, within the cool-as-sh*t diners and milkshake bars – the 1950s bars and romantic ideals of older America – one heard music by artists of the time. I will nod to other classic soundtracks later but, for me, 1994’s Pulp Fiction was an eye-opening experience. I was eleven when the soundtrack dropped it trousers and, as such, was awakened to some incredible songs! Tarantino’s use of eclecticism ensured he created one of the defining film soundtracks of the 1990s. Alongside Dick Dale’s now-iconic version of Misirlou; Jungle Boogie (Kool & the Gang) and Dusty Springfield’s Son of a Preacher Man.

Instrumental Surf songs and classic Soul mingling with Funk and Jive – such a rich and sexy blend of sounds and sensations. Of course, it would be foolhardy to suggest Tarantino discovered and compiled all the music himself. Consultants and friends like Laura Lovelace and Chuck Kelley were instrumental in the process. Pulp Fiction’s soundtrack sold over one-million copies in 1994 (two-million by 1996) and helped launch bands like Urge Overkill – who covered Neil Diamond’s Girl, You’ll Be a Woman Soon. Other artists, like Kool & the Gang, enjoyed a (brief) resurgence: relatively obscure songs and popular hits were bequeathed to those unsuspecting and curious. Other directors/filmmakers use soundtracks as repositories for random songs: the likes of Quentin Tarantino, in his fever-dream imaginations, helped mirror the visuals with music; music used as an extension of film – the two, partners-in-crime and thick-as-thieves.

IN THIS PHOTO: Dusty Springfield

One of the good/tragic legacies of Pulp Fiction was advertisers using Surf music – popularised and prominent in the soundtrack – to sell toothpaste, burritos, any-random-crap-we-can. Actually; that might be a savage naivety and judgement. How one discovers music should not be judged. Dick Dale and artists from the soundtrack had their music used in commercials – years after the original release of Pulp Fiction. This meant ‘outsider’ genres and niche sound being brought into the mainstream – passing that music to the new generation and, as a result, artists of the time incorporating Surf into their music. There is a causal link between epic/influential film soundtracks and the resurgence of certain styles of music. If it has that impact and quality to it – whether it passes through advertising on its way down – the music (on the soundtracks) can endure and inspire years/decades after release.

IN THIS PHOTO: Pulp Fiction's Writer/Director, Quentin Tarantino

I guess, somewhat ironically, me talking about film soundtracks, is a thinly-veiled desire to see my work get into the hands of radio stations/music magazines – this version of a C.V., in terms of ethics and questionable motives, not dissimilar to advertisers, I guess. My gamble, I know, is just that – and, the reason for writing this piece, was to argue how important film soundtracks are. Naturally, there are many film soundtracks that will be overlooked – time and my fingers are limited – but, by including some of the best, it shows how music plays an intrinsic role in film. Consider The Beatles and the impact their soundtracks had. Maybe films such as Magical Mystery Tour and Help! were not big critical hits (the former especially) – the music contained on each remains some of their best. In 1965, when Help! was released, it was a landmark period in The Beatles’ history. It (Help!) was released at a time when the band was releasing albums solely comprising original compositions. Rubber Soul was, effectively, the studio release that proved how confident Paul McCartney and John Lennon were as songwriters during 1964-1965.

The most-popular film soundtrack from The Beatles was A Hard Day’s Night. Released in 1964; it was one of few film ventures that saw the quartet roundly applauded. Less-successful efforts were to follow: this was their black-and-white masterpiece that provided a more realistic and simplistic view of the boys – no gimmicks, head-tripping visuals and bizarre conceptions. During that mid-1960s period; the band was still in a more traditional Pop headspace: their psychedelic experimentations and studio-bursting records would not arrive for another couple of years. A Hard Day’s Night is important for so many reasons. It is the first Beatles album consisting original compositions. Lennon and McCartney, sequestered in a Paris hotel room with a piano, for the most part, were focused and committed to creating a focused Pop album with short and sharp tracks. The album/film opened the American market to bands like The Rolling Stones and was a hugely important time for The Beatles. It is debatable whether the band would have taken this huge step were it not for the film’s appealing premise. A Hard Day’s Night (film) is, essentially, The Beatles being themselves: performing and larking about; a window into the personalities of the lads. Because of this; Lennon and McCartney were eager to pen a score that mirrored the music they wanted to write at the time – stepping away from covers and forging their own identity. That film, when I saw it years ago, really opened my eyes to The Beatles’ early period and the incredible strength of the songwriting.

IN THIS PHOTO: A shot from The Beatles' film, A Hard Day's Night

A Hard Day’s Night, prompted by a typical Ringo Starr malapropism, became one of the most important film soundtracks of the 1960s and helped bring The Beatles’ music to new audiences. The success of the film meant other bands/directors were provided the confidence to use music more prominently in films. Those incredible soundtracks that stuck in my young mind, from The Blues Brothers and Easy Rider, gave me a great appreciation of cinema and music. I was a big fan of music before I discovered film – I am not, by any measure, a big film fan – but connected visuals and sounds in a manner that has impacted my subsequent life. Were it not for the energised dances of Jake and Elwood Blues to songs such as Everybody Needs Somebody to Love – I am not sure I would have been as gripped and fascinated by music. Even though The Blues Brothers was released three years before I was born: I discovered it as a child and was provided exposure to some great Soul artists and music icons. By covering songs from Aretha Franklin, Ray Charles and John Lee Hooker: I investigated the original recordings and, as such, expanded my horizons. I know others would have taken the same approach and, in the process, got into certain music quicker than they otherwise would have (compared to radio and T.V. promotional channels).

Easy Rider’s soundtrack, released in 1969, was heavy on the 1960s' sounds. Again; this is a film that arrived to me when I was young (too young to legally watch it) but, the same way as The Blues Brothers provided a route into Soul and Gospel: Easy Rider’s blend of Rock and Folk was a ‘musical commentary’ that perfectly scored the film’s characters and stories. Music by Steppenwolf, Jimi Hendrix and The Byrds were all in the mix – an exciting array of big names that made me eager to unearth more recordings; get a bigger impression of the 1960s’ best. It is, as I have said, impossible to name-check all the great soundtracks out there. Any good and worthy film understands the importance of music and how the visual and sonic mediums are best when combined in harmony. It is those films that prominently and prolifically feature music that appeal most to me – and are more instrumental in getting music, and overlooked artists, into the public forum. As a child; I watched great films like Easy Rider and A Hard Day’s Night, and was drawn and awe-struck by the music that helped define a particular scene. Those examples have been crucial to me: newer films are equally important and help me find songs/artists I might otherwise have overlooked. I know streaming sites and platforms play their part but, to me, they are more impactful for new/mainstream acts. There are many who understand the importance and place older music has: it is where current music came from and the reason it has evolved/came on the way it has.

I will end this feature but, before I do, wanted people to consider the way, consciously or not, we have bonded to films because of their music – and how, when the cinema lights came back up, the excitement we got listening to the soundtracks; purchasing them from the shop and casting our minds back to the time we heard the tracks scoring a fantastic scene. Film soundtracks are one of the few outlets where you can legitimately combine songs from new and older artists. It is a wonderful access to music’s true breadth and brilliance and, through films modern films like Guardians of the Galaxy and Baby Driver – and classic scores from Pulp Fiction and The Blues Brothers – new generations are discovering music they might not otherwise have been aware of. That is a wonderful thing so, to all the Edgar Wrights and Quentin Tarantinos of the world; keep up the grand work and let’s hope future generations…

 IN THIS PHOTO: Lily James, in a shot from Baby Driver

FOLLOW in your footsteps.

FEATURE: X-Why? The Issues Faced by Female Producers in a Male-Dominated Industry

FEATURE:

 

X-Why? 

IN THIS PHOTO: Producer/songwriter Abra/PHOTO CREDIT: Alex Cretey-Systermans

The Issues Faced by Female Producers in a Male-Dominated Industry

________

SINCE I started this blog; I have become more interested…

IN THIS PHOTO: Grimes is one of the most respected producers in the music industry

in and angered by the gender imbalance in music. In front of the microphone; there seems like an even disruption between the boys and girls. Various genres see men or women taking the majority share but, when one listens to the songs we all enjoy, you have to ask the question: how many of them were produced by women?! I will end the piece by looking at a selection of upcoming female producers who have to fight against stereotypes and poor practices in the industry. I want to bring in articles that help back up my argument: there are many who feel women have no place in the recording studio – mixing, engineering or producing, that is. The same way there are few women being given headline slots at festivals: there are very few being encouraged into studios to do what, even today, are considered ‘men’s jobs’. There are perceptions that women are more vulnerable to taking time off – maternity leave being a concern for studio bosses. If a potential employee is going to take a few months-a year away from the studio: how reliable are there going to be?

PHOTO CREDIT: Wikipedia

It is a criminally sexist idealogy but one that, to many, is holding them back from applying. Not every woman on the planet wants to reproduce: there are many who already have children or are capable of balancing the demands of professional record production with being a mother. In any case; there are prejudices that are present in all areas of the workplace – not only the music industry. Women, as we know, are paid less and, when looking at music, they are still being seen as inferior and less capable. If a woman, say, is more emotional and sensitive than a man – can they handle the stress and demands of a headline slot? Seeing more women become producers, defying limitations, is very pleasing to see. Even as recently as a few years ago; shocking statistics outlined how widespread and alarming the issue is – very few women being recruited and encouraged to produce.

PHOTO CREDIT: Pixabay

A 2012-article by the BBC outlined the issue:

“In the UK the situation is the same. The Music Producers' Guild says less than 4% of its members are women. And the Liverpool Institute of Performing Arts says only 6% of the students enrolled on its sound technology course are female. That figure hasn't changed for three years.

Yet the problem seems to be restricted to rock and pop. In the theatre, in Hollywood, in radio there are dozens of female sound engineers. Roughly one-quarter of the BBC's sound mixers are women.

"There are no social barriers to a woman becoming a record producer," says Prof Rogers.

"The more stringent and insurmountable constraint is the biological one. A man can, technically speaking, reproduce on his coffee break. It doesn't take all that long, and biologically it doesn't take much of a toll. For a woman, the opposite is true.

"The typical lifestyle of a record producer is very intensive, very competitive, all-consuming. In order to be able to maintain that level of focus and attention and dedication to your craft, it has to come at the expense of reproduction."

"The women who do get into it will do really well... until they reach that point in their late 20s where they say, 'Now its time to have a family'. I tell my female students it's going to come for them. It came for me, and I opted not to have children, to not get married."

Influential women like Cordell Jackson – founding her own label, Moon Records (in 1956) - produced early Rock ‘n’ Roll songs. Sylvia Robinson produced the Hip-Hop classic Rapper’s Delight; Susan Rogers engineered Prince’s Purple Rain and Sign o’ the Times – working with Barenaked Ladies and Crosby, Stills and Nash. Leanne Unger produced and engineered albums for the likes of Leonard Cohen whilst Sally ‘Louder’ Browder emerged from California’s Punk scene to produce records alongside artists like Dwight Yokam.

IN THIS PHOTO: Legendary producer and engineer Trina Shoemaker

Trina Shoemaker, who I shall mention later, has won three Grammys and worked with Sheryl Crow, Queens of the Stone Age and Emmylou Harris. Shoemaker, when talking with BBC in 2012, offered encouraging observations:

"Women are entering the field in drives now. There's maybe a 20-year curve before they're fully recognised. But look at doctors - they're pretty much equal now.

"I don't know about pay scales, but if a surgeon walks in and it's a woman on her 800th cardiac surgery, I want her, not the young dude who just walked out of medical school.

"So I think about the time I retire, we'll see a very level playing field."

IN THIS PHOTO: Grammy-nominated, engineering pioneer Emily Lazar

In the years since that article; more courses have been set up and more women are pursuing careers as producers. Every year, mind, a new article emerges that questions why producing and engineering is a male-heavy sector. One would be forgiven to jumping to conclusions but the simple reason is this: there is not enough positive recruitment and proactive effort from the men who currently own the studio landscape. I will come to my own interpretations and views but, reading a 2016-article - from Cuepoint - noticed how, since 1974, only six women have been nominated for a producer gong at the Grammys.

“In this year’s GRAMMY Awards, no female producer has made the cut for a Producer of the Year, Non-Classical nomination. That, unfortunately, is nothing new. Since it was introduced in 1974, only six women have been nominated in the category. Past female nominees include Janet Jackson (the first female nominee ever, in 1989, who was nominated with her team Jimmy Jam and Terry Lewis for her album Janet Jackson’s Rhythm Nation 1814), Mariah Carey (nominated as a pair with Walter Afanasieff for her album Emotions in 1991), Paula Cole (the first woman to be nominated solo, for her album This Fire in 1997), Sheryl Crow (for her album The Globe Sessions in 1998), Lauryn Hill (for her album The Miseducation of Lauryn Hillin 1998), and Lauren Christy (as one half of the production team The Matrix, for their work with Liz Phair and Hilary Duff in 2003)”.

IN THIS PHOTO: Music student Nyasha spoke with The Fader as to why she took up producing

The article highlighted how the studio can be quite an antisocial and dank environment. I have been in a few rather small and modest studios – it is a very quiet and serious atmosphere that does not encourage sociability and conversation. Even the high-end studio facilities are male-led and rather clique-driven. There is boys’ talk and it can be quite hard for women to naturally assimilate into that dynamic:

“Given that less than 5% of music producers and engineers are female, there isn’t much room for social growth for women in the industry, going hand in hand with an equally limiting professional growth trajectory wherein men traditionally work with, answer to, and promote other men. KK Proffitt, owner and chief engineer at JamSync, a small studio in Nashville, says the imbalanced gender dichotomy can be intimidating for women, especially when it gives men carte blanche to act unprofessionally”.

It seems, even in 2017, music production/engineering is a parochial industry where women are assigned specific roles – the same sexist secretarial sub-duties that see them subversively resigned to the shadows. The high-end equipment is bought, largely, by men and there is that impossible cobweb: how do we untangle ourselves from the current malaise?! There are positive signs, yes, that women are becoming more determined to overcome the odds and get into the studio. I do wonder whether they are likely to be met with the same respect as men and, when they do become producers, they will receive the same pay?! Music courses in Production are open to men and women, but it is attitudes that are holding many women back. If a woman looks at the statistics - and feels she would not stand a chance of being accepted into a modern recording facility – how likely is she to take up production and follow that career-path?! I wanted to dedicate the second-half to positive and celebratory concerns so, before moving on, a few new angles that query why there are so few female producers. The Fader, back in 2014, asked new female producers why they have been hesitant. Caroline Polachek, a New York-based producer, laid down some truths:

“There are plenty of female artists out there now who are self-produced and doing cutting-edge productions to surround their own vocals or compositions, which is vital part of the musical landscape right now, but the resulting message is that the female producer is an aesthetically presented vocalist who only produces her own songs”.

