FEATURE: April Showers: The Best Albums Due Next Month

FEATURE:

 

April Showers

IN THIS PHOTO: Janelle Monáe

The Best Albums Due Next Month

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EVERY month has those albums that…

IN THIS PHOTO: Kylie Minogue

will challenge for the end-of-year medal places. April is no exception, for sure. Janelle Monáe, Manic Street Preachers and Laura Veirs release albums, I feel, will wrestle for the high positions come the end of 2018. I have been looking through the announced releases and collated the ten records you need to put in your April collection – guaranteed to put a smile on the face and remain in the memory.

Despite the fact there is snow on the ground and a chill in the air: some big April releases will get the spirits up and warm the heart, for sure…

ALL PHOTOS: Getty Images

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Eels - The Deconstruction

Release Date: 6th April

Label: E Works Records

Genres: Alternative; Indie-Rock

 

Hinds - I Don't Run

Release Date: 6th April

Label: Mom + Pop Music

Genres: Garage-Pop; Alternative; Indie-Rock

Kylie Minogue - Golden 

Release Date: 6th April

Label: Liberator Music

Genre: Pop

Manic Street Preachers - Resistance Is Futile 

Release Date: 6th April

Label: Columbia Records

Genres: Rock; Alternative

Unknown Mortal Orchestra - Sex & Food

Release Date: 6th April

Label: Jagjaguwar

Genre: Alternative

Confidence Man - Confidence Music for Confidence People 

Release Date: 13th April

Label: Heavenly

Genres: Indie; Alternative; Pop

Laura Veirs - The Lookout 

Release Date: 13th April

Label: Bella Union

Genre: Folk

Kimbra - Primal Heart 

Release Date: 20th April

Label: Warner Bros. Records

Genre: Pop

Janelle Monáe - Dirty Computer 

Release Date: 27th April

Labels: Bad Boy Records; Wondaland Arts Society; Epic Records

Genres: R&B; Soul

Twin Shadow - Caer 

Release Date: 27th April

Labels: Warner Bros. Records; Reprise

Genres: Synth-Pop; New-Wave

FEATURE: Still Waters Run Shallow: Where Has the ‘Fizz’ Gone?!

FEATURE:

 

Still Waters Run Shallow

ALL PHOTOS: Unsplash 

Where Has the ‘Fizz’ Gone?!

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I realise I spent a lot of my…

music-listening existence harking to the past and what I grew up around. I love looking back and seeing where music has come from. It would be a fool’s bet thinking music is not going to get any better: there is a world of sound out there; who knows what possibilities and breakthroughs will happen?! Whilst I am open-minded to the possibility of reinvention and development – will we ever get the same quality and genius as years gone by? One can argue the toss regards quality and how the new stuff stacks against the older material. I am in the camp that suggests, although music is more open and variegated than when I was growing up; we have seen fewer world-class, genre-lasting records released. I do not know what the reason behind the split is. Maybe we have seen all the major developments and accomplishments: it is harder to achieve new wonder and break ground. I am not disappointed with new music because there is a wonderful spread of artists available. Anyone can get into the industry and there are sub-genres and little cultures all over the place. Why one can quibble about quality and legacy; there is one thing, I feel, is beyond doubt: music has lost a lot of its pop and punch. There is a certain irony given the fact Pop music is, well, supposed pop.

I yearn for those big R&B anthems and the classic Pop anthems. I only need to go back to the 1990s – or the early part of the last decade – to see where things changed. If you look at the way, say, girl groups have developed and died – that is a glaring sign things are changing for the worse. There have been some half-arsed girl groups through time but we must consider the great ones. All Saints, En Vogue and Destiny’s Child, between them, produced some sensational music in the 1990s. I listen to belters like Free Your Mind (En Vogue) and Bills, Bills, Bills (Destiny’s Child); a stunner such as Black Coffee (All Saints) and Overload (Sugarbabes). We have girl groups like Little Mix – but they are in the minority. We lack the great black girl groups (En Vogue, Destiny’s Child and Salt-N-Pepa) of the 1990s and the pioneers such as Diana Ross and the Supremes. Sister Sledge are gone and, well, look at modern Pop and things have become so predictable. There are explosive cuts but I wonder whether we can ever get back that excitement that arrived a couple of decades back. From Disco and Pop to R&B and Soul – genres, at their best, have created timeless and enduring songs. I have named female artists who, during their time, showed they were as powerful and potent as the boys. Aaliyah can be added to the list; go back to bands like Garbage and Republica.

I have been listening back to songs from Sugarbabes and En Vogue and wondering why we no longer put panache and passion at the forefront. Maybe there is that missing carbonation but, if anything, it has changed forms and become more gentrified. Girl groups are gone and Pop places more emphasis on artists who channel personal concerns and deliver accessible messages – rather than look outwards and produce more complicated numbers. Rock and Alternative have produced heroes through the years: bands who provided mass-celebration anthems and peerless songs. I think about Oasis, Pulp and Blur. I know I keep returning to this well – older music and what it has done to the world – but my angle here is around fun and energy. One cannot be too harsh at the Pop world and the best R&B acts of the moment. Whilst Pop giants like Lady Gaga and Rihanna can still pack them in; Electronic artists such as M83 are capable of giving us some bliss; Dutch Uncles and Field Music capable of firing on all cylinders – they are in the minority. Not only have past wonders given the music world fireworks and body-slamming stunners; the artists providing that material have inspired others and delivered strong messages. It is not only women of the past who I miss and feel left a big gap: some great male-made music remains in my mind and obsesses me soon.