IN THIS PHOTO: Producer and songwriter Caroline Polachek

It is true there are a lot of new artists coming through that are producing their own songs – women, I mean. So many of the female artists I feature produce their own material and do so in a D.I.Y. manner. Maybe a lot of the issue comes in the big studios: there is evidence to suggest a lot of underground artists are taking control of their own music and producing their own stuff. There are many female artists learning production via apps., technology and YouTube tutorials. This is a way to navigate the sexism of the studio and prove they are as worthy and talented as their male peers. Toronto’s WondaGurl offered a practical solution to the issue of few female producers:

“I feel women should enter more beat battle competitions, that would be the first step in getting noticed by people from all over. There are many industry people that attend those events and that I feel would be a good place to promote yourself”.

What is evident is there is little room for new archetypes and progressions. Music is a stubborn industry that prefers the ‘old way’ and not amending the Constitution. The sacred and rigid decades-old decelerations have not been met with adequate rebellion and protest. Many women are speaking out but how fruitful is that when few men are adding their voices to the debate?! Sydney producer, Anna Lunoe, offered more (sage) advice:

“The more there are in the public space, the more young girls will see it as a option for them from a young age and find the confidence to start learning. That means we need women not only to be producing but—and this is important—to stimulate meaningful change we need them to actually rise to the top and become visible. Producers by nature aren't always visible, so that means to create most change, she must not only be a producer but also potentially have what it takes to be a performer—publicly seen and embraced. We all are aware of the standards expected of women in this area so I'll just leave that there”.

IN THIS PHOTO: Music student Alex spoke with The Fader as to why she took up producing

Every example and testimony I see; it seems to say the same thing: there is not enough will and determination to change things. Every female producer in this article, I am finding, says they hesitated because the top-bods were not being sufficiently gender-fluid in their promotional campaigns. The way to override and subvert the male-led hierarchy and hegemony is to revise the mission statement: producing is fit and open to everyone! Established New York-based producer Emily Reo, explained ways we can encourage more women into the field:

“But since that takes more time and effort and equality doesn't seem to be much of a concern to the industry higher-ups, we need to keep having this conversation and having it loud. If pop music's audience is vocal about a change needing to happen, maybe we can shake the structure from the bottom. Profiling talented female producers and engineers more frequently is a start”.

These arguments are all quite impressive and give the men at the top much food for thought. It seems the Pop market is the most monetised and profitable side of music. Why, in an industry where so many of its players are female, are there so many female producers? It seems it is not only reserved for the production side of things: many of the writers, who appear in the top-forty, are men. The statistic in this 2016-piece lay it out bare:

“A look at the charts tells us 74 people produced the songs in the Top 40 this week, but only 3 of them were women. Three. Those women were: Bebe Rexha for G Eazy's "Me Myself & I," Meghan Trainor for "Like I'm Gonna Lose You," and Wondagurl for Travis Scott's "Antidote."

And none of them produced a song on their own without a man. 37 of the Top 40 songs this week were produced by an all-male team. That's 92.5%.

And this is not a number exclusive to February of 2016. In our data for the Top 40 for 2015, we found that only 3.8% of Top 40 producers were women last year.

 IN THIS PHOTO: Marcella Araica

Even though this week, Rihanna and Drake's "Work" is sitting high at the top of the charts, only 17.5% of Top 40 songs were performed by only women. And 67.5% of songs were performed by men without any appearances by a female performer. Just for comparison, women performing alone have 7 songs in the Top 40. Drake and the Weeknd alone have 6 songs.

Things are no better than they were last year. For all of 2015, women only made up 25.8% of the 178 performances that hit the Top 40.That number—25%—manages to hold steady despite how many songs come and go in the Top 40. This week, women make up 30% of songs in the Top 10, but only 15% of the Top 20.

It’s almost like there’s a cap on how many women are allowed to succeed on the charts.

And when one of America's Top 40 performers is accusing her producer of rape and emotional abuse, it's hard not to wonder if the barrier to enter the Top 40 is built out of a lot more than just how good of a hook you can sing.

In addition, again this month, women make up an even smaller percentage of the songwriters on the Top 40. Only 15 of the 143 writers it took to make the 40 most popular songs in America were women. That’s 10.4%”.

A lot of the famous and high-profile female producers are inspiring others to get into the industry. One only need look at the credit-sheet of Linda Perry, Marcella Araica; Emily Lazar and Sylvia Robinson, between them, have produced everyone from Duran Duran, Gwen Stefani; David Bowie and The Dixie Chicks. Taylor Swift and Britney Spears have produced a lot of their music; so too have Alicia Keys, Beyoncé and P!nk; throw in Lady Gaga, Katy Perry and Nicki Minaj – M.I.A., Lauryn Hill and Shura. A lot of those names are mainstream and established but there are so many, away from the bright lights, laying down and producing their own sounds. Perhaps; the issue is with the mainstream and setting a great example.

IN THIS PHOTO: Producer/songwriter HANA/PHOTO CREDIT: Jasmine Safaeian

In addition, again this month, women make up an even smaller percentage of the songwriters on the Top 40. Only 15 of the 143 writers it took to make the 40 most popular songs in America were women. That’s 10.4%”.

A lot of the famous and high-profile female producers are inspiring others to get into the industry. One only need look at the credit-sheet of Linda Perry, Marcella Araica; Emily Lazar and Sylvia Robinson, between them, have produced everyone from Duran Duran, Gwen Stefani; David Bowie and The Dixie Chicks. Taylor Swift and Britney Spears have produced a lot of their music; so too have Alicia Keys, Beyoncé and P!nk; throw in Lady Gaga, Katy Perry and Nicki Minaj – M.I.A., Lauryn Hill and Shura. A lot of those names are mainstream and established but there are so many, away from the bright lights, laying down and producing their own sounds. Perhaps, the issue is with the mainstream and setting a great example.

IN THIS PHOTO: Alicia Keys is among a number of high-profile musicians who have produced their own music 

In addition, again this month, women make up an even smaller percentage of the songwriters on the Top 40. Only 15 of the 143 writers it took to make the 40 most popular songs in America were women. That’s 10.4%”.

A lot of the famous and high-profile female producers are inspiring others to get into the industry. One only need look at the credit-sheet of Linda Perry, Marcella Araica; Emily Lazar and Sylvia Robinson, between them, have produced everyone from Duran Duran, Gwen Stefani; David Bowie and The Dixie Chicks. Taylor Swift and Britney Spears have produced a lot of their music; so too have Alicia Keys, Beyoncé and P!nk; throw in Lady Gaga, Katy Perry and Nicki Minaj – M.I.A., Lauryn Hill and Shura. A lot of those names are mainstream and established but there are so many, away from the bright lights, laying down and producing their own sounds. Perhaps, the issue is with the mainstream and setting a great example.

We all know about those Pop/mainstream female producers: they are doing their best to encourage fellow women to produce and swim against expectation. That poverty of expectation is only being fuelled by male producers who have a duty to encourage balance and equity. The issue does not lie solely with them: those label bosses, established industry heads and their ilk need to do a lot more than they are right now. Courses, run by the likes of London Academy of Music Production are great places to start.

IN THIS PHOTO: Australian-born, London-based producers/artists NERVO

They are gender-blind and are excited to welcome talent from all around the country. We need to make these courses and institutions more visible. The government is not expending adequate finance and awareness to the problem at hand. Sexism is not confined to music production: festivals are culpable of restriction female headliners; mainstream management and record labels sexualise and exploit their female talent. There are a lot of female D.J.s coming through but, speaking with many in the industry, they still get paid less and are afforded few opportunities. There is that insinuation (women) are less capable of packing a room or handling the demands of the job. Many are promoted because of their looks at physical assets – many are quitting the industry because they are not being taken seriously. Dani Deahl; speaking with EDM in 2014, gave a perfect argument/solution:

“I think it's cultural and societal. Women are still brought up surrounded by influences that steer them towards certain careers, certain mindsets, certain pathways. It's a lot of learned behavior - I found while researching for my talk that almost all the female producers I interviewed were brought up in households similar to mine - ones where parents didn't differentiate between 'boy' activities and 'girl' activities. We get so wrapped up in gender roles.” Navigating her path into the male-dominated business, Dani said, “As far as music, I just do what feels right. Lately that's been incorporating bits of riddim and lots of drum work into tracks, because that ignites a visceral feeling for me when I make it and play it. At the end of the day, it's just about feeling like I'm being honest with myself and all the fans, who are like friends. You wouldn't lie to your friends.” Dani’s success includes producing a Billboard charted track, three performances at Lollapalooza, and running a successful blog. For aspiring female producers, Dani is open to discussing and sharing her thoughts with others. “People can go ahead and tweet me questions, I'm always more than happy to answer.”

PHOTO CREDIT: Chvrches' Lauren Mayberry has spoken out against sexism in the music industry

I will end with a selection of the female producers, established and rising, that are worth your time and respect. Women in the industry, such as Chvrches' Lauren Mayberry (above); have spoken out against sexism and revealed the discrimination she has encountered. There are wonderful articles such as this, and this - that highlight women making a stand – and how we can challenge ill-advised conventions. That latter example, by The Conversation, asked how to fight the cannon and queried why women in Rock, especially, are being marginalized. It went on to discuss why women in Pop are objectified and belittled – bringing the recent case of Ke$ha and the trial with former producer Dr. Luke. Backing up my argument; this was said:

“For women, questions of representation become important here – if you don’t see anyone like yourself being presented in the canon, it is harder to imagine you can make good music. Thus a male-dominated canon works to exclude potential future women musicians.

Those women who are successful are more often in the pop genre. Pop success often entails having a highly sexualised image, and is generally not taken seriously by critics.

Young women trying to break into music also have to deal with the way social spaces connected with music are often marked as masculine and policed by men in various ways.

Many women musicians have reported belittling and dismissive attitudes by men in live music venues, music stores and when learning music. It seems few female musicians have not been asked at one time or another whether they’re “with the band”, or if they’re just there to watch their boyfriend, or had their technical or musical abilities called into question”.

IN THIS PHOTO: Courtney Barnett remains one of the only Australian, female Rock musicians making a mark on the international stage

There is a wider dialogue that deals with female artists and songwriters. They are not being represented and it seems a larger epidemic needs medicinal and aggressive exorcism. I am buoyed, on the one hand, there are so many hungry and talented female producers emerging. The mainstream best and underground treasures show there are plenty of female producers that warrant respect and investigation. The problem we have still lies with those decision-makers at the top of music’s pyramid: the men, whose influence and patronage, trickles down to their fellow MAN. There are few male journalists joining the discussion and speaking out against their gender. Maybe there are fears revolving around accusation and repercussions. I feel there is a general passiveness and hesitancy that needs to stumped-out. I will finish my portion by bringing in a producer I will name-check down below. Laura Marling, and her Reversal of the Muse series, chatted with various women in music – their experiences and problems faced in the industry. Two particularly worthwhile editions are her chat with songwriter Karen Elson and producer Jonathan Wilson. They discussed how women can become more interwoven and collaborative with male producers:

Another, rather interesting podcast, is with engineer Olga Fitzroy - who was distilled on the website, thus:

“Together they discuss whether women are able to meet the demands of working in a studio and still have children, or if the two are mutually exclusive which has consequently lead to the male dominated environment. Laura also notes that women scientifically hear differently to men, which sparks the question: Have we been creating records for the male ear, as most of our studio mixers are male? Olga and Laura consider if we’re missing a feminine part to everything behind music and the way it’s created.”

IN THIS PHOTO: Engineer and producer Olga FitzRoy

Lauren Deakin Davies spoke with me earlier this year - and I asked her the following:

"I know a lot of female P.R. bosses but few women based in studios. Why do you think there are so few behind mixing desks, producing artists? What can we do to change this?

This is the million-dollar-question I get all the time. It’s definitely not down to one thing. I believe it’s a hangover from an older way of thinking and a subconscious thought process where girls are encouraged to be singers before they are encouraged to be engineers. It doesn’t necessarily come from a place of malice. I just think it’s not directly encouraged.

There are so few role models and seeing a woman in the studio behind the desk is so rare (I have been given the tea orders more than once when I have been behind the desk!). It’s usually men who are featured and photographed in the industry magazines.

Although, there is a definite desire to change this which I’ve noticed especially within the Music Producers Guild – of which I am a full member (and for sure, there’s not that many women members yet: but we hope to change this!)".

As you will hear form the interview below - from 08:24, then, a minute later - Deakin Davies talks about her musical'/producing teaching - and why it is important to keep learning:

This morning, at around 9:30; she spoke with BBC Three Counties (about forty-five minutes in) to discuss the issue of women in the studio – and what can be done to tackle the problem. It is, literally, the freshest argument I can bring in so seems, as I give you a guide to the great female producers around, a perfect place to end...

FEMALE PRODUCERS TO WATCH:

Catherine Marks

Website: http://www.catherinejmarks.com/

Location: London, U.K.

BIO:

“Having worked closely with legendary producers Alan Moulder and Flood in the past, she now has over 10 years of experience working in studios all over the world. Her production, mixing and engineering credits include Wolf Alice, Sunset Sons,  Foals,  Alex Winston,  PJ Harvey, Champs, Frank Carter and The Rattlesnakes, Howling Bells, Kanye West, Ian Brown, MIA, Placebo, Ride, Killers and Mr Hudson.Collaborating with new bands and established artists alike, Catherine is always endeavouring to get the best out of those she works with. Completely in tune with the mechanics of the studio environment, Catherine is calm, devoted and passionate about each project she works on making the artists feel relaxed and positive about creating and experimenting in the studio”.

Interview: https://www.youtube.com/watch?v=gM44gjbavfM

Crystal Caines

Website: https://twitter.com/CrystalCaines

Location: Harlem, U.S.A.

Interview: https://www.youtube.com/watch?v=Fin6ZBVY3MA

PHOTO CREDIT: Cassy Paris Bellanova Photography

Lauren Deakin Davies

Website: http://www.laurendeakindavies.com/

Location: Hertfordshire, U.K.

Testimonials:

“I honestly don't think I could've made Songbirds without Lauren.  Her openness and willingness to try things differently meant that we created a very unique sound.  A very  unusual mix of quiet confidence with a youthful/fresh perspective makes her a particularly strong producer to work with”- Kate Dimbleby (four plays on BBC Radio 2 and four on BBC 6 Music)

“Lauren's relaxed and friendly personality brought out the best in all of the guests at the recent London Red Bull #Normal Not Novelty workshop she ran. She tailored the content to make sure that everyone would learn something useful, and she asked all the right questions of the guests to get them engaged and involved. Lauren is extremely talented in many areas, and she used her many skills to give guests invaluable information - thanks for speaking at Normal Not Novelty Lauren!’ - Katie Tavini (Mastering Engineer/Host at Red Bull Studios).

"Lauren came to our music collective in Bristol to deliver a workshop about production and recording in a home studio environment. She kept the group engaged from start to finish and many of the participants commented on how much she covered in a short space of time. Lauren is able to bring a great range of information together in a way that is accessible, easy to understand and well pitched to the group in front of her. What she delivers is hands on and practical as well as technically informative. We are looking forward to working with her again soon" - Anna Kissell, Bare Bones Collective.

Caroline Polachek

Website: https://twitter.com/carolineplz?lang=en

Location: Brooklyn, U.S.A.

Interview:

“Do you imagine that people will recognize you more as a producer now?

My hope is that people will sort of realize that I’ve been in there the whole time. And also that it might make people look at what I do next a little bit differently”.

Source: https://thecreativeindependent.com/people/caroline-polachek-on-making-work-thats-useful/

PHOTO CREDIT: VALERIA CHERCH

Cooly G

Website: https://soundcloud.com/coolyg

Location: London, U.K.

Interview:

“At what point did your love of music turn into a desire to make it? 

The first time I felt like wanted to make something for real was when I was DJ-ing when I was around 7 or 8 years old. When I first mixed a tune properly together and I heard something else from that track I thought, oh my god, that could be another track. I didn't know you could actually produce tracks, I didn't even know how people made tracks really. I didn't know that I could have a computer in my house, and a keyboard, and the software, and just make beats. So when I got the chance to go into the studio, that's when I started to make tunes. I wasn't taught anything. I just learned everything myself”.

Source: http://www.thefader.com/2014/10/28/beat-construction-cooly-g-interview

Sydney Blu

Website: https://soundcloud.com/sydneyblu

Location: Toronto, Canada

Excerpt:

“I taught myself to write music over along period of time, I took private classes, went to audio engineering school, took piano lessons, and took online courses. I consistently try to get better and I do my best.” Sydney believes one of the most challenging aspects of a producing career is uncertainty. “Being a DJ is an emotional roller coaster. A lot of women like stability. It's a lot of work and you need to put your life into it if you want to be successful at it.”

Source: http://edm.com/articles/2014/11/25/five-women-producers

PHOTO CREDIT: Roe Ethridge

Grimes

Location: Vancouver, Canada

Website: http://www.grimesmusic.com/

Excerpt:

“There is no conversation about female producers in 2016 without ecstatic mention of Claire Boucher — the singer, songwriter, producer, and multi-instrumentalist behind some of contemporary music's most exciting compositions. Boucher's 2012 breakout record Visionscollected ambient, dance, electronic, and pop influences to concoct bubblegum cyborg melodies. Nearly four years later, Boucher broke from the synth-pop sound she made so popular and gifted the world with Art Angels, an audacious and experimental album for which she learned guitar (her hero Dolly Parton's "Jolene" chords specifically), drums, ukulele, and violin to create. This excellently nerdy interview with Future Music magazine touches on all of her production preferences, from Ableton software for vocals to her data-rich files”.

Source: https://i-d.vice.com/en_us/article/qv8ymw/8-female-producers-behind-todays-most-innovative-sounds

Shura

Location: London, U.K.

Website: https://www.weareshura.com/

Interview:

“That questing tendency feeds into how the English singer creates music, including her much-anticipated debut album Nothing's Real (out July 8, via Polydor): "I just want to go on a fucking cool adventure. I want to explore my boundaries, I want to push myself and go right to the edge of what I am capable of. I don't want to ever be comfortable." Nothing's Real takes the listener on a sonic journey that ranges from highly produced, Madonna-like pop ballads to hazy, experimental tracks recorded on old-school tape decks. It's a 13-track soundscape that, when listened to in its entirety, proposes questions and sparks discussion about fear, identity, love, and loss”.

Source: http://www.elle.com/culture/music/interviews/a37713/shura-interview/

TOKiMONSTA

Location: Los Angeles, U.S.A.

Website: https://tokimonsta.com/

Interview: https://www.youtube.com/watch?v=f0pAV5Fz48E

PHOTO CREDIT: Jasmine Safaeian 

HANA

Location: Los Angeles, U.S.A.

Website: https://twitter.com/hanatruly

Interview:

“What made you decide to close that chapter of your career and start recording your songs yourself?

About two years ago, I met Mike [Blood Diamonds], and he kind of made me stop and think about everything. He was like, "So you just go out on the road, endlessly? Do you want to do this forever? Is your music where you want it to be?" And it got me thinking, Well, no. It's not. I would never sit and listen to my own music, which I think is kind of a sad point to be at. So I took a break, sold my van, and basically my goal was to learn how to produce. To get my music to the point where it feels like me, recorded. That's kind of the point where I'm at right now: I'm making music that I really, really love. It's completely my own writing, no other co-writes. And I think that's why this stuff is so special to me: because it's 100% mine. I'm singing exactly what I want to sing on top of music that I made that I'm super proud of.

How would you describe the production aesthetic you’re going for?

I'm almost trying to take away the production. My previous stuff was very, very produced. Because I have been writing songs that mean a lot to me, I want the lyrics and the melody to be what shine. And I've definitely not mastered production, but at the same time, I feel really confident in what I can do. I used to write with my guitar, which I still do sometimes. But now I'm writing more with piano and over tracks I've done in Ableton”.

Source: http://www.thefader.com/2015/07/30/hana-grimes-interview

Gina Turner

Location: New York, U.S.A.

Website: https://soundcloud.com/djginaturner

Excerpt:

“Music has always been a huge part of my life. I grew up in a time when New York had legendary places open, like Sound Factory and Shelter. I quickly fell in love with house music and began to buy vinyl and play around. However, I was always geared to be more of a radio DJ. So becoming a club DJ happened organically in college when I was studying audio production and radio broadcasting.” With several releases planned for the upcoming year, Gina stays true to her identity. “I’m still finding myself everyday”.

Source: http://edm.com/articles/2014/11/25/five-women-producers

Ronika

Website: https://www.facebook.com/ohronikagirl/

Location: Nottingham, U.K.

Interview:

“How did you get into production?

RS: I started getting interested as soon as I started listening to electronic music and hip-hop as a teenager - tunes where the production was just as important as the performers, if not more so. I'd listen to things on Warp like Squarepusher or Black Dog and wonder; how are they making that? How do you even do that with a drum machine? So, out of curiosity, I started to go to a studio in Notts to get learning. I'd already decided that it was important for me to be involved in all aspects of music making, that the beats and recordings were just as important as the songs themselves for me.

Was there a Eureka moment, where you realised you could actually do this?

RS: I'm still waiting for that! It's been a massive long journey for me and I'm still learning. With technology you're always learning because it's always changing. Making interesting music is always going to feel like a challenge. I don't think it should feel easy.

Did being female hinder your progress?

RS: When I was growing up, there really wasn't that many female producers I could be inspired by, and I didn't know why it was so male-dominated. There was a massive imbalance in my role models, and I felt that needed to change. And it has over the last few years. There's loads more of us now, which is great. But it was important to me to make sure that there was a solo female name on some of the production credits.

A lot of people in your shoes might have been happy to pass the hard work onto someone else.

RS: And I sometimes wish I'd done that, taken the easier route. There were definitely some big opportunities to work with important industry people, who wanted to take the production off my hands, that I've passed up along the way. But I didn't want to do that”

Source: http://thequietus.com/articles/15908-ronika-interview-selectadisc

Emily Reo

Website: https://www.facebook.com/emilyreomusic/

Location: Brooklyn, U.S.A.

Interview:

“AF: Now you’re branching into producing other artists’ songs, like Yohuna’s excellent “Para True”. How did that collaboration come about, and is that a role you’d like to take on more in the future?

ER: After I finished recording Olive Juice, I started using midi to create sketches for future songs. In the process, I got really interested in making beats and learned more about production. When my good friend Johanne (Yohuna) asked me last year if I would add a beat to her song “Badges” I was so excited. Next I added a beat for “Para True” as well as mixing the track, which was a first for me and a great learning experience. I definitely see us working together more in the future, it’s something we’ve talked about for a really long time and we’ve sent things back and forth to each other for a few years now without much follow through. Her songs are indescribably gorgeous and it’s so rewarding to contribute something that can take them to the next level”.

Source: http://www.audiofemme.com/interview-emily-reo-basilica-soundscape/

WondaGurl

Website: https://twitter.com/WondaGurlBeats

Location: Ontario, Canada

Interview: https://www.youtube.com/watch?v=mkfgjgBStFQ

Kito

Location: London, U.K.

Website: https://www.facebook.com/thisiskito/

Interview: 

“Q. Your music style has many diverse reaches that makes it hard to place it in one genre. How would you classify your music and do you have further intentions of experimenting even more?

Q. Leave us some inspirational words

I have all intentions to continue experimenting! I like that people find it hard to classify my music although I do wish I found it easier to describe it in interviews.. I think I’ll always be making electronic music. What I do with Reija I would almost call a pop project – it’s just influenced by a lot of underground electronic music and also R&B and hiphop.

Q. Any upcoming projects before the end of the year?

I can’t actually believe we’re talking end of the year already.. That always happens! It always creeps up on you! September is studio month and then I’m doing an Australasian tour with Reija Lee for the whole of October. Then the Mad Decent Boat Party is in November, which is going to be mental. And besides that I’ll just be in the studio, as usual!

Q. Which artists have really inspired you throughout 2014?

I’ve been really inspired by the stuff SOPHIE has been doing this year. Also Redhino’s new album sounds amazing.

Q. Which artists would you like to collaborate with in the near future?

I’d love to work with Lido, The Dream and Switch!

Q. Leave us with some inspirational words..

My words of advice to anyone out there aspiring to be a music producer or artist: go as far as you can without signing a contract with anyone. Be as free and in control of your project as you can be! And never stop raving - go get wasted in a club and remember why you wanted to do this in the first place. I need to take my own advice more often.”

Source: http://www.scorpiojin.com/kito-interview

Nina Kraviz

Location: Russia/U.S.A./Worldwide

Website: https://www.residentadvisor.net/dj/ninakraviz

Interview: https://www.youtube.com/watch?v=7gUmFJUpWvc

IN THIS PHOTO: Abra/PHOTO CREDIT: Alex Cretey-Systermans  

Abra

Location: Atlanta, U.S.A.

Website: https://www.facebook.com/darkwaveduchess/

Interview:

“Today, Abra is essentially self-sufficient: she writes and produces all of her music, though the closet in her parents’ house — where she used to record her earliest brushes with melancholic soul music — is now a thing of the past. Her new “studio” isn’t exactly more sophisticated: it’s a laundry hamper with a laptop and USB mic, located in the bedroom of her own Midtown Atlanta apartment. The rugged setup is as much a statement about accessibility as it is simply a comfort zone. “Production and recording yourself can seem like a monolith,” she says. “ [But] you don’t have to have all this crazy stuff to make cool music.”

Source: http://www.thefader.com/2016/07/27/abra-princess-awful-records-interview

NERVO

Location: London, U.K.

Website: http://nervomusic.com/

Interview:

“The Nocturnal Times: Did your upbringing influence your decision to pursue music and did you always know you wanted to work together?

NERVO: We have always had a passion for music and it was solidified at an early age when we learned to play the piano. From teenagers onwards though we started going to music festivals seeing the performers play was a great inspiration as well.  We will never forget seeing prodigy live and deciding right there that we wanted to be part of this.  Working together was a natural move for us as we have similar tastes, love to be together and are each other’s biggest supporters.

The Nocturnal Times: At what point did you realize you wanted to make the shift over from songwriters and producers to singers and producers of your own material?

NERVO: Well, we got our big break as songwriters and after our song for David Guetta and Kelly Rowland on “When Love Takes Over” won a Grammy, and we needed other challenges. Plus we had so many ideas and a lot of music on our hard drive so it just made sense to put it out ourselves, as NERVO”.

Source: http://www.thenocturnaltimes.com/the-nocturnal-times-exclusive-interview-nervo/

PHOTO CREDIT: Robbie Lawrence

Fatima Al Qadiri

Location: New York, U.S.A.

Website: http://fatimaalqadiri.com/

Interview:

“I've been consciously and unconsciously writing an internal soundtrack for that car journey ever since, attempting to capture the range of emotions I felt. Something about Gregorian chant and 8-bit video game choirs converged in me in that moment. An epiphany that the human choir is the greatest sound on earth, and all its manifestations—real, artificial, and distorted—are all equally beautiful, illuminating every edge of our past and current realities. A fragile reality that could be extinguished at any moment. In the years that followed, I’ve attempted to recreate choral music, using an array of virtual instrument choir pads or my own voice. For during that car journey out of Hell, my grandmother's spell was finally broken. My love of music was fully restored”.

Source: http://www.thefader.com/2016/03/17/fatima-al-qadiri-personal-history-brute

Magda

Location: Detroit, U.S.A.

Website: https://www.facebook.com/unmagda

Interview:

“Could you describe your creative process – how do you usually go about making a track?

It really depends on my mood. One day I might make something fast and busy and another day I might just work with one sound. Usually though, I come into the studio with a basic idea and start messing around with gear. Once I have a sequence or sound I like, I’ll jam for a while and record everything. Once I have all the parts recorded this way, I edit them down to make a track. I also like using found sounds and run them through various effects. This adds a certain richness that I like”.