A lot of that comes from the Dance music that was being produced from the late-1980s to the early-2000s. From Basement Jaxx and The Avalanches to Spiller and Arrested Development (not Dance-based, I know) – we have been spoiled. That is not to mention icons like Madonna and Kylie Minogue. Things are not bleak but I do not feel there is the same motivation there was years ago. Call it ‘fun’ or ‘fizz’: whatever you label it, you cannot argue against the fact it is somewhat lacking nowadays. I have been diving into the past because there is that guarantee of release and substance. I love music now but my attention has focused inwards. Rather than look for that demented Dance wizard and Trance fizzer; the Pop injection and the sunshine high – now, something more emotional and level-headed comes to the fore. I admire artists who try to bring optimism and catchiness into music but, a lot of the time, it can come off as overly-processed and generic. I wonder why music has lost a lot of its fun and positivity. You might argue some of those older anthems – from girl groups, Dance music and Rock – have carried some heaviness or were part of a scene that demanded that type of music. The world is darker and more endangered than it was back in the 1990s – even as recently as last decade.

We all need to find some hope and discover music that puts us in a better mood. Maybe artists are truthfully reflecting the feelings of the people and the strain we all feel. Rather than fight against this and create something scintillating; artists are taking a different approach. Perhaps the fact we don’t have girl groups and the same Pop configuration has done its damage. Club music and Dance has changed formats and become less popular – not as memorable as it was back in my day. I would like to think there is a way we can revise that bliss and, even for a short time, capture the fizz. I know there has never been a time where the majority of songs coming out write positive: the glorious songs and catchy anthems have been spread out for the past two or three decades, say – take it back to the 1960s if you want. There is no suggestion music has completely lost its edge and become too serious. The fact so many artists have come along means it is harder filtering those big tunes and bubbling tracks – maybe we have plenty out there being obscured by everything else. My point is, besides being a bit nostalgic, is for new artists to remember why certain artists/songs have survived this long. We are more likely to remember and connect with songs that have urgency, hooks and uplifted spirits. I do not mind looking back for that release and relief – I would like to stay in the current time and get that fulfilment from the modern breed. I am a huge fan of what is happening now but once in a while, more often than I hear now, I’d love to discover a song/band that…

GETS every part of my involved and engaged.

FEATURE: Don’t Blame Canada: How Musicians from the Great White North Are Changing the Game

FEATURE:

 

Don’t Blame Canada

ALL PHOTOS (unless credited otherwise): Unsplash 

How Musicians from the Great White North Are Changing the Game

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MANY people assume I am a Canadian journalist…

IN THIS PHOTO: A shot of Vancouver

because so many of my interviews focus on artists from there. I have been doing this gig for over six years and, over the past few months, I have noticed an influx of requests coming from Canada. I am not sure why so many Canadian artists flock my way. I am aware I am on the radar of popular Canadian P.R. sites and record labels – things shared by one artist is then seen by another; that leads to a chain of requests. The national stereotype seems to hold true: they are awfully nice people. It would be too long naming all the Canadian artists worth recommending – and my memory is pretty lousy! – but there is a general vibe that is very pleasing. I have reviewed a lot of artists who are taking music back to its roots. There are artists everywhere who record and release their material to cassette. We see fewer and fewer tape-released material at this time. Here, it is seen as retro and nostalgic: in Canada, it is part of many artists’ process. I have seen bands that put out a double-cassette release: one song on each side of the tape. Once or twice; I have seen bands collaborate on a double-release – where they would take lead on one song each and backing on the other. Emails and requests I get from artists are friendly, warm and informative.

There is less work involved when it comes to Canadian acts. They produce great photos and the information I need; they get their answers back in a timely manner – always producing full and interesting responses. That might sound like general administration stuff and genial insignificance: to me, it is a great reason to feature an artist and follow like-minded sorts. I find, with Canadian artists, they have a more ambitious approach and direction. Maybe it is their political landscape – more secure and settled than the U.S. and U.K. – or a natural way of life. There are loads of great artists coming from Canada but, to me, Ontario is providing the best music. So much of my time is spent looking at musicians from Toronto. It is a big city, yes, but I wonder how so many great artists from a place that isn’t the size of a small planet. I have noticed great music from Vancouver and Quebec but this is true: there is something extra-special about Ontario. You have Vancouver in B.C. and Toronto to the south of Ontario; there’s Red Deer in Alberta and Charlottetown on Prince Edward Island. It is interesting seeing all the different music coming from various areas. I have mentioned Ontario but there are so many productive areas of the nation. What I find is, unlike some smaller nations, there is not a reliance on one genre.

IN THIS PHOTO: BadBadNotGood/PHOTO CREDIT: Getty Images

Here in the U.K., we have musicians representing everything music has to offer. To me, Canada is more reliable right across the board. The nation is flying when it comes to Alternative and Indie; they produce fantastic Pop artists and some incredible Soul. Maybe they are not as prolific when it comes to Rap and Urban avenues – perhaps the U.S. does that better. Established Toronto bands like Broken Social Scene, Weaves and Alvvays are putting the nation on the map; same goes for city-mates Crystal Castles and BadBadNotGood. We all, whether we know it or not, listen to new Canadian artists. I will bring in another article soon – and conclude with my thoughts – but, to me, the best of Canada always has one part of their mind in the past. They appreciate physical formats and are keen to see them continue; they have that passion for older technologies and fuse it with the modern and new. I know other nations love where music has come from: few have the same fondness and intensity as Canada. Published last year; a great article explored Canadian record labels and how music got made:

“The making of a Canadian music star is no small feat – beyond talent and luck, there are multiple organizations, players and stakeholders. In this unstable mix of fans and audiences, live music venues, multinational music corporations, local radio stations and key taste-making DJs on both the club and radio circuits, there are innumerable variables”.

IN THIS PHOTO: Union Station, Toronto

There is great success and profitability in Canada right now. The music landscape is bustling but, compared to wealthier, more popular nations; I wonder whether they are being overlooked. We know most people look at U.S. and U.K.-made music. We have big labels here; the U.S. has the most commercial and wealthy acts. Although there is incredible music all around Canada, I wonder whether we are doing enough to promote it. Maybe I should put out a list of the best Canadian acts. Look at my blog and scan through the interviews there. You will see a whole host of Canadian artists who have huge strengths and compelling stories. We all know about the strong American and British stars – huge acts like Drake and The Weeknd are scoring massively on streaming sites. Another part of the article highlights some concerns and ironies:

“The paradox in Canadian music is that we have so many superstars and very few developmental channels to build future superstars. We cannot expect to continue to have globally relevant Canadian pop stars without examining (or creating) the mechanisms needed to sustain pop chart ascension. In the music industry, technological disruption came early, and solutions such as streaming and 360 record deals – in which labels take a cut of an artist's other money-making activities, such as touring – have temporarily plugged the hemorrhaging of profits. Superstars such as Justin Bieber, Alessia Cara, the Weeknd and Drake keep Canada in the global spotlight, even if we haven't perfected a star-making formula”.

IN THIS PHOTO: Alessia Cara/PHOTO CREDIT: Getty Images

I know there are so many wonderful Canadian musicians working hard and trying to get their stuff out there. The native followers are supportive and kind: Canada needs the support of the wider world and those bigger musical nations. The final point I will bring in from the article looks at music venues in Toronto and dangers facing some of its artists:

“Two panels focused on some of Toronto's local infrastructure promise to be informative and important to the evolution of the city's music strategy. With the threat earlier this year of disappearing live music venues across Toronto, there is much to discuss, especially with the city's condo-filled skyline affecting the affordability of those venues. And cultural spaces such as the former site of the 416 Graffiti Expo, at Queen and Portland Streets, are the reasons why local hip-hop artists of two generations ago could imagine Toronto as a hip-hop city, a place to affectionately name and represent as the T-dot-O-dot in the mid-1990s”.

It seems the same issues facing Britain’s music scene afflicts Canada. Despite the warnings and the musical snow; Canadian artists are fighting and, free from the pressures of international eyes and expectation; they are providing more original and special music. I have mentioned the cassettes and hardware artists record to. Platforms such as BandCamp are more popular in Canada than anywhere else. It is interesting discovering new Canadian music because, with every offering, I learn something I did not know before.

Going forward; I feel Canada, alongside the U.S. and U.K., should be part of your regular rotation. Nations like Sweden, Australia and Germany are housing terrific musicians and burgeoning scenes. I feel Canada mixes the best aspects of British and American music – diverse and genre-spanning; able to mix commercial and unique – and has its own dynamic. The warm and fascinating personalities of the musicians, added to the work mentality and inventiveness of their releases, stands Canada out. It is a nation that deserves more funding and attention. From recent inclusions such as Mute Choir and old favourites like Emily Mac – there is something for everyone. I cannot fit all the great Canadian music onto a single playlist. I am not surprised so many Canadian artists come my way: I am less surprised I am hooked by the country and what is coming from there. I know there are so many Canadian artists who want to perform over here. It can be hard enough getting dates in the U.K. – a lack of finance and the country preferring its own artists – so we need to find a way of putting more Canadian artists into the fore. It is a growing and amazing nation that does not get the same credit and exposure as America – despite the fact there is a richer scene and friendlier, more engaged artists. One of my hopes is the world opens its eyes and realises what fantastic sounds are coming…

IN THIS PHOTO: A shot of Chilliwack, British Columbia

FROM Canada.

FEATURE: Kindle 33 1/3: Do Modern Lyricists Possess a Poetic, Literary Edge?

FEATURE:

 

Kindle 33 1/3

ALL PHOTOS (unless credited otherwise): Unsplash

Do Modern Lyricists Possess a Poetic, Literary Edge?

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A few sites are spending this weekend…

looking at lyricists from all sides of the track. I have been checking out Pitchfork and a feature they ran regarding Hip-Hop scribblers from the past. The piece charts the development of Hip-Hop from the early-1990s through to the present time. It included Lauryn Hill and Tupac, through to De La Soul. Another feature, on BBC, looks at underrated lyricists and those who do not get the credit they deserve. I guess, if we all had to name the best lyricists of all time; we look at obvious names: Bob Dylan, Lennon and McCartney; Joni Mitchell and Leonard Cohen. They are great writers but, when I think of them; they are populist and well-known. I have huge admiration for all the writers but, when I think of music that goes beyond the established and celebrated – who are those pioneers that have helped shift music forward and added their own spin? Pitchfork looked at artists like De La Soul and the watch they mirrored the (New York) streets in the 1980s – and before then. The band amazed critics with the album, 3 Feet High and Rising. That 1989 breakthrough was released around the time Beastie Boys changed Rap/Hip-Hop with Paul’s Boutique. Both records created unique environments and took storytelling in new directions. Humour, confidence and depth were brought into genres that were relatively fresh and unexpanded.

PHOTO CREDIT: Getty Images

De La Soul mixed humour and skits alongside flower-power Hip-Hop motions; vivid and colourful compositions with some of the finest production notes of the decade. Beastie Boys displayed their sizzling, street-poetic lyrics to the fore: an explosion of full-on, hardcore rhymes and dazzling skills. Look at the Pitchfork article - and they give you a better guide and look into the Hip-Hop scene. Break away from what was happening in the U.S. and here, in the U.K., we were spawning incredible writers breaking the mould and adding something fresh to music. I have admiration for heavyweight writers like John Lennon and Paul McCartney: to me, northern penmanship from Mark E. Smith and Paul Heaton stood out more. Smith’s writing for The Fall brought a slice of real life and the peculiar into a (comparatively) samey scene. The recently-departed icon consistently ripped up the rule-book and brought a stunning, spiked voice to the world. The way Smith played with phrases and elevated the average really was not the expected normal. No other writer has managed to match the scope and intelligence of The Fall’s leader. Paul Heaton, of The Beautiful South, had his own approach: another intellectual and humourous writer who strayed from mainstream tropes and delivery biting, sardonic quips and standout couplets. One listens to songs like Song for Whoever and A Little Time and you can hear a man, not only write about real life and things other writers were avoiding – he wrote great lines for women and, in A Little Time, broke from the conventional and created a brilliant two-hander.