Source: https://aiaiai.dk/blog/interview-magda

FEATURE: Harmonies in the Left Ear: Poor Songs from Wonderful Albums

FEATURE:

 

Harmonies in the Left Ear: 

PHOTO CREDIT: Unsplash

Poor Songs from Wonderful Albums

________

IT is inevitable you’ll find an album…

IN THIS PHOTO: Blur/PHOTO CREDIT: Zanna

you adore and think every track could not be as good as the last – and, then, the horrid sensation when a rogue and ill-fitting song arrives in your earbuds. There are few albums that are flawless but there are those classic albums that are let down by a solitary number. Whether it is something in the lyrics – or it is repetitive and does not add to the aesthetic of the record – one feels obliged to skip and demarcate it from the (brilliant) herd. Fitting and timely of nothing: I have been thinking about those wonderful albums that, for some reason, have that small crack in them.

PHOTO CREDIT: Unsplash

It is fascinating examining and theorising what drives an artist to have that momentary weakness - let the quality slip for a bit and allow a poor song get into the mix. I have encountered very few albums, as I say, where all the tracks stick in the brain - but I am talking about those big and historic records - the kind that gets critics drooling and have inspired legions of musicians.

Here, for your delectation, is a select of less-than-incredible songs on rather-bloody-stunning albums…

_________

The Beatles: Run for Your Life – Rubber Soul (1965)

John Lennon claimed this was the worst song he ever wrote – or at least, up until that point. It is the finale from the otherwise-majestic Rubber Soul. Run for Your Life is not the worst thing The Beatles ever wrote but, considering the sexist, aggressive and offensive nature of the lyrics – this one could have remained on the studio floor, no?!

Pixies: La La Love You – Doolittle (1989)

It was rare for Pixies, in those days, to make such an error of judgement. Their early albums were paens to quality and consistency. It is a surprising that their most-famous album, Doolittle, contains such an obvious filler. La La Love You Featuring drummer Dave Lovering on vocals; it is an atonal, messy misfire that adds an acidic tang to an album that many see as one of the all-time best.

Led Zeppelin: Boogie with Stu – Physical Graffiti (1975)

We all know the place Physical Graffiti holds in the Rock cannon. It is a sprawling, masterful work from one of the greatest bands to stomp the planet. Physical Graffiti boasts sweat-dripping workouts like Custard Pie; epics such as Kashmir and euphemism laden cuts like Trampled Underfoot. Any double-album is going to have a weak track but in the case of Physical Graffiti, there is the one: the lumpen, forgettable and plain-ordinary, Boogie with Stu. One feels it could have been left off the album - it is the sole negative on an album of immense (and timeless) positives.

Kate Bush: Mother Stands for Comfort – Hounds of Love (1985)

Strange sound effects, wistfulness and experimentation are what we expect (and love) from Kate Bush. Hounds of Love, arguably her finest album, contains monster hits like Hounds of Love, Cloudbusting and Running Up That Hill (A Deal with God). The second side, despite being less popular than the first half, is a flawless conceptual suite that deals with a woman caught at sea – dreaming of rescue against mounting odds. On its first side, there is a notable weakness: Mother Stands for Comfort tries to win the heart but leaves one feeling a little underfed and unsatisfied.

The Beach Boys: Caroline, No – Pet Sounds (1966)

There is no doubting the chops of The Beach Boys’ masterful, Pet Sounds. It is a gorgeous and decade-defining record from an immaculate band. Among the embarrassment of riches is a rather disappointing swan-song in Caroline, No. Brian Wilson compared the song to the work of Glenn Miller – and his song, Hey Girl. There are various stories that explain the origins of the song but, whatever way you look at it; this does not remain in the memory. Alongside genius tracks like God Only Knows, Wouldn’t It Be Nice and Don’t Talk (Put Your Head on My Shoulders) it is a bit of a let-down – and not a fitting way to end one of the finest albums the music world has seen.

The Velvet Underground: The Black Angel’s Death Song – The Velvet Underground & Nico (1967)

I am one of those people who feel The Velvet Underground & Nico is an overrated album – not fitting of the immense praise and God-like acclaim people afford it. I, in my mired state, can appreciate the quality of the songwriting and why people relate to the record. I confess, there are some phenomenal songs but, let’s be honest, The Black Angel’s Death Song is not one of them! Lou Reed claimed the idea (of the song) was to string words together with no particular meaning – the fun of their sound rather than the purpose of their meaning.

Fugees: Mista Mista – The Score (1996)

There is no denying L-Boogie, Pras Michell and Wycleff Jean can produce a damn fine tune when they want. The Score is one of the classic Rap albums and contains Ready or Not, Killing Me Softly and Fu-Gee-La – No Woman, No Cry and Family Business in there for good measure! Mista Mista appeared as a bonus track on The Score and, to be fair, I am not sure why it is a ‘bonus’. Wyclef Jean whips the acoustic guitar out; repeats the same lyrics again and again and soundtracks a song that shouldn’t have made it onto an immaculate record!

The White Stripes: The Air Near My Fingers – Elephant (2001)

Detroit’s The White Stripes transformed the Garage scene in the late-1990s and 2000s. One of the most important artists of the past two decades: their unique brand of Rock/Blues/Garage has found few adequate comparisons since their split. Elephant is, quite rightly, considered one of the best albums of the '00s. There is, on the album, guitar exorcisms; tight and pointed songs and air-punching anthems (Seven Nation Army the definitive cut). Among all the fascinating and spectacular songcraft is a track which, even Jack White felt lacked killer-bite and necessity. The Air Near My Fingers is promising in parts but, on an album such as Elephant, sound weak and anemic.

Blur: Lot 105 – Parklife (1994)

During the white-hot heat of Britpop; the main pugilists, Blur and Oasis, were tussling for chart superiority. 1994 was the year both bands produced equal albums – Oasis released their debut, Definitely Maybe. It is just as well Parklife contained so many great tracks because, for some reason, Lot 105 was included on the record! It is a weird instrumental – Phil Daniels was meant to provide a vocal, I think? – and has no place on any album. If they HAD to include it, then put it near Bank Holiday. It is a mid-L.P. filler that left many scratching their head. What’s worst is Lot 105 followed the majestic, This Is a Low – a song that should have ended the album on a high.

The Smiths: Never Had No One Ever – The Queen Is Dead (1986)

Two things annoy me about The Smith’s Never Had No One Ever. The first is, when it was written; Morrissey was in his 20s.The song looks at a lack of sex and, literally, counting the days and years since he has been a virgin. One feels the balance has been redressed – he has had sex a few times, in any case – but there are some (naming no names!) who had to wait a lot longer before they got laid. The other downside of the song is the fact it is not very good. It is weary and tired; has very little point and could have easily been left off the album. It is the only blot on The Queen Is Dead and proof not everything Morrissey and Marr touched at that time was gold.

Green Day: Extraordinary Girl – American Idiot (2004)

Green Day’s American Idiot is one of the finest political albums of the modern age and perfectly articulates the annoyance and rebellion felt by large sectors of the U.S. public. It is an album that sounds perfectly appropriate for today – even more relevant, in fact – and possesses some extraordinary songs. The title track is a blistering and memorable anthem that sticks in the head for all the right reasons. Extraordinary Girl is a weary Beatles-esque song that never gets out of second-gear (its second-half - it is two songs welded, essential - Letterbomb, is a bit more like it). Its lyrics are pale and cliché; the music lacks any melody or bite – awkwardly stumbling around without making any impact on the listener.

Eminem: Ken Kaniff (Skit) – The Marshall Mathers LP (2000)

Forget all the debates and controversies surrounding Eminem’s immense album, The Marshall Mathers LP. It is an album that has divided opinion but, in my view, is a tremendous record from one of the most accomplished lyricists and performers of this generation. The Marshall Mathers LP is a near-perfect album that fully thrust Eminem onto the map. One of the reasons it is not (totally) perfect is the truly hideous Ken Kaniff. An uncomfortable, oral-sex reference ‘skit’ that, on an album that managed to make its interstitial pieces on-point and appealing, raised eyebrows and stomach contents. A noxious effort.

PHOTO CREDIT: Unsplash

Radiohead: Treefingers – Kid A (2000)

Kid A is one of my favourite albums – and one of the best of the '00s – and completes a remarkable one-two-three after The Bends (1995) and OK Computer (1997). One can marvel in the Electronic pioneering and groundbreaking material throughout Kid A. Four phenomenal tracks kick Kid A off. Everything in Its Right Place and Kid A are wondrous: The National Anthem and How to Disappear Completely even finer. The steam and momentum is taken out of the sails when Treefingers arrives. Optimistic arrives to restore order but there is something lamentable and sterile about Treefingers. It is the only weakness of Kid A and is a shame – the band could have jettisoned the song, one feels.

Nirvana: On a Plain - Nevermind (1991)

If one were bold enough to claim a song from Nevermind deserved execution – they would probably find themselves tied to a lamppost and all their body hair removed! Such is its place in history it seems sacrilegious highlighting any tracks for judgement. Nevermind is another of those records that is perfect...except for the one song. On a Plain trundles and, whilst Cobain’s lyrics are impressive and sharp, the composition is neither swaggering enough to bring the song to life - nor textured so it remains in the memory. It is as close as the album comes to ‘bad’ and is a song I always skip. Not one for the Nirvana ‘best of’ collections...

Michael Jackson: The Lady in My Life – Thriller (1982)

Thriller has, quite rightly, gone down in music history and is one of those albums ever serious music-lover should own! Whether it is on a par with Off the Wall is for debate but The Lady in My Life gives an advantage to Off the Wall. The taut and frenetic intensity of Beat It; the legendary status of Billie Jean; that remarkable opening number and that stonking title-track. The Rod Temperton-written finale is, without being unkind, not befitting of an artist of Michael Jackson’s status. It is a sleepy, formulaic and contains none of the hooks, qualities and nuances that make Thriller such an achievement. I can see why it was left until the end of the album but one feels Quincy Jones, when producing the album, could have forgotten to hit the ‘Record’ button.

The Jimi Hendrix Experience: EXP – Axis: Bold as Love (1967)

One of the best albums of 1967 – which, in turn, is one of the best years for music – should not contain something as forgettable and ill-advised as EXP. It a shot at ‘comedy’ that mocks-up an interview about flying saucers with accelerated vocals and stereo panning – perhaps Hendrix should have concentrated on the guitar rather than sub-standard humour. Mining the kind of zaniness/effects Benny Hill fans would find amusing – not a song that had any business appearing on such a fine and inspiring album as Axis: Bold as Love!

Björk: Headphones – Post (1995)

I am one of the biggest Björk but feel a song like Headphones does not represent her best side. Post, following the incredible Debut, put her new music to new audiences and proved what a unique and sensational talent she was. Army of Me and It’s Oh So Quiet are classics from the Icelandic innovator: Isobel and Hyperballad are two of her most arresting songs. Headphones is the final track and, rather than ending Post with a bang - sort of fades and dissipates without really saying much. There is much intrigue but not a lot of impact. It is as close to a ‘bad’ song as Björk has on the album - and one of her weaker songs from her early period.

The Libertines: Don’t Be Shy – The Libertines (2004)

Amidst the chaos, in-studio brawls and drug abuse, surprisingly, came an amazing album. Not as refined, epic and economic as the band’s debut, Up the Bracket – The Libertines contains a stinker in Don’t Be Shy. Pete Doherty is on lead vocals on what sounds like a post-pub effort. It is caterwauling and has no real purpose and profit. It is an aimless and drawling song that contaminates the remainder of the album.  The tensions and rifts make the band’s eponymous album such an exciting and unpredictable creation. Most of the songs and experiments hit the heart (and mark) but not Don’t Be Shy. How the hell it made it onto The Libertines is beyond me!

Neil Young: There's a World – Harvest (1972)

For such a prolific artist; it is understandable there will be one or two minor songs in the cannon. Harvest, however, is an album that defined Neil Young in the 1970s and was his high-point. Albums with such a legendary status should be free from filler. There’s a World does not stack up against gems like Heart of Gold, Old Man and The Needle and the Damage Done. Featuring the London Symphony Orchestra; there is something jarring and unusual about There’s a World. The Orchestral added a certain something to A Man Needs a Maid but royally soiled There’s a World. Timpani, harp and over-emotive strings do not really elevate any song: they make Harvest's seventh track cloying and saccharine.

The Stone Roses: Don’t Stop - The Stone Roses (1989)

The Manchester band released two albums: one of them legendary; the other a bit crap. Their debut is the one we all remember. The psychotropic experimentation and confidence; the head-spinning, mind-altering music that bonded a generation. Waterfall, early on the album, is one of those huge numbers that everyone holds dear to their heart. The band loved it so much they thought they’d rewrite in the form of Don’t’ Stop. The fact it appears right after Waterfall makes it a rather clunky and ill-judged track. It is similar to Waterfall but a bit bigger and, well…backwards. Maybe it is their attempt at a Tomorrow Never Knows-style head-f*ck. It is, when you strip it down, a rather lazy and wasteful track that brings an odd disrepute and poverty to an otherwise epochal record.

FEATURE: Vinyl Corner: Joni Mitchell - Blue

FEATURE:

 

Vinyl Corner:

 Joni Mitchell - Blue

________

SOME records demand a feature of their own and…

a complete unpicking. I feel fewer of us are committing to vinyl in a romantic and impassioned way – prefer to hang them on the wall or keep them in the home (in case they increase in value or are needed down the line). The more prolific and intensifying digital music becomes: the contrary part of me reverts to a childhood state where vinyl was played irony-free and to the pleasure of all within earshot. This piece provides some words from others but I was keen to have my say on a record, I feel, sound peerless on vinyl. To me, the experience of listening to vinyl, is shutting other people away. That might sound antisocial but there are some albums one needs to experience alone. Joni Mitchell’s Blue is one of those records not really fitting for a social gathering. Of course, one wants to pass the songs through the ages but radio is made for that – Blue, on vinyl, is one of those experiences every human should go through. I share similar sentiments when addressing Paul Simon’s Graceland. To me, Mitchell is one of those artists that divide opinion. Her songwriting is beyond comparison – one of the finest from all of music. Like Bob Dylan; the voice is the aspect of Joni Mitchell that can cause some to wince. It took me a while to bond with her voice: such is its unique edge and bracing nature; it was a gradual process of ‘acceptance’. When she sings with beauty and tenderness: it is bird-like and sands away all the rough edges. It is the personality and physicality Joni Mitchell puts into each performance that reaches deep inside me. She is a songwriter that still inspires new artists and someone whose legacy cannot be tarnished. I wonder whether she will record more material: there is a demand for the kind of music/sound only she can provide.

IN THIS PHOTO: Joni Mitchell looking from te window of her Laurel Canyon home in October, 1970. PHOTO CREDIT: Henry Diltz/Henry 

There is a debate as to which Joni Mitchell record is her definitive moment. To me, actually, I switch between Court and Spark and Clouds. The latter is Mitchell’s second album and, although it contains Both Sides, Now and Chelsea Morning – it has not been received as rapturously as Blue. The same can be said for Court and Spark and, whilst it has Free Man in Paris and Help Me on it – it is shaded by the majesty of Blue. Court and Spark arrived three years after Blue (in 1974) and marks the end of her ‘Purple Period’. I name it as such because if one mixed ‘Blue’ with the red imagery of For the Roses – the album that arrived 1972 – you would get a purple-looking result. This is best defined in Court and Spark which pulls the best elements of Blue and For the Roses together. Those albums, in fairness, arrived in the middle of Mitchell’s finest phase. From Clouds (1969) to 1976’s Hejira – Mitchell produced album-after-album of peerless songwriting and priceless gems. I digress, but wanted to show what a body of work Mitchell has and why more people should listen to her. Blue is that critical favourite and the one many people bond with closest. Maybe it is the emotion and vulnerability; the incredible vocal range and the spine-tingling, vivid stories. If you have a chance to buy Blue on vinyl; I urge you to do so. It is a record one can listen to, lying on their back with the lights dimmed (candle, perhaps, burning with orange-scent against the flicker of a summer-framed curtain; stars blushing coquettishly in the nakedness of the night’s sky) and drift away. The mere formality of setting the scene conveys poetry (or my attempt at it) and heady wordplay. That is the effect Blue has on the unsuspecting and initiated alike: it is a masterpiece whose immaculate arrangements are best enjoyed through vinyl.

I said I’d bring other interpretations into the mix and, before discussing some of the themes and background behind the record, wanted to source an article I discovered recently. Four years ago, writing for The Atlantic, Jack Hamilton argued why Blue is the best ‘relationship album’ ever:

“For better or worse, we live in a culture where lifelong, monogamous commitments are widely held to be the desired ends of romantic life: Romantic comedies end in weddings, and Hallmark doesn't make Valentine's Day cards for open relationships. For those who buy into this norm, the downside is that in our best-case scenario—our best-case scenario—every single relationship we ever have, except for one, will end and end badly. Otherwise, as they say, they wouldn't end… Blue is a confessional that implicates us in its crimes, and in doing so ever so slightly absolves us of our own. And if at times it holds a brutal mirror to our collective inadequacy, it's not without its fairy tales. Immediately after "River," as if from some other world, comes the album's most unabashedly joyous song, "A Case of You." It's one of Mitchell's most beloved compositions, covered by artists ranging from Diana Krall to Prince. There's a moment at the top of its second verse, the one that begins "I'm a lonely painter / I live in a box of paints," when the entire track seems to suddenly swell and almost burst, a beautiful shock of intensity that recedes almost as soon as it appears. And in that one heart-racing, vanishing instant everything makes sense, because if we can only find our way back to that, that moment, that feeling—to find that would mean to be happy forever.”

I have condensed and created a portmanteau because – read the full piece to get a less impressionistic truth – it has a resounding heartbeat: Mitchell’s 1971 magnum opus comes from her soul but can be extrapolated by everyone.

I shall come to the ins, outs and technicalities of the album – before offering conclusion and summary – but one need understand the fragile state Mitchell was in recording Blue. She has experienced painful breakups with Graham Nash – whom she was deeply in love with – and James Taylor. Both exceptional songwriters but each relationship was very different. In the case of Taylor; Mitchell was with him for a short time – when the songwriter was in the throes of heroin addiction – but it has intensity. The confusing and heartbreaking contrasts of each relationship had a profound effect on the young musician. She was able to articulate a sense of beauty, acceptance and retrospect in Blue’s finest moments. Three of her finest songs - A Case of You, River and The Last Time I Saw Richard - have desperate sadness and that need for escape. She was living in the public eye and her creative existence was a transposed and skewed mirror against the polemic fracture of her personal life. To journalists and music-lovers; she was an icon and was being elevated to goddess-like realms. Walking a tightrope in private: she was frail, fragile and near the point of constant teariness. Mitchell’s success, following Blue, meant fellow West Coast-based confessional songwriters like Carole King and James Taylor provided something incredible to music in the 1970s. In a career-spanning piece regarding Joni Mitchell’s music; Sean O’Hagan, writing in The Observer, offered some of his keen observations about Blue:

“Blue, though, also signalled in more subtle ways the more dramatic musical shift that was to follow. Listen to the way she enunciates the very first notes of the title song, settling on the word “blue”, stretching and bending it across an octave or two in the manner of a seasoned jazz singer. Then there’s the joyous lilt and sway of Carey, one of several songs of wanderlust that, across the years, testify to a relentlessly restless spirit. The term folk singer no longer contained her, nor increasingly did singer-songwriter which, by then, was becoming synonymous with a certain kind of plaintive Californian narcissism”.

Following the success of her first three albums – and songs like Woodstock – and a painful breakup with her long-term boyfriend, Nash; Mitchell embarked on a trip around Europe. Holidaying on the island of Formentera; she began to write songs that would appear on Blue. The ghosts and scars of her twin breakups were incorporated onto the album but it is the tracks Blue and All I Want that refer to James Taylor and the intoxicating bond they share. In fact, Mitchell was in a happy frame during the initial stages of the album’s creation. There were difficulties between her and Taylor – exasperated by the third person in the relationship: heroine – but she felt Taylor was the man that would anchor and stabilise her. When Taylor’s fame exploded – albums like Sweet Baby James (1970) catapulted him into the limelight – that caused friction in the relationship. The album is viewed as one of music’s finest so it was not a surprise to see Taylor, following the success of the record, become a lot busier and changed. The inevitable break-up devastated Mitchell who foresaw a happy and secure life with Taylor. Mitchell explained, in interviews years after Blue was released, there was not a dishonest note on that record. She compared herself to cellophane wrapper on a pack of cigarettes. That is an image perfectly fitting and one that could only be expressed by Mitchell. She was a protective layer around a noxious box: an outer-layer exposed to destruction and discarded ignorance. She was a without secrets and, such was the enormously open and devastating nature of Blue, it led some to wonder how much she was keeping for herself. One of the reasons I adore the album because it has that classic, tight and economic layout. It is a ten-track record with short titles. Songs, predominantly are three/four-minutes-long and, quality-wise, there is even distrubution. The longest-titled song ends the record (The Last Time I Saw Richard) and the title-track appears at the half-way mark. River; inarguably sad and touching, is the antepenultimate track and there is a real and intuitive knowledge of where each track needed to be.

PHOTO CREDIT: Henry Diltz/Henry 

If the songs were rearranged (order-wise) and the record would be weaker. There are five tracks on each side and one would be hard-pressed to say which side is stronger. Each song on Blue has its own story and heritage. Mitchell wrote Little Green in 1967 and it relates to her daughter – who she placed for adoption in 1965 where she was a poor Folk singer in Toronto. Mitchell was in no fit state to raise a child at this time. She was dirt-poor and struggling. Mitchell was reunited with her daughter in 1997 but Little Green is a heartbreaking and refreshing number about a hard time in the songwriter’s life. Carey was inspired by the time she spent with a group of cave-dwelling hippies on Crete. Many feel the song is about James Taylor but Mitchell revealed it was, actually, about a character called Cary Raditz – a cane-wielding chef with vivid red hair she met in Malta (when travelling Europe in 1970). The title-track has that immortal stand-out: "Acid, booze and ass/needles guns and grass/lots of laughs". Maybe it is about a romantic partner or a certain time. In any case; it is an intoxicating and incredible song. California, the second single after Carey, features James Taylor on guitar and was written when Mitchell was living in France. She was longing for the creative climate of California and, so distant from home, would go to extreme lengths to be reunited with home – even kissing a policeman which, to a counterculture icon, is an act of betrayal and ambiguity. The song is Joni-back-in-control-and-looking-ahead; it is her groove and determination – a dream to be in the bed of California and entwined in its muscular legs, warm arms and hair-stroking tenderness. The stream-of-consciousness lyrics, similar in nature to Carey, depart from a statelier and structure-led song like Blue. The tango-flow and verse-bridge structure excited critics. The artist, wherever she would travel, always yearned for the familiarity and comfort of home. This Flight Tonight, a simple regret about jumping a plane and leaving behind a lover is still, despite its obvious story, full of deep-woven tapestries and delicate stitching.

PHOTO CREDIT: Henry Diltz/Corbis

I will not examine River forensically as, I believe, one needs to hear the song and simply hear it. In any case; it is Mitchell’s most-recorded song and an incredible portrait. One of those songs that elevated her above her peers and showed why there was/is nobody like Joni Mitchell. A Case of You, many have theorised, is about her time with Graham Nash. The ingénue Canadian artist and the British musician Graham Nash seem like an unlikely match but, it seemed, shared more in common than most married couples do. A lot of the lines hint at origin and truth:

“Oh you are in my blood like holy wine/You taste so bitter/and so sweet, oh/I could drink a case of you darling and I would/Still be on my feet/Oh, I would still be on my feet”.

The Last Time I Saw Richard, could I guess, could be about her brief marriage to Chuck Mitchell. One of the advantages of the ‘Internet age’ is one can learn about these songs and become more involved with the music. It is great interpreting and having your own ideas but, knowing where these fantastic pieces of music originated, provides a much deeper and more educated aspect. I listen to Blue and am hit by the emotion, exceptional vocals and stunning compositions of each. The sheer sophistication and beauty of her music – especially on Blue - set Mitchell aside from her peers. She is, forty-six years after Blue’s release, one of the finest writers in music and constantly compels and inspires young songwriters emerging. I know so many and, before leaving this piece, wanted to distil what Blue means to me – and why it is an essential vinyl purchase everyone should have. One can, in all good record shops, finds Blue and get it for a reasonable price. The optimum listening environment is, as I said, alone in a room with eyes half-closed – the way one would do when bathed in the hazy sunshine of a summer afternoon. It does not matter if it’s after-dark or enveloped in the bright light of the day.

There are, perhaps, better albums than Blue but there are few that provoke the same fascination and addiction. It is fitting, given its indirect links to heroin, there is that un-putdown-able nature of the record. One cannot help but repeat songs and become entranced. It is an album that stems from a personal time and place (and space) and, as other journalists have remarked, is a universal offering. We can all, in our own way, identify with many of the lines and expressions Mitchell voices. If one cannot directly relate to the songs of heartbreak and bitterness: we can all appreciate the music and the divine beauty of Joni Mitchell. Her voice, as I said, is one reason many do listen to her music but it is her greatest tool. She elongates syllables and gives each line her utmost consideration. Her voice is not an oil painting or boring creation: it is an impressionist, Dada-esque; stunning work of Romanticism that treats words as cherished possessions. At a time when so many singers waste words and have no ear for expressionism – musicians like Joni Mitchell show what happens when treating language and personal poetry with the respect it deserves. There were albums that had the same ambition and quality as Blue in the 1970s: today, there are far fewer records that have the same gravitas, colour and history as Joni Mitchell’s masterpiece. It is a record that defines an era but has a timelessness that is seeing its progeny (the artists it inspires) go out into the world and learn from it. Make sure you get yourself to a record shop; remove its sleeve – with all the allure, excitement and tease it warrants – and drop the needle. From there, as the first track crackles from the speakers; you will hear those first few words: “I am on a lonely road…”. Listening to those words, and the album, and one is on a road. It is not lonely: it is packed with adventure, vistas and wondrous possibilities. A timeless and near-peerless record…

EVERYONE should treasure.

FEATURE: Crowd Surfing: The Best Performances from Reading and Leeds Festival

FEATURE:

 

Crowd Surfing: 

 The Best Performances from Reading and Leeds Festival

________

IT is fitting marking the best sets from the iconic…

IN THIS PHOTO: Queens of the Stone Age at this year's Leeds Festival/PHOTO CREDIT: NME/Andy Ford

Reading and Leeds Festival as, over the years, there have been so real corkers. I say it is fitting because, twenty-five years ago; there was that now-legendary 1992 rundown. Nirvana’s infamous and epoch-defining antics were part of a heady and definitive year that saw some of the world’s biggest acts jostling for attention. This year, perhaps, there are fewer corkers but we have seen Queens of the Stone Age slip into Leeds – one suspects, they are at Reading right now!

The totality of Reading and Leeds’ stellar reputation cannot be boiled and defined in a few performances – but there have been tongue-wagging sets that have scorched the memory and been hard to top. I am basing this run-down on my own recollections – and sharing consensus with other journalists – and present the best and brashest sets from Reading and Leeds’ illustrative history…

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Nirvana (1992)

In a year where Nick Cave, Manic Street Preachers and PJ Harvey were on the bill – not to mention Public Enemy, for that matter – there wasn’t a set that could rival this career-defining Nirvana performance! Entering the stage on a wheelchair - sporting a blonde wig and hospital overalls - Kurt Cobain silenced rumours of a no-show with an epic set that included a particularly fired and intoxicating rendition of Smells Like Teen Spirit.

Suede (1997)

It was at a time when Britpop was starting to wind-down and a new phase ushered in – one where American guitar music was taking more of a hold. Bands like Blur would continue and change their sound but the balloons and party poppers of Britpop were waiting to be swept up. The endless energy and defiant set from Britpop mainstays Suede kept the spirit alive and reminded people why Brett Anderson and company were/are among the finest live bands ever. It can only be a matter of time before the band is invited to perform a career-spanning set at Reading and Leeds?!

The Libertines (2010)

Like Arctic Monkeys; here is a band used to the topography and portaloo queues at Britain’s premier Rock festival. We all know how The Libertines ended and why this performance – reunited after a six-year hiatus – was an emotional affair. The capricious and unpredictable Pete Doherty could have derailed the show but, focused and understanding the importance of the occasion, rose and shone. It led to an official reformation in 2014 – a triumphant show that was more than a pay-cheque for the boys. It was a chance to reclaim the sort of fascination and attention that afforded the band when they first burst onto the scene.

Queens of the Stone Age (2005)

Josh Homme and crew have played Leeds Festival already – sneaking in to perform a rapturous eight-song set yesterday. Homme, delighted to be there, warmed the audience up with a singalong to Afternoon Delight – the band entered the stage to the stage of Dean Martin; whipped through some Villains material and peppered some classics into the mix – to the delight of the huddled and delirious attendees. It was that kind of raw energy, personality and fun that made their 2005 set such a delight. The band played the Main Stage at Reading and, following the release of the album, Lullabies to Paralyze, it was a set that included Go with the Flow, No One Knows; Little Sister, Burn the Witch – thirteen nuggets that left the crowds very happy that night!