Fall songs like Totally Wired and Mr. Pharmacist still sound bizarre and from another planet – over thirty years after their release. I can rattle off other artists but, looking back, I notice a definite shift and transformation. Those great, poetic Hip-Hop writers have gone: in their place are more commercial and ‘safe’ writers. Eminem is, perhaps, the last great Hip-Hop writer who took risks and blew minds. Modern artists like Kendrick Lamar and Jay-Z, alongside newcomers SZA and Princess Nokia, are the last of a dying breed. There has always been a culture of bragging and excess in Rap and Hip-Hop: there is still a lot of it happening but very few artists who take their minds away and pen decades-lasting lines. Maybe music is too full-on and digital: I have not heard a song, for years, that stays in my mind when it comes to lyrics – that goes for most genres. Other areas of music, such as Pop and Rock, are producing fewer geniuses and pioneers. We have sharp writers at the current time: from Courtney Barnett and Field Music’s Brewis Brothers; Janelle Monáe and Laura Marling to Arctic Monkeys. That last name, ironically, has inspired a new breed of Rock and Alternative bands. One cannot think of Arctic Monkeys and not be drawn to the pen of Alex Turner.

IN THIS PHOTO: Princess Nokia/PHOTO CREDIT: Roger Kisby

The Yorkshire scribe encapsulated the desires of frustrated commuters, lovers and dreamers with his wit-filled, super-smart songs. From Fake Tales of San Francisco and A Certain Romance to Cornerstone and Piledriver Waltz – so many incredible, evocative songs. I think a lot of great modern writers are being overlooked because lyrics are not at the forefront of people’s minds: maybe lyrics have never been demanded and desired. People, now, prefer something catchy, easy and urgent: the patience to sit down and study a song is not really there, is it?! I know there are a lot of great writers in modern music; most genres sport leaders who are breaking out and showing what is possible. I think there is a noticeable shift from the poetic and socially-angled to introverted and diary-entry. Pop has seen the biggest turnaround in terms of thematic styles and tastes: moving from commercial, love-filled/themed songs to a more personal account. Hip-Hop and Rap have some sharp masters/mistresses; Rock and Punk bands are spotlighting modern-day ills and the struggle of the masses – looking out at the political world and how it impinges on all of us. I love modern music and think we have a really strong set of artists in our midst. I am lyrics-minded and pine to discover those underrated heroes and heroines.

I feel the market places less importance on what comes from the pens/laptops of modern writers. There is that desire to embrace huge sounds and strange concoctions: how often do critics and listeners highlight a great set of words as opposed a banging tune or fantastic vocal turn? Maybe artists are turning in on themselves and writing something more heartfelt, if gloomy. Whilst I argue there is a simplicity and less edgy/evocative scene right now; that does not mean we lack brilliant writers and impassioned minds. It is still a case of the underrated vs. the commercial. The fact people like the BBC have been polling people – regarding underrated writers – is a push against the ‘obvious’ writers who we all know and love. The biggest and most-famed writers in modern music, I feel, do not go as deep as some of the newcomers emerging. I look for writers who, either through personal confession or imaginative flurry, take the listener somewhere different and safe. I long for the literary-minded writers who challenged the sheep and does something truly special. From De La Soul and Arctic Monkeys to modern acts like Princess Nokia; I wonder how many artists follow their lead instead of fitting into preconceived, ‘accepted’ moulds. Perhaps music holds little patience for those who dig deep and pen story-like songs; observe modern life with unique bent and rare shades.

IN THIS PHOTO: Kate Tempest/PHOTO CREDIT: Getty Images

The fact artists like De La Soul and Beastie Boys pushed Hip-Hop to the masses is the fact they stayed true to who they were – rather than succumb to the needs of the charts/hit-makers. I shall leave this piece by throwing it open and asking people whether, they feel, lyrics have changed and songwriters are being noted for their compositions and sense of familiarity – rather than original thought and spellbinding scope. I have mentioned a lot of male writers: there are so many great female songwriters, from Sigrid and Kate Tempest to Billie Marten and Cardi B who are adding their own stamp on the industry. I am a poet at heart and have that affiliation with words. I love discovering a song that brims with literary desire and possesses poetic flair, fresh narrative and dream-like entrance. Perhaps technology has influenced music in a way that has pushed lyrics to the background. Maybe there are lots of future-legends who are being overlooked in favour of the more sprite, catchy and familiar. Whatever your opinions; it is a good reason to think of the great lyricists who never gained the credit they warranted. Those huddled and always-inspired artists did not care about cool and following the pack: they were in music to present something far more meaningful and inspiring than cliché and routine. Whilst they did not acquire the same wealth and popularity as their bigger brothers/sisters they did, in their own, special way…

BRING something magical to music!

FEATURE: Human Sushi: Is Music a Safer Industry Than Past Decades?

FEATURE:

 

Human Sushi

ALL PHOTOS (unless credited otherwise): Unsplash

Is Music a Safer Industry Than Past Decades?