PHOTO CREDIT: Andy Willsher/NME

Arctic Monkeys (2005)

Not long after Sheffield’s Arctic Monkeys were the band on everyone’s lips – they were afforded the opportunity to thrill the crowds at the new bands tent with a set-list that included A Certain Romance, Mardy Bum and their biggest-ever hit, I Bet You Look Good on the Dancefloor. The band went on to make several appearances at Reading and Leeds but there was something about the smaller setting and the impending fame – that stand-out song not really synonymous at that point – that made their performance one of the festival’S finest.

IN THIS PHOTO: The band in 2000

Rage Against The Machine (2000)

This is one of two inclusions for the legendary American Metal/Alternative guerrillas. Arriving six weeks before their initial split; it was a set charged with emotion, tension and imminent shift. The fact the weather was less-than-reliable meant the mud-soaked surroundings added an extra layer of grit, intensity and evocativeness to a charged and electric performance. Guerrilla Radio – one of the finest renditions the band had ever performed – was a highlight that washed away the rain with ease. Surely, one of the finest live sets from the band’s later-period!

Frank Turner (2011)

It took a little while for Frank Turner to rise to the big stage at the festival but Turner, having made his way around every other, was ready and primed to deliver. Joined by his Sleeping Souls: his set was greeted with warm and smiling sunshine; reflected by a crowd that was left in awe of a musician at the height of his powers. Playing the highlights from Turner’s third album, England Keep My Bones, it is one of the most memorable performances in Turner’s career (to date) and a moment he was born to fulfil – someone who had dreamed of ascending to the biggest stage and not disappointing when he did!

Radiohead (2009)

Again; another band that are festival regulars and have had their fair share of career standouts – including that generation-defining turn at Glastonbury in 1997. Forward the clock twelve years and, a couple of years from In Rainbows; the band had a lot more material at their disposal (than the 1997 turn). They are not regulars at Reading and Leeds and one wonders whether they are due a return to the festival. In 2009; they, rather surprisingly, started with Creep, before producing a minimal, tight set that blew the crowds away and showed the adaptability and variation the Oxford icons could produce through the years. I do not think they have reproduced the configuration they did back then - a unique set that helped make 2009 one of the best in Reading and Leeds’ recent history.

Oasis (2000)

There is not much to say about this aside from the fact it was one of the final great performances from the Manchester band. Standing on the Shoulders of Giants was released earlier in the year and, whilst not one of their best albums, there was more demand for their classic material. The band responded with a bombastic and exceptional set that contained the same majesty and command as their early best. Despite the fact their best days were behind them: the band showed they were a consummate and evergreen live band who were capable of bringing the magic year-in-year-out. The band would release three more albums up until 2008 but this was one of their final truly great performances. Many could see the tide was turning but Oasis’ 2000-turn stands as a key moment in their esteemed and vivid history.

PJ Harvey (2001)

This set, like so many of PJ Harvey’s, was defined with a lusty and almost-masculine set of Blues/Goth songs – a set that mixed the instantly enthralling and quirky. Clad in a rather ‘memorable’ outfit – you’ll have to dig through photos of her turn – it was a set as memorable by its visuals (as the sonics). All said and done; PJ Harvey showed why she is one of music’s true originals. Nobody was complaining and, even more than that, many were buzzing and talking about her set for weeks to come. She has, perhaps, turned out better sets but Reading had not seen anything as brilliant and baffling from PJ Harvey. 2001 was not the finest years for music – or society, as a whole – but the rare magic only PJ Harvey could provide turned a, potentially average day, into something spectacular.

IN THIS PHOTO: Zach de la Roch

Rage Against the Machine (2008)

The reason for including Rage Against the Machine for a second time was to show, eight years from that epic decade-starting set, the U.S. band returned and kicked the sh*t out of the stage! Arriving in Guantanamo Bay-style boiler suits: the boys provided a staggering set filled with energy, explosion and nuance. Zach de la Rocha, in a particularly confrontational mood, spoke out against the atrocities and injustices around the world – using the stage as a pulpit on which to preach and educate. This verbal diatribe was matched by Tom Morrelo who, stealing the show, produced some of his finest guitar fireworks and workouts to date. A truly tight, impactful and blissful set from a band, whilst past their recording best, showed they had lost none of their live chops.

Arcade Fire (2010)

The Suburbs – the Canadian band’s third album – can be considered one of the final truly great albums. They were not afforded a big crowd in 2010 but, following the freshness of the album (I think it had only been out a few weeks) it was not a big surprise. The technically-perfect and monumental set warranted a big audience but that did not matter: the band put jaws to the floor and showed why they were a critical favourite. This year’s Everything Now is a bit of a downturn from the once-immense band so one wonders whether they will get a chance to return to Reading/Leeds.

Biffy Clyro (2007)

Here’s a band due a return to Reading and Leeds but, back in 2007, they kicked up a hell-storm of biblical proportions. Puzzle was the album they release that year and, armed with a back catalogue of three other albums; it was ample ammunition to fire at the expectant and adoring gig-goers. A rare outing of Folding Stars – usually reserved for special occasions – was a highlight from an unusually intimate set. They were performing at the Radio 1/NME Tent and, following the success of Puzzle, would not play anywhere that intimate again. Maybe that was what made their set so memorable: it was a smaller space and meant all those epic strings and rapturous vocals had no place to go – except the lungs and minds of those lucky enough to capture the Scottish band

IN THIS PHOTO: Foo Fighters in 2005

Foo Fighters (2005)

A band who seem comfortable and confident playing headline sets: a 2002 appearance, to many, is the defining moment of their festival-attending lives. Opening with In Your Honour; they launched into All My Life, Times Like These; My Hero and Best of You – a hits-packed set that wowed the Main Stage at Reading and was the perfect follow-up to their acclaimed album, In Your Honour. At a time when the band was going from strength-to-strength; they could have provided a rather run-of-the-mill set. As it was; the guys upped their games and got the people moshing, jumping and singing. The definition of a perfect Reading set – few bands have managed to rival Foo Fighters’ 2005 spectacular.

PHOTO CREDIT: Andy Willsher/NME

Muse (2006)

A year after Foo Fighters tore the roof off Reading: one of music’s most dependable and planet-straddling live acts had a go. The words ‘Muse’ and ‘bad gig’ do not really go hand-in-hand. Matt Bellamy refused to believe they had ‘made it’ until headlining Reading. In 2006, following the release of the sensational Black Holes and Revelations, it was the perfect moment to shine. Huge songs on that album – Supermassive Black Hole and Knights of Cydonia – were fresh in the mind and, with three other albums before that, there were enough epics to get the crowds pumped. Perhaps that is why Muse finally made it in 2006 – an album like Black Holes and Revelations was the final part of the jigsaw that would guarantee a headline-worthy gig.

PHOTO CREDIT: Andy Willsher/NME

The boys, eleven years after that set, are preparing themselves as we speak. They have rocked Leeds and played a hits-packed set yesterday. The start of their set brought songs from Drones, their current album, together with songs that span their entire career. They provided an encore of Uprising and Knights of Cydonia and Bellamy, in eccentric clothes/shades and at his shredding best ensured everyone went home beaming – bodies aching and ears ringing. The guys will play Reading’s Main Stage tomorrow and are likely to provide a similar set to that of Leeds – it will be a wonderful thing to see. 2006 was a pivotal year for Muse and, faced with the daunting expectation of the Main Stage...did not disappoint.

FEATURE: Lady Gaga: Taller than Most

FEATURE:

 

Lady Gaga:

  Taller than Most

________

OVER the past few days…

PHOTO CREDIT: Kevin Mazur/Getty Images for Live Nation

Lady Gaga has been teasing clips from her forthcoming documentary Gaga: Five Feet Two. The Pop megastar reveals, in clips and in the documentary, is seen as larger-than-life but, in reality, is very human. I wanted to look at why the documentary is so important and how Lady Gaga, in her revelations and bravery, is going to inspire so many other people out there. Before that, thanks to Billboard for summarising; a look at what one can expect:

“Lady Gaga is hitting a screen near you come September with an original Netflix documentary calledGaga: Five Foot Two, the pop star announced in a series of teasers on social media today (Aug. 24).

“I’m known for being larger than life, but really I’m just… #GagaFiveFootTwo,” Gaga tweeted, posting several raw, intimate trailers that offer a rare glimpse into the off-stage life of the "Million Reasons" star.

The first visual features a tearful voiceover of the singer confessing her loneliness: "I'm alone, Brandon, every night. And all these people will leave, right?" Gaga says. "And I go from everyone touching me all day, and talking at me all day, to total silence." Then, in the captivating second video, we watch the singer ascend on stage wires for her Super Bowl performance earlier this year”.

There is a lot to suggest things in Lady Gaga’s world might not be all that bad. Billboard have looked at her recent tour – in support of the album, Joanne – and the success it has brought her. The article addresses how lucrative the American singer is right now:

“The first box office counts of Lady Gaga’s Joanne World Tour have been reported to Billboard Boxscore, with $8.7 million earned from the trek’s first five shows. (See Hot Tours ranking, below.)

The Joanne World Tour kicked off on Aug. 1 at Vancouver’s Rogers Arena and is slated to play 59 shows through Dec. 18. (The tour has 53 arena shows and six stadium shows on its schedule.)

With sellout crowds in attendance at the first four venues on the 20-week trek, the tour took in $8.7 million in ticket sales at the box office from 78,530 sold tickets at five performances, based on reports by promoter Live Nation”.

There are two sides to Lady Gaga in a life that is far from binary. Many assume, looking at Pop stars and the success they accrue, are going to be adjusted, satisfied and smiling all the time. One does not realise how draining and demanding a modern music career can be. Gaga has not long let the dust settle from her headline appearance at Wrigley Field and the historic nature of that. She is the first female to do so – her social media feed attested as to how tiring it was – and attacked that responsibility with passion and courage (“Welcome to the mother*cking womb” was her bellicose lay-down to any doubters). There is no denying her status and celebrity has helped her become a pioneering and groundbreaking artist. Joanne is Gaga’s most-recent album (2016) and, by some, seen as a mixed affair. One cannot argue with the figures and performance of the record upon its release:

In the United States, Joanne debuted at number one on the Billboard 200, selling 170,000 copies in its first week, and 201,000 total album-equivalent units according to Nielsen SoundScan. It became Gaga's fourth album to top the chart following Born This Way (2011), Artpop (2013), and Cheek to Cheek (2014). The album also was 2016's second highest debut for a female album in the nation after Beyoncé's Lemonade opened with 485,000 copies. As a result, Gaga became the first woman to have four US number one albums in the 2010s.[128] The album-equivalent units for Joanne consisted of 135,000 song sales and 26 million streams along with the traditional 170,000 album sales.[129] The debut of Joanneprompted Gaga to rise to number 1 on the Billboard Artist 100 chart, which measures artist activity across the publication's most influential charts.[130]

The album sales dropped by 70% to 61,000 units in the second week, consequently it fell to number 5 on the Billboard 200.[131] By April 2017, the album had scanned 515,000 in sales.[132] Following Gaga's Super Bowl LI halftime show performance, Joanne arose 66–2 on the Billboard 200, selling 48,000 copies and 74,000 total album-equivalent units (up by 818%).[133] Joanne debuted at number 2 on the Canadian Albums Chart with 17,500 album-equivalent units, behind Leonard Cohen's You Want It Darker. According to the Canadian SoundScan, the album had the third highest on-demand streams in the country.[134] On November 4, 2016, the album was certified gold by Music Canada for shipments of 40,000 copies in the country.[135] Like the United States, the Super Bowl performance also had an impact in Canada, where Joanne vaulted from 54–2, making a total of 524% gain in album-equivalent units.[136]

PHOTO CREDIT: Beats 1 Radio

In the United Kingdom, Joanne debuted at number 3 on the UK Albums Chart, with first week sales of 26,694 copies, behind Elvis Presley's posthumous release, The Wonder of You, and Michael Bublé's Nobody but Me.[137] On the UK Album Downloads Chart, Joanne entered the chart at number 1. It also reached number 2 on the Official Albums Streaming Chart, and number 5 on the Official Physical Albums Chart.[138][139][140] The following week, it exited the top-ten, dropping to number 14, with sales of 9,602 units.[141] As of February 2017, the album has sold 90,624 copies in the nation, and has been certified Gold by the British Phonographic Industry (BPI) for shipping 100,000 units.[142][143] Following the Super Bowl performance the record moved from 88–11 on the chart with sales increasing to 5,289 copies.[144] Joanne debuted at number 3 on the Irish Albums Chart.[145] The album had a less than expected debut in France, where it entered the album chart at number 9, with sales of just over 8,000 copies. Pure Charts website theorized that the moderate performance of the lead single, "Perfect Illusion", and the absence of Gaga in the media during album release week, contributed to the low debut.[146] By the year end, they deemed Joanne as one of the commercially disappointing albums in France, achieving total sales of 12,000 copies.[147]

Critics noted how strong Gaga’s voice is throughout the album and the genre-fluid nature of the material. It remains a strong album and one with plenty of highlights. Gaga co-produced the album with Mark Ronson and BloodPop and, between them, managed to make songs like Perfect Illusion, Million Reasons and John Wayne as strong as any material in her back-catalogue. Some felt the songs and themes addressed were too calculated and meticulous – perhaps, not as much freedom and independence as her earlier records. I am not a huge fan of Lady Gaga’s music but appreciate the effect she has on her fans and how different she is when compared with the Pop mainstream. Joanne is a more stripped-down affair than Artpop (her previous record) and veers between Dance-Pop and Country songs. There is more sophistication and vulnerability on the record. The bangers and dancefloor classics have not been abandoned: they have been mixed inside more adult and personal tracks. There is only three years between the albums but a lot happened in the period between the records – more on that later. Joanne, maybe, signals a new direction for Gaga: from the eye-catching Dance-Pop leader to someone taking the lights down – and the volume – and less constricted. Joanne allows energetic expression but it has time for softness and tenderness. It is less concerned with fitting into moulds and repeating what has come before.

PHOTO CREDIT: Ruth Hogben

It is Lady Gaga’s first two albums – The Fame in 2008 and Born This Way in 2011 – that took her from obscure singer to a global icon. Her debut, with a few co-writers/producers, possessed plenty of hits and distinction. Paparazzi, Poker Face and LoveGame as solid and original and fresh Pop hits that shook up the scene and introduced a rare and colourful plumage – an artist that did things differently and provided a definite degree of interest and fascination. I remember when that album arrived and, not a fan of Pop at the time, was drawn to the talk and attention the album was afforded. Irony-filled, huge and dramatic: no surprise the record topped the charts in multiple countries and sold by the bucket-load. Three years is a long time between releases but, from 2008-2011, Gaga was working on new material and bringing styles like Rock and Electro into the mix – making sure she retained her identity but evolved between albums. Sexuality, freedom and religion are all addressed on the record and, from its alluring and biker-chick cover - is a sexier and more defiant work. The step-up in quality and confidence can be heard on songs such as Born This Way and Judas. There was criticism of the album – its brazen use of religious imagery (mixed with sexuality) offended some corners – was washed away by a sea of positivity.

Even those critics outside of the Pop world – NME and a lot of the broadsheets – poured praise on the record and how passionate Gaga is throughout. Every song gets an epic and personal performance full of excess and strength. Each song is nailed and there is so much life and drama. Judas is one of the best songs from the past ten years – regardless of any genre and artists. From four-on-the-floor House to Disco; Funk and Soul; Pop and Electro – so many sounds and genres seamlessly stirred and poured into an incredible album. Themes look at racial equality and feminism; equality and strength in society – not judging people and challenging those who do wrong and are insincere. Not only are albums like The Fame and Born This Way accessible and popular Pop albums – they are a lot deeper and sophisticated than most of what is out there. It is small wonder critics were impressed by the wisdom, depth and potency of the lyrics. I love the music and the performances but it is what Gaga sings about that endures. She is not someone that wants to leave the serious and hard-hitting at the door. Even from her debut; her music has challenged stigma and broken down barriers. It is important providing music that gets into the heart and head but, one of the big reasons her fanbase included a wide range of ages and sorts, is the fact her lyrics were/are brave and compelling.

To people like me – men who are a bit older – there is a lot to take away. Each of her albums has gained enormous success and, at either end of the creative process, there is a lot to take on and do. The work-rate required to record the songs – from someone who puts her all into the music – is enormous. After that; Gaga would promote and tease songs from the record. Interviewing and promotion right unless release date – it is an exhausting and never-ending circus of sound-bites, articles and repeated answers. Behind all the glamour and excitement of the record, one has to remember she is a huge artist whose time and body are demanded by all. There would not have been a lot of time for her to decompress and detach from music at that time. When the albums were released; there was the promoting, still, and tour dates. It is when the recognition and sales come when the pressure mounts. It is rewarding being an inspiration but there is a downside to the allure and acclaim. Those big world tour – she is on one right now – are necessary to ensure people around the world get to see their favourite star up-close and personal. From the U.S., she travels across the continents and to thousands of people. Ferried between towns and locations for the people: what is the true toll on the person in question?!

PHOTO CREDIT: Greg Noire

I did not want to get too involved in the blow-by-blow of each album for a number of reasons. There are those big videos and songs online – and will include a few at the bottom of this piece – and we all know the chart positions and how the albums were received. If one wants to know the themes, producers and complexities of those albums - they can look on Wikipedia and fill their boots. I wanted to talk about the positivities around the music and how affecting her music is. Lady Gaga is the antithesis and remedy of the shallow and vacuous Pop performer. There are so many who flaunt their bodies and are addicted to Instagram and whoring after fame. This is a cancer that needs to be eradicated because it means artists like Lady Gaga are being lumped in with them. To me, her music is maybe second or third down the list of reasons why she is so essential and influential. The girls and young listeners who take her music to heart are not repeating mantras and choruses aimlessly. They are connected with a very real and human personality who reveals a lot about herself. I mentioned how the tours bring pressure but that is only the tip of the iceberg. Every new album campaign and cycle is exhausting and hugely involving. Artists like Gaga give their everything and are dragged around the world. There is not a lot of time to see family or take time to relax. Scrutiny and pressure is on their shoulder.

PHOTO CREDIT: Harper's Bazzar

If one looks a typical interview - there is that demand to be professional and keep everything on-point and not too offensive. People want to know about the music and what goes into it but not a lot about the artist and what they are like away from music. There are few asking how Lady Gaga handles the endless pressure and what she is like away from the glare and excitement of performances. Away from the multi-million-dollar revenue and success of her tours: there is a vulnerable and real woman that people forget about. A U.S. video questioned whether Lady Gaga should reveal herself so explicitly in the documentary. Those seeing clips are wondering whether that brutal honesty and no-holds-barred aspect to her personality will have a negative effect on her fans.

PHOTO CREDIT: Lady Gaga

I do not feel there is any consideration of her fans: the people who love her will watch it and give their hearts and tears to her. She is not looking to exploit her celebrity and get attention from anyone. I implore people to search YouTube and Google for interviews she has conducted over the years. There is rarely a sense of struggle and someone suffering beneath it. Every time she gives an interview there is something memorable to take away. She is such a fascinating personality but, to many, she is a ‘brand’ – not someone who warrants any safeguarding and human connection. So many want to trip her up and ask asinine questions. The reason Gaga: Five Feet Two is causing ruction is because it is the result of a young woman showing people she is as real and relatable as anyone out there. If an ordinary human made this documentary, there would be few objections.

PHOTO CREDIT: Harper's Bazaar

It is upsetting seeing a famous person reveal themselves with such brutality and lack of filter. I am going to be interested seeing how the Netflix documentary is received and how her established fanbase takes to it. Most will applaud her courage for tackling mental ill health and the downsides of fame. We all know about Lady Gaga’s anxiety and the fact she has wrestled loneliness and demons for many years. This is not a new occurrence but has exacerbated since she came into music. The more successful she gets; the worse her depression and anxiety become. I know many people who feel a personal connection to Gaga because she represents a struggle many of her fans go through. Seeing a star articulate the issues and problems many keep closeted: that provide so much heart and comfort to them. If musicians shut themselves away and maintain a smiley and one-dimensional façade – this is going to give false impressions to the people who love them. Recent suicides – Chris Cornell and Chester Bennington – have shown how musicians, we feel are okay and successful, take their own life. How culpable are we, as fans, for the downfall and emotional torment some of our most beloved musicians face?! One cannot exculpable themselves but, naturally, the problem is more complex than a simple accusation. As a social media obsessed generation; we are becoming less connected with humans and a lot more demanding. Lady Gaga is a champion for mental health and wants betterment and restructure. She knows the profound and prolific problems people like her face and the need for conversation.

PHOTO CREDIT: Harper's Bazzar

Many of us see the glamorous, gorgeous and successful young woman fill stadiums and see her albums go to number-one. The snippets from her 22nd September-due documentary highlight one clear-cut fact: Lady Gaga feels very alone. She has millions of adoring fans but, when she goes home at the end of the day, she feels alone. Maybe love and realistic relationships are impossible given her position and the fact her every move is scrutinised means she cannot really enjoy the benefits of a conventional and substantial relationship. Maybe there is physical gratification but she is not someone going out and spending the night with random men. She wants a long-lasting and true relationship. Not only to make her life feel complete but relinquish a lot of the burden she has on her shoulders.

The endless glare of the paparazzi – the same she was documenting on her debut album – will not let her be and, as we have seen, judge her when she is open to the public. I laid out the sales figures and the commercial success of Joanne because it shows the numerical value of her success – without addressing the personal costs. Those numbers and are black-and-white and seem, in the media’s eyes, to define an artist. Gaga has earned her places as a revered and special human because she offers help and support to so many – supporting the L.G.B.T.Q. community and making anxiety and loneliness more visible. The reason Gaga: Five Feet Two is so important is because it lifts a lid on the realities of modern music and how we treat artists – never considering how they feel and how fame affects them.

IN THIS PHOTO: Lady Gaga speaking at a vigil for the victims of the shooting in Orlando on the steps of City Hall

Gaga is someone who is like you and me – albeit, blessed with incredible talent and passion for what she does. It doesn’t matter how much money she makes and how her tours do. That is a reaction to her popularity but that, in turn, is the catalyst for a sense of expectation and isolation. If the likes of Chris Cornell had been given the chance to reveal their depression and fears in a documentary – would his life ended as soon and heartbreakingly as it did?! That is for debate but I think it is brave and much-needed having an artist as big and known as Lady Gaga (literally) showing her bruises and scars to the camera. We get so absorbed with social media and how meaningless it can be. Even typing this, I am being grated like cheese - given the fact so many people post so much crap. From endless videos and pointless sharing: there is nothing social and real about it. That makes isolation less visible and meaningful – compared to ridiculous videos and status updates. Lady Gaga’s existence is based on streaming figures, dollars and fans – she is rarely afforded the chance to tell her story and ask for time off. Her documentary is not a cry for help or a cheap publicity stunt. It is an ego-free and uncompressing examination of a complex human who, despite her wealth and tremendous backing, does not feel as supported, loved and enriched as she would hope. In 2017 – when there is still a stigma around anxiety – we need more revealing documentaries to make one aware of the extent and reality of mental illness and the simple devastation of loneliness.

PHOTO CREDIT: Beats 1 Radio

One cannot objectify and question Lady Gaga’s aims or feel it is too revealing. We show films with all manner of sex, violence and profanity but when it comes to real and more common incorporations – menstrual blood, the realities of council estates and struggles in communities – that is overlooked. It is not ‘cool’ or what the media want us to see. Yes, anxiety is not fashionable but, then again, how much irony would there be if a star like Gaga succumbed to her loneliness and that was spread in the media. There would be a combination of gaudy voyeurism and trolling – mixed with genuine heartbreak and questions. People would ask why this happened and whether we could do more. This, as I said, is not her cry for help or giving up: a portrayal and expose of a person who is very different to the brash and confident artists commanding stages around the world. The media is so obsessed crunching numbers and spreading rumours. They are relatively uninterested in personal struggles as that, they see, is not part of their job and appeal – feeling they have fame and success so what do they have to be upset about?! Breaking these arguments down – and opening minds to physiological issues becoming rifer in music – is a big and positive step towards better mediation and awareness. Lady Gaga, in her music and humanity, has given so much to the people. She is, as the documentary states, a mere five-foot-two but, in heart and courage, is a giant of a person. Gaga: Five Feet Two will spark debate so let’s hope it is more positive than negative. Despite her loneliness, pains and struggle: Lady Gaga is certainly a hell of a lot…

TALLER than most.

FEATURE: Memory Tapes: How Music Defines and Shapes

FEATURE:

 

Memory Tapes: 

 How Music Defines and Shapes

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UPBRINGING and parental guidance are as key to moulding a human…

PHOTO CREDIT: Unsplash

as society and the people around them – how they dictate their life and the decisions they make.  I have spoken about music before and how instrumental it is to one’s development. Many of us do not realise how powerful and multi-purpose it can truly be. I find myself, now, in a position where I require guidance and comfort as much as any time in my life – the solitude turning to loneliness. Music is a synthetic form of human contact and unable to tackle the complex maelstrom of emptiness. Loneliness and depression are, in themselves, powerful forces that can immeasurably disrupt and change someone’s life. The lexicon and unquestioning love of music is a remedy that is not being harnessed quite as fervently as it should be. I, myself, struggle with a variety of psychological concerns and find music, whilst not a cure, provide accompaniment and unbiased guidance. Again, I am not suggesting if one gets into music at a young age they can avoid pitfalls such as criminal recidivism, social anxiety and depression – these are factors influenced by surrounding, unique D.N.A. and societal factors – but few are being indoctrinated to the potency and passion music’s variegated banquet offers. To me, it has been a lifeline and purpose: it is debatable how life would have shaped itself were it not for that ‘spark’. An interesting piece, from Mid-day.com, supports my claims how much can enrich and nourish the soul:  

“Kamakshi and Vishala Khurana, who founded a company called The Sound Space, which practices music therapy, believe that music has a miraculous power to heal and that sound has the capacity to influence every aspect of a human being from the time of conception. They conduct specialised workshops including sound for better concentration, music therapy and an easy and fun filled introduction to Indian Classical music for children.

PHOTO CREDIT: Unsplash

"Music should constitute a major part of our lives. Listening to the right music has innumerable benefits such as lowering stress levels, reducing depression and anxiety and maintaining a happy, balanced and calm home/office/travel environment. There's nothing like too much music. Very loud music can adversely affect the ears. But music only benefits our brain by releasing endorphins, which elevates one's mood. It is in fact a wonderful stimulant," says Vishala Khurana, co-founder, Sound Space.

Ashutosh Phatak, founder and teacher, True School Of Music asserts, "Life is full of music and there's no better way to live it. It doesn't have to mean sitting down and consuming albums, but there's music everywhere — in the rhythm of a local train's movement, or in the sound of the waves at high tide. People tend to watch more music than listen to it these days." He feels that if more people listened to music all the time, they would be calmer and better disposed to handle stress”.

It is interesting the effect music has and, in a scene that, sometimes, is hypotonic and anaemic – realising how evocative and restorative great music can be is a wonderful thing. I feel the young need to be initiated to the depth and true scope of music as young as possible. There is a fear, among many, we are becoming less adventurous and backwards-looking the less prevalent physical forms of music are. The browsing culture is being (more and more) limited to online channels and radio discovery. Both are valuable sources of discovery but I wonder how broadminded we are as consumers. Every day, I rediscover a song that escaped my mind – caught up, as I usually am, with what is brand-new. I suppose, doing what I do, the majority of my musical assessments are with new acts. I am a big fan of stations like BBC Radio 6 Music – who provide a perfect balance of older and fresh sounds – but I feel we are all becoming time-limited with regards music. I have a worry the new generations are going to be brought up on streaming services and modern radio – the lost art of vinyl heritage is becoming a rarity.