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TOMORROW will see me…

look at, among other things, female-made music from years gone by – and the comparative lack of spritzing, energised anthems today – and why, I feel, Canadian artists should be watched closely (for good reasons). I was struck by a piece in The Guardian that looked at the notion of a ‘Rock groupie’ and whether they exist anymore. I really hope not: there is a part of me that feels, somewhere, the practice is still happening. The notion of the group-stalking groupie is something that has been romanticised and played down to an extent. From Rock legends like Led Zeppelin and The Rolling Stones to, well…pretty much any big male artist of the past God-knows-how-many-decades – it seems, so long as nobody was getting hurt, it was all part of the music business. That vision of ingénue, naive female females finding their way into their idol’s bed – or something less comfortable – drew many into music. The vision is the female being ‘dominated’ or seduced by the male: there are few incidents, one hears, of male fans as groupies to female artists. Maybe that has happened in the past: I could not possibly imagine that happening in today’s climate. One of the interesting points the article raised was whether record contracts had a stipulation regards sexual misconduct and interaction with fans. Morals were very loose and unpoliced back in the 1960s and 1970s.

IN THIS PHOTO: Led Zeppelin in the early-1970s/PHOTO CREDIT: Rex

At a time where there was a certain lack of outcry and vigilance regarding sexual assault and abuse; bands and groupies came together frequently and naturally. One can imagine there were sworded and unwanted encounters – how long before these come to light? I always associate the groupie with the big bands of the charts, normally Rock groups. Movements like #MeToo have brought the issue of sexual abuse to the forefront – is it still happening and occurring away from the mainstream? Bands like Moose Blood and Brand New have been accused of inappropriateness and sexual misconduct; Ben Hopkins, of the New York duo PWR BTTM, has been in the news – another artist shamed and disgraced. That notion of being an inspiration and guidance has always been flawed. Fans assume, if they are bedded by their favourite musicians, they, in turn, will compel their next song. I am not sure where that notion stemmed from but it is rather troubling. I have not heard any songs about great groupies and how they changed lives. Maybe one should not wag the finger at Rock bands like Led Zeppelin and Guns N’ Roses – or any other major act who had to fight women/girls from their dressing room after every gig. Thinking about male bands and female fans together sours the musical experience. I think of it like human sushi: a conveyor belt of objects being inspected and tasted; moved onto the next person and dispensed at the end – raw, hip and casual.

IN THIS PHOTO: PWR BTTM (dropped from their label following allegations made against their lead singer, Ben Hopkins)/PHOTO CREDIT: Daniel Seung Lee

Even if that girl wanted the encounter to happen; she would have been tossed aside and forgotten about when the ecstasy and drugs wore off – and the soberness of the new day meant a fresh conquest for the band. Maybe there are band members who have entered relationships with groupies. That idea of male musicians taking advantage and getting their rocks off feeds into that vision of the Rockstar and what it is all about. That still happens today: it is all booze, drugs and sex. No matter whether both parties consent and want things to happen; you look back and wonder whether greater policing should have happened? There would be an outcry if, say, IDLES and Royal Blood publicised their sexual encounters with fans. If they took the approach of older bands and what happened in decades past; the media would string them up and their contracts would be terminated. Even though that headiness and sexual excess is not promoted and part of the musician’s rider; there are cases where artists are taking advantage and hoping they’ll get away with things. It does seem to be an entirely male issue: I cannot imagine why a female musician having sex with a fan after a gig. Maybe that did happen, now and then, in the past – can you think of a modern female musician who courts groupies and preys on fans?! Katy Perry, rather ludicrously, was in the news for kissing a male contestant on a reality T.V. show...

IN THIS PHOTO: Katy Perry/PHOTO CREDIT: Rony Alwin

She was meant to kiss him on the cheek: the fact she turned his face and planted one on the lips led some papers and sources to cry out and label her a pest and disgrace. The name of the young man escapes me – I could look it up but I am comfy here – but Perry’s kiss was his very first. I can imagine he was taken aback but it is hard to imagine why he would be shocked and offended. If a male artist kissed a female contestant; that would get headlines and be wrong. If that were me, I would be flattered. Being kissed by Katy Perry is not something to turn down or get upset about – it was meant as a kind gesture and compassionate moment (having her as your first kiss is a pretty big brag). She is not out to seduce young men and use her celebrity to bed vulnerable fans. Whilst, on paper, it might seem like a contradiction and ironic statement; one cannot put Perry in the same camp as a male musician who gropes fans and abuses them – their intentions are nefarious and they are trying to get their end away. Incidents like the one involving Perry are harmless and minor: band members and solo artists assaulting their fans/other women is incredibly serious. I think things are changing and improvements are coming through: there are still cases of male artists being accused and exposed.

IN THIS PHOTO: Moose Blood/PHOTO CREDIT: Press

In the case of Moose Blood; they have been accused of exploiting fans and preying on young women – using their stature and clout to get their way and do whatever they please. We are hearing of cases and women speaking out against their abusers. I wonder how many cases are still unsolved and collecting dust; fear of being doubted means many women are not coming forward. Looking at that Guardian article got me thinking about the way music has evolved and how we have seen a diminishment of the groupie. There are cases of women and men wilfully exposing their bodies and getting close to artists. They want that thrill and the brag: being able to get a musician to touch them or get them into bed. Back in the 1970s; artists like David Bowie and Jimmy Page had sex with fans who were underage. We all celebrate these artists but forget, actually, they have committed sexual offences as part of their everyday lives. Maybe they were unaware of the true age of their conquest: one suspects they knew and, as there was consent from the female (or not), then that was okay. If people were not looking and the girl did not come forward; what is the harm in giving her what she wants?! That icky and flagrant disregard for morals and law has subsided in the present time. I am hearing women speak out against artists who have misread a situation or taking an innocent request as fuel for abuse and sexual explicitness.

The rise in technology and social media has a mixed sense of blessing. We can ostracise and villainise an accused a lot quicker and more effectively. Labels, venues and fellow artists can be tagged and included in the discussion – meaning that artist/band are brought to task and gigs removed (or contracts severed). The fact there are so many Smartphones out there means male artists are photographing women without their consent or sharing private snaps. They are videoing their incongruous motions and sharing them with mates. Some women have asked to be on a guest-list – not in a pushy way; a calm and reasoned request – and a musician has, instead, used that to initiate a sexual encounter – leverage and privacy whilst he/they let their hands and penises wander. Whilst there is not the same level of debauched sexuality behind the scenes of music: we are seeing it happen in seedy corners and, one assumes, unaware of the ramifications and seriousness. One could argue there is was a naivety, back then, regarding female fans. They had false hopes and thought they’d get a boyfriend out of it - a famous musician who could take them around the world and give them wealth. It would be odd to think, say, a fan of Ed Sheeran or Taylor Swift would wait after a gig and have that same dream: get them into bed and hope they are their ‘muse’.

If anything; the business of sexual misadventure and lacking consent has moved from the mainstream – when that sex-drugs-and-rock mantra was something to aspire to – to the underground. The artists being accused right now are not your big names and celebrated bands – like Queens of the Stone Age, Shame and IDLES, for instance. I may be naïve myself but I HOPE none of these acts has, for a minute, have given into weakness: I think about bands like The Rolling Stones, Mötley Crüe and know that rotation of orgies, drug-taking and molestation was all part of the lifestyle. Things are cleaner and less vile than they were back in those times. It is odd how movements like #MeToo have made us revaluate that viewpoint. How many of us, until recently, looked at Rock artists, back then, as laddish heroes who had girls/women lined up to pleasure them; living the dream and embracing that hedonistic pleasure?! I, myself, have looked at those classic bands and wondered how easy their lives were. They had everything on a plate and did not have to worry about any ramifications or questioning. That is what I was taught growing up: the biggest and best bands lived music and sex all the time; post-gig rituals included signing girls’ breasts and getting a few of them into the tour bus.

I am not suggesting there can ever be a purification of music: the fact the last of the demeaning and idiotic abusers need to be outlawed and banned is urgent and vital. In some ways, we are a more united and proactive society than the 1960s and 1970s. Social media means millions can share their stories and bring musicians to task. We can all get involved and ensure those culpable do not get away with things. There is still that issue of doubt and credibility – some women do not think their truth will be believed and given credit – but we are seeing action and change happening. Given what has happened in Hollywood lately: can the music industry afford to sit back and assume there is nothing to worry about?! There are enough issues in music without having to deal with a barrage of sexual abuse claims. Musicians, now, need to be aware actions like that will not be tolerated. Even if a fan wants to have sex and expose themselves – it should be down to the artist to rebuke that and not take advantage. It might have been desirable and promoted decades go: in an age where gender equality is on everyone’s radar; music needs to clean up and learn from mistakes of the past. Cases are coming to light of musicians abusing fans and assuming they could act the same way as their forefathers did: getting their rocks off with fans and doing whatever they want to. The music industry is much safer and less salacious than it was back in the 1960s. There is not the same rampant groupie culture; there are far fewer cases of big stars having their way with young fans – many of them below the age of consent. Doing the minimum is not acceptable: any musicians found wandering off the path of morality need to have more than their knuckles rapped. We need to make sure music is an open environment and does not create fear; musicians do not abuse their powers and infractions are dealt with in an expeditious and effective manner. In essence; we need to ensure music is a…

SAFE space for everyone.

FEATURE: Live Music! A Homonym We Should Take to Heart

FEATURE:

 

Live Music!

ALL PHOTOS (unless credited otherwise): Unsplash 

A Homonym We Should Take to Heart

_________

A recent Facebook post from a talented musician…

raised questions as to whether live music is still a divisive issue. Later today; I will look at sexualisation and a side of music we, luckily, are seeing less of. The post in question came about when an older – or middle-aged – gentlemen turned his nose up at the mere suggestion of paying a tenner to see a great duo play. The insinuation was, I assume, he should be getting it for free – why would he bother shelling out all that money for something he could see on the Internet?! The trouble is this: live performances are part of an artist’s life and, as they are giving you something quality and passionate; you should pay for the pleasure. Fortunately, the duo in question killed the gig and silenced the nagging and obnoxious dubious. (I am not surprised hearing people balk against paying for music). We have come to a point in life where everyone expects something for nothing. I am of the opposite assumption: there should be a cost involved with every piece of music we listen to. That might seem harsh but, considering musicians work hard and have little money to show for it – isn’t it only right we compensate them for their time?! Those who feel live music should be a costless right need to realise the realities of music...

Paying ten quid to see a duo tear up the place and playing a blinding set is hardly anything! People pay six or seven times that to see a bigger act somewhere less atmospheric and connected than a small venue. Those artists can command big prices: why can smaller artists not get something for playing?! I understand there is a small group who object to paying for any form of music – feeling that, if they are in a pub/venue and want an enjoyable evening; why do they have to pay anything?! Live music is a lifestyle for many. It is a tribal call and a way of being with like-minded people. We all work hard and it can be exhausting even contemplating seeing an artist play. Music is available online and so, for many, that is the way they digest it. Going out involves time and transport; paying for food/drink and getting home quite late. The same reality is true of musicians. They have to pay for fuel and get to gigs; they have to eat and often struggle to turn a profit when they play. Many are playing for free so they can get exposure and a chance to get their music heard. A recent Guardian article highlighted the problem:

“The UK’s first live music census has found that a third of Britain’s small venues outside of London are fighting to survive in the face of high business rates and noise restrictions.

Of almost 200 small music venues (with a capacity of up to 350 people) surveyed, 33% reported that increases in business rates had an “extreme, strong or moderate” impact on their existence in the past 12 months. One medium-sized venue (351 – 650 capacity) reported their rateable value quadrupling from £17,500 to £72,000.