I, like many of my generation, grew up with our parents’ record collection and sounds of the time – whether that be modern artists on C.D. or cassette; vinyl crackling in the background. My evocative and genre-straddling upbringing spanned as far back as the 1930s; right through to the present (1980s and ‘90s) and, as I went through school, the wonderful transition from twentieth to twenty-first-century. I have not forgotten the music I grew up on and, if anything, I am discovering new nuances and lessons. Not only does music of the past connect us to memorable times and periods: it helps inspire contemporary artists and ensures music has that rich variety. I am concerned we are becoming too modern and relying on sites like Spotify for our music suggestions. It is as good as any way of turning on to the new artists out the block but, if one wants to immerse themselves in the fullness and endless fascination of music’s annals – how easy is that to do?! I am finding few people, younger than me, taking the trouble to reconnect with older music and the artists they would have heard growing up – and those their parents experienced when they were young. Before I continue my point; I wanted to explain how meaningful a single album/song can be. For various reasons, I have been listening to my favourite album quite a lot: Kate Bush’s The Kick Inside. It stands as a tremendous album but, to me, it represents so much more. It is what I am saying regarding music’s powerful allure. That is a record, released in 1978, that came to my ears round about 1986 (or there about). It instantly hit me and amazed me with its beguiling beauty, strange vocals and fairy-sweet flurries. It, as the years have progressed, gained new sides and qualities. I do not think an artist of this age could produce a record as timeless and enduring. Maybe it arrived at a time when I was more impressionable and uneducated. If I were hearing that album as a teenager; I do not feel it would be any less potent.

PHOTO CREDIT: Fish People/Kate Bush

I shall not go into the album bit-by-bit but, that record alone, has done more to me than every album released this year put together. My fondest music memories arrived when I was going from primary to secondary school. I was experiencing the incredible Dance and mainstream music of the early-1990s and all the innovation available. I feel music hit a rare high in the 1990s so it is no surprise the sounds of that time have remained with me. The retinue of eclectic artists that produced incredible records helped me through tough times: at a stage when I was adapting to growing up and all the fears and uncertainties associated. Not only did I behold the songs of modern artists: the music of my parents – which helped instruct and inform them – was an invaluable source of knowledge and compassion. It is hard to explain how impactful and important music has been to me – from such a young age, too. One of the reasons I am so itinerant and deep-digging when it comes to new music is because I feel there is so much hidden potential. Even if you are a fan of a particular genre; it is always wise seeking out sounds you might not otherwise have considered. In every genre, there is something that strikes a different part of the imagination. I am a big fan of modern Folk and songwriters that articulate subjects such as love and self-examination with such beautiful and entrancing tones. I am not criticising modern music but find, it alone, does not fulfil me. I remember songs like Everybody Wants to Rule the World and where I was when I first heard it – my first memory of life and, hence, the first musical experience – and why Bush’s Swallowed is particularly emotional. All of us grew up with music and realise how important it is but I think a lot are putting the past on the shelf and too concerned with that is current and popular.

IMAGE CREDIT: Getty Images

There are, to be fair, people who explore music from past and present but I wonder we are letting history slip by. I would not be where I am (and who I am) were it not because of the way I was brought up and how music was instilled in me. It is such an essential part of life and has helped me overcome so many obstacles. Music is a stunning force that can lift the mood and, more importantly, give purpose to a life and save people from harsh realities – I have seen many, on the point of suicide, saved by music! If one limits themselves to the sounds of today; it does not give the individual the best and variation music provides. Streaming and social media are big players and many are exclusively discovering music through these platforms. That is good – if one wants to only listen to new stuff – but it denies the soul of so much brilliance. I am thankful for the way music was taught to me and the passion I developed young. Artists like Kate Bush – who I have rhapsodised over and with good reason – who has been a pivotal Muse and constant companion. I cannot state how fulfilling and enriching music can be if you open yourself to it and swim in its warm and vast ocean. If we ignore and pass by everything that has come before, we are going to raise generations unaware of how music has developed – and how it began. In every possible connotation, sense and aspect: embracing music with open arms really does…

PHOTO CREDIT: Unsplash

MAKES a huge difference.

FEATURE: The Return of The KLF

FEATURE:

PHOTO CREDIT: Built by The JAMs  

The Return of The KLF

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EARLY this morning; The KLF’s Jimmy Cauty and Bill Drummond…

PHOTO CREDIT: Faber & Faber

launched their new book, 2023: A Trilogy by The Justified Ancients of Mu Mu. The launch, in Liverpool, saw the duo arrive in a battered ice cream van with a spooky jingle. The rules set down – to those attending the launch – included (the fact) people could kiss them (but no tongues allowed) and they would get their book stamped – none of this signing malarkey! It was a typically unique and quirky spectacle that, perhaps, indicates a new phase for the Scottish innovators?! I have been following the duo since their early days and am amazed at how many guises there have been. We all know the time they set a cool-million on fire – more on that below – and an infamous stage appearance. where they fired a machine gun into the crowd (nobody was injured in that publicity stunt).

They are not an act that entertains conventionality and predictability. Over the last few months; there has been rumour and chatter something is happening in the KLF camp. Before I go on further, sourcing a couple of articles from The Guardian today, news and revelations concerning The KLF’s new book. The first looks at the publicity stunts and ending their career – providing an extract from their new work:

“So why exactly did the KLF set £1m on fire? It’s been a burning question for 23 years, as pop’s greatest provocateurs chose to let rumour, conjecture and myth around the publicity stunt – held on the Scottish island of Jura and ending their career on 23 August 1994 – swirl about unanswered for two decades. Until now.

PHOTO CREDIT: @Popjustice

GoogleByte v Beyon-Say: an exclusive extract from the KLF's chilling novel about the world in 2023

The KLF, the band that burned £1m, are back – with a futureshocker in which AppleTree and GoogleByte are global powers. But is a shadowy group called the Illuminati actually in charge? And is it true J-Zee and Beyon-Say are members? 

The project formed by Bill Drummond and Jimmy Cauty in 1987, which has lain dormant in a self-imposed moratorium of 23 years, returned at 00.23am on the morning of Wednesday 23 August. As Drummond and Cauty drove into a backstreet of Liverpool in an ice-cream van to begin three days of events, their first new work – a trilogy of dystopian fiction, an “end of days story”, called 2023: A Trilogy – simultaneously dropped online.

IN THIS PHOTO: Bill Drummond and Jimmy Cauty

Yet this is not a book for those looking for straightforward answers, and is as obtuse as the KLF themselves, who have published it under their other moniker, the Justified Ancients of Mu Mu. It is a multi-layered, self-referential meta tale, starting with two undertakers, Cauty and Drummond, who discover a life-changing book called 2023: A Trilogy on a hotel bookshelf. It was written by “George Orwell”, the pseudonym for one Roberta Antonia Wilson, 33 years ago. “What you are about to read is what they read – well almost,” reads the preface, adding that it has been translated from Ukrainian.

It is a tale which switches between the diary of the author, Roberta, in April 1984, and her fictional novel set in 2023, in the tax haven of Fernando Po, which is the last nation state on earth (on a small island off the coast of Africa). “It was once part of Equatorial Guinea, before Equatorial Guinea did their lucrative deal with Wikitube,” notes the book.

It is littered with bastardised references to 2017 culture in a nod to the grim future that could befall us all – the Big Five who rule the world are GoogleByte, Wikitube, Amazaba, FaceLife and AppleTree. Winnie, the main protagonist, has had an affair with Julian Assange in her younger years, and now uses an iPhone23; Michelle Obama has been the first female president of the US in 2020 but now models for Damien Hirst; Putin was crowned (ceremonial) czar of Russia; Simon Cowell was murdered by a former contestant live on China’s Got Talent in 2017. An alternative history for the Beatles and their role in world peace is also offered. Yet for all the technological progress, today’s social flaws, particularly the degradation of women, remain unchanged in 2023.

PHOTO CREDIT: Unsplash 

KLF’s re-entrance into the world on Wednesday night in their battered ice-cream truck also almost exactly mirrors a passage of the book, which points to a note scrawled on a warehouse wall in Liverpool. “I found myself in a dusty, sooty city. It was night and winter and dark and rainy. Then I saw an ice-cream van pull around a corner and pull up beside a derelict building.”

While the book is not specifically about Cauty and Drummond, they crop up as self-referential characters, at one point referred to as “men in their late sixties” who “meet up in a red brick two up, two down terraced house in Northampton, alongside comic book author Alan Moore. It is the first time they have been in the same room together since 1994.” In the book, these three men withdrew £1m in £50 notes and burn them in a bonfire in front of the Houses of Parliament. What follows is a passage which is the closest to an explanation for the publicity stunt that the KLF have ever offered”.

PHOTO CREDIT: Unsplash

The second article gave us an exclusive extract from the book: providing a sense of what it is about and the fascinating imaginations of Jimmy Cauty and Bill Drummond…

“09.27 Sunday 23 April 2023

There are some who have decreed order is the natural order of not only the human condition but of everything that has ever existed and is ever likely to exist.

And there are those who have proclaimed chaos is the natural order not only of the human condition but of everything that has ever existed and is ever likely to exist.

And there are those who have made it their lives’ work to exploit our natural hunger for order.

And there are those who have made it their lives’ work to exploit our natural hunger for chaos.

It is a free market for all of you living in the free world.

Whereas I am on the island of Fernando Pó, off the west coast of Africa. It is where I was born and bred. I may have disagreed with the island being a tax haven, but I so abhor it being bought by AppleTree. Or, for that matter, by any of the other Big Five. I am totally and completely against what they are doing with the world. Womankind needs to have war, famine and inequality to function properly: without them we as a species will be over within a couple of generations. As for religion, we need as many as we can have to compete for our souls. The more radical the religion, the better.

That is why I am here with these five dolls I have made to represent the founding mothers of each of the Big Five, and over the next few days I will be sticking my needle made from bamboo into them. You may think this is a futile and primitive approach to bringing about world change, but it worked for my ancestors and it already seems to be working for me. Last night I began testing the process by putting a needle just a short way into the doll that is Stevie Dobbs, and I think it was successful. I can already sense her days are numbered”.

Tom Robinson is paying tribute to The KLF from 1 P.M. on Sunday. Catch that BBC Radio 6 Music show as it provides better revelation what is happening in their creative process. It is going to be intriguing see if there is anything coming from Cauty and Drummond. Whether the book is a prelude to a new album; maybe the guys are planning a retrospective gig of some degree. The reason this current release appeals to me as it provides chance to celebrate one of the most influential acts in the House/Trance movement. After 1987 (What the Fuck Is Going On?) was released in June of that year – the boys were on the map and, at that juncture, known as The Justified Ancients of Mu Mu (The J.A.M.s).

IN THIS PHOTO: The album cover of Chill Out

All You Need Is Love was their first single and, with that, they began their memorable, if controversial career. It is not considered their best album but did put them in the critical mindset. The fact the samples they used on the album were plagiarised sparked a huge debate. Now, an artist could not do that without facing a barrage of legal bills and court cases. It is debatable, if artists like The KLF had been more judicious with their sampling – asking the artists for permission – such strict rules would not have come in. The plagiarism on the record was a cheeky bit of creative license but did, in as much as anything, show they were willing to do whatever it took to succeed and be remembered – or maybe they got lazy and thought nobody would realise! There were some good songs (on the record) but is seems far less engaging and innovative than their later recordings. Unfortunately, owing to the reckless, unauthorised use of samples; ABBA objected to the duo’s use of Dancing Queen – all copies of the 1987 were destroyed and it led to the self-deprecating and revealing, Who Killed The JAMS. It was holy nihilism and a production of self-deprecation and pathos. Many critics were impressed by the response to media criticism and legal issues – that blighted their debut album.

It was, too, a creative and sonic step from the duo and led, with compilation and remix-albums in-between, to their third studio L.P., Chill Out. Many see that Dance album as one of the genre’s best: most agree it is a huge sonic leap with wide-open spaces and intriguing sonic complexions – developed and intricate electronic imaginations. Birdsong, womb-music (as one critic called it) and grandly epic music. It was an ambient and downbeat song that juxtaposed a lot of the more mindless and pointlessly upbeat offerings. At this point, The KLF’s creators – they were calling themselves ‘The KLF’ at this point – were more jurisprudent and were using samples more intelligently and conscientiously.

There were samples from Elvis Presley (In the Ghetto) and Fleetwood Mac (Albatross) but, unlike their debut, The KLF were not forced to delete it – not being chased by vengeful Swedish Pop groups! I am stalling and hovering over important swathes of The KLF’s genius but, in truth, the height and apex of their music career was their final album, The White Room. I am typing this whilst enjoying the Tammy Wynette-heightened banger, Justified and Ancient. It is such a strange and rousing song that puts sound-effects, ice cream van-referencing lyrics – heading into Mu Mu Land – and one of the most hypnotic choruses of the 1990s. The KLF disbanded in 1992 – there were plans for a darker version of this album – but, what they left, was astonishing. The Stadium-Pop/Trance/Dance/Electronica anthems were conceived as a road film (coinciding with their film of the same name) that was The KLF’s search for the mystical ‘White Room’. It was, by anyone’s judgement, the artist peak of the late-1980s/early-'90s Acid-House movement.

The 1991-release, in its definitive forms, contains some of the biggest songs of The KLF’s career – covering the earlier incarnations, for that matter. What Time Is Love, 3 A.M. Eternal (Live at the S.S.L.) and Last Train to Trancentral are absolute classics of the time. Justified and Ancient, with that peculiar but essential Tammy Wynette turn, helps create a wonderful and hugely spellbinding tune. Yeah, there are some fillers on there – Church of the KLF and Build a Fire are not exactly essential – but it is those four tunes with, say, the title track, define an album. It was a perfect finale for Cauty and Drummond. Reviewers often include it as part of their favourite one-hundred albums ever. It is not only a definitive statement from the 1990s: it is one of the most enduring and spectacular albums from all of music.

Take away the machine gun-toting Brit Awards spectacles and money-burning stunts; the mayhem and the chaos – it is the music that overcomes and outshines all of that. Of course, being The KLF/The Justified Ancients of Mu Mu; the theatre and scene-stealing goes hand-in-hand with their music. We all miss those heady days when the duo were running riot and, away from the headline-grabbing antics – they were creating some of the most unifying and influential sounds of the day. Maybe The KLF’s dystopian and future-focus novel – in all its forebode and allure – is a standalone event but one would hope for more. Maybe there will be another album: that must be what everyone is wishing right now! The ice cream van arrival and bespoke publicity campaign cannot be for a book launch, alone! I have been compelled to look back at the legendary duo and what they have done to music; how they have changed the culture of Dance music and those incredible highlights. Whatever is coming next, you just know, it is going to be…

 IN THIS PHOTO: The KLF's Bill Drummond at the 1992 Brit Awards/PHOTO CREDIT: Richard Young/Rex

BLOODY bonkers!