Some 29% of small venues, and 27% of all venues, reported experiencing problems with property development around their premises, which can provoke complaints from nearby residents. In response, the researchers recommended that the government continue to develop at a national level a legally binding “agent of change” principle, which would put the onus on developers to soundproof new-build properties, rather than placing restrictions on existing venues. Last month, ministers including housing secretary Sajid Javid committed to strengthening planning rules to protect grassroots venues…

The report also highlighted the difficulty of making a living as a musician in Britain: 68% said stagnating pay made it difficult to earn a viable income, with the figure rising to 80% for those identifying as professional musicians; 66% reported working unpaid for “exposure” that they believe had no positive effect on their career”.

Not only are musicians struggling to get paid: smaller venues, outside of London, are closing and discovering it hard to remain open. It is shocking seeing those figures and what they represent! I am sad to see the decline in venues and how factors – such as noise and lack of funding – means more and more doors are closing. Whilst there is little we can do to stem the flow of closures; I wonder why anyone would object to paying to see live music of any form. Few people are that hard up: most of us can stump up a few quid now and then to support musicians.

IN THIS PHOTO: Beyoncé/PHOTO CREDIT: Getty Images

As I said earlier...live music is something we live and grow up on. Those who are serious about their sounds will go around the country/world and pay any money to see their favourite new acts. There is a huge discrepancy between underground artists trying to make a living and those established and famous. A couple of years ago; an article came out that highlighted how much we are paying to see big artists:

“For Beyoncé’s Formation tour, it was in excess of £100. For Björk's recently announced Royal Albert Hall show in London, it's £99. At Radiohead’s three night run at north London’s Roundhouse, it was £70. As fans continue to count – and question – the cost of top level tickets to see their favourite artists live, it begs the question: are gigs getting too expensive?

“I think it’s fair to say inflation for ticket prices has been running above that of other things, especially other sectors of the industry,” says Mark Sutherland, editor of industry magazine Music Week. Statistics bear that out: between 1982 and 2012 the average cost of a gig ticket increased by 400 per cent, and according to Statista the worldwide average cost of a concert ticket now stands at $78.77 (£59.94)”.

Another article, a year later, showed how much money is being brought in because of live music:

“More people than ever are flocking to watch live music, with attendance at concerts and festivals at an all-time high.

A new report found that there has been a 12% rise in audiences at live music events over the past 12 months, bringing £4bn in to the UK economy and providing a welcome boost for the music industry.

UK Music’s study, Wish You Were Here, found that audience numbers had hit 30.9 million, up from 27.7 million in 2015, with 4 million people attending the ever-growing number of British music festivals in 2016. It is further evidence that the live sector is one of the most vibrant and profitable parts of the music industry, and it is through ticket sales and merchandise that most musicians generate the majority of their revenue.

The research found that people were increasingly willing to travel from other parts of the UK, and even from abroad, to attend live music events. Music tourism rose by 20% in 2016, and almost 1 million people travelled to the UK from abroad specifically to attend concerts and festivals, spending an average of £850”.

It is clear there is an appetite for live music and going to festivals/venues! I wonder whether most people prefer to attend festivals – so they get to see more artists and enjoy the benefits of great sites and the (hopefully) good weather?

If it is a once/twice-a-year thing; the relative cost spreads out and is easier to manage. The past few months have shone a light on the split between smaller venues and bigger artists/festivals. We pay steep prices for bigger gigs because the artist has a larger set and more ambitious backdrop. I have paid a rich sum to see Queens of the Stone Age but I know, when I booked, they would have a lot of musicians on stage with them – and commanded those fees because, well…they could. There are articles advising how one can start their own music venue. It is easy to get the wheels turning – but how easy is it to keep them turning years from now?! There is never going to be an end to live music and venues: we will always get a fix and be able to see someone play somewhere. We all know the cracks are forming in the spine of live music right now. Until a remedy is formulated; those who have a justifiable reason to charge punters should be paid without grumbling and people questioning their motives. Too many are playing for little/no money and, when other costs are extracted, they are left with very little. The fact so many streaming sites offer music for nothing makes it even harder to turn music into a viable career.

PHOTO CREDIT: Getty Images/Rews

I do not earn a lot – below the natural average, for sure – and have to make allowances and cuts here and there. My bank balance is in the black but I am still struggling to save a lot. The duo I was alluding to earlier is Rews. They have commanded air-time on BBC Radio 1 and played, among other festivals, Glastonbury. The pairing of Collette Williams and Shauna Tohill are being talked-up in impassioned tones. The duo is tipped to go all the way and make it in the business. Each new single brings buzz and electricity; it gets onto the radio and it shows they grow stronger with every movement. They are the archetype that highlights the issue: a great act who will make it big, starting their careers and trying to get their music out there. Even though they are making a little bit from online streaming/merchandise: there is not a lot of money coming in the Rews camp. They will continue to make music and tour, regardless of a few ignorant people and obstacles. The fact of the matter is, they shouldn’t have to! If we do not support new artists and smaller gigs; they will not get to the mainstream and play larger gigs – threatening the rigidity and lifespan of live music. The only reason we have big stars playing these awesome gigs is (the fact) they played smaller gigs – and got paid for it whilst they were at it!

It is shelling out money to see artists every week/month. Most of us, who love music, want to see as much as we can – often held back by demanding lives and a lack of energy. The cost has never really been an issue. Most new artists are not charging more than ten or twenty quid to see a full, expansive set. That is cheaper than seeing a film – in most parts of the world; for two people, perhaps – and a lot less expensive than seeing a big star miles away. The value for money one gets is exceptional. So many venues are platforming artists without charging any fee at all – finance is raised by promoters and labels paying the venue; extra food and drink takings add to the coffers. Let’s hope this ‘rough’ period for venues subsides and there is some form of stability and long-term prospect. Like it or not - to the doubters - there is an inherent truth: the only way live music will continue is if there is money to keep venues going. Music cannot exist, full-stop, if artists are unable to get their music out to people. Spotify and YouTube only do no much; radio can only reach a certain audience – live music is where you can see artists close and get a sensation like no other! So, the next time you see an artist advertised with an entry price next to their name…rather than have a hissy-fit and vomit in the toilet – the sheer audacity of a musician charging human beings to hear songs an artist paid money to make in the first place! – get your head out of the bowl, and your arse, and get some perspective! Music does not need those too tight and stupid to complain at everything in the world: it relies on the bloodstream of loyal gig-goers who want to ensure the forum of live music is not something, very soon…

WE will put to bed for good.

FEATURE: The March Playlist: Vol.3: Bridges Plays His Hand; Sigrid Bluffs Raw – Then a Swift Burke and Some Eels Slip in and Take the Pot

FEATURE:

 

The March Playlist

IN THIS PHOTO: Sigrid

Vol.3: Bridges Plays His Hand; Sigrid Bluffs Raw – Then a Swift Burke and Some Eels Slip in and Take the Pot

_______

THERE is no beating around the bush…

IN THIS PHOTO: Leon Bridges

with this week’s selection of new songs! Not only are there fresh offerings from Pearl Jam, Leon Bridges; Kate Nash, Eels and Alexandra Burke – Sigrid has a new track out! Courtney Barnett, GIRLI; Taylor Swift and Halsey are also out there doing the music world proud – quite a spread and banquet (of) of-the-moment offerings!

It is a big week for big music: titans and promising newcomers rubbing shoulders and providing the eager listeners something essential, compelling and hugely exciting!

ALL PHOTOS (unless credited otherwise): Getty Images

________

Sigrid – Raw

Pearl Jam – Can’t Deny Me

Leon Bridges - Bet Ain't Worth the Hand

Kate Nash – Life in Pink

Courtney Barnett - Need a Little Time

George Ezra (ft. First Aid Kit) – Saviour

Taylor Swift - Delicate

The Magic Gang – Take Care

Nimmo - Too Late

The Tallest Man on Earth – “An Ocean”: When the Bird Sees the Solid Ground

Frank Turner - Blackout

The Chainsmokers – Everybody Hates Me

Eels – Premonition

PHOTO CREDIT: Lauren Maccabee

Emily Burns – Girlfriend at the Time

GIRLI – Play It Cool

Q-Tip and Demi Lovato - Don’t Go Breaking My Heart

Sunflower Bean – Human For

Fickle Friends – Bite

Tom Rosenthal – Was It You Who I Saw?

The Vaccines – Surfing in the Sky

Yungen (ft. Jess Glynne) – Mind on It

Banfi – Future

Alexandra Burke – Summer

Halsey (ft. Big Sean, Stefflon Don) - Alone

Dana Vaughns – Underneath

PHOTO CREDIT: Holly Andres

The Decembrists – Cutting Stone

The Fratellis – Told You So

SOHN – Nil

Hayley Kiyoko – Let It Be

Amy Shark – Sink In

Imagine Dragons - Next to Me

Emma Blackery - Dirt

Leif Vollebekk - Into the Ether

Troye Sivan – Strawberries & Cigarettes

Fangclub – All Fall Down

Little Boots and Lauren Flax – Picture

Yazmin Lacey – 90 Degrees

Anna Lunoe – Blaze of Glory

FEATURE: “A Music Journalist Is, Simply, a Failed Musician…Right?!” Confessions of a Content Writer

FEATURE:

 

“A Music Journalist Is, Simply, a Failed Musician…Right?!”

ALL PHOTOS (unless credited otherwise): Unsplash 

Confessions of a Conten Writer

_________

ONE assumes those who spend their professional time…

slagging off other artists are failed musicians who never fulfilled their dreams. Many, bitter people, fail to distinguish between those who fall into those categories and those who have a genuine desire to succeed in a particular field. It all harks back to that maxim/saying: “Those who can’t, teach”. It is an idiom, actually, and it is a truncated version of a phrase from George Bernard Shaw’s Man and Superman. I know a lot of music teachers and singing coaches who get that accusation. Many assume they have taken that job because their aims of being a professional singer burned out. In fact; the most-common occurrence of that flawed assumption is aimed at music critics. If Mr./Mrs. So-and-So gives an album a two-star review and pours scorn on its ideology – there is that pack mentality to attack and disparage those who dare degrade a terrific musician! They have it in their heads she/he wanted to be a musician but couldn’t quite hack it: they fell into writing and can be all smarmy hiding behind their keyboards! As I type this; I am listening to Oasis’ Be Here Now – and the track, D’You Know What I Mean? That is a classic case of fans heaping negativity on reviewers who dared to snub the third album from the Manchester icons. At the time, the album was received with pomp and celebration, mind. It was Oasis during their heyday and many assumed, before they even heard the record, it would be a masterclass – as their previous two albums were...

IN THIS PHOTO: The cover of Oasis' album, Be Here Now/PHOTO CREDIT: Getty Images

Many reviews, through fear or without listening to the album, give it big reviews and threw hyperbole and superlatives at every song. Crowds queued around the blocks to pick up the record – a time, in 1997, when we flocked to record shops, hot in anticipation and fever! The album had some boss tunes – the aforementioned opener, Stand By Me and All Around the World do the job! – but it was re-reviewed in retrospect. It was/is too cocaine-laden and confident: a collection of over-long boasts from boys full of braggadocio and ego – not as honed and appealing as an album like Definitely Maybe. The first two records from Oasis were full of anthems and urged people to get together and celebrate life: their third record was crammed with chest-pumping songs that had little substance and inspiration. I saw a few reviewers criticise the band’s motives and, as you’d expect, people went for the throat. It seems to be the same in the modern day: if a critic expresses their opinions, they are open to judgement and offensive spit. There are some critics, granted, who are cloth-eared c*nts. They will not be named but, when genuine excellence is presented to them; they scowl their faces as if they had been offered a night of sex with Piers Morgan!

Most music journalists get into the profession through music – many of them have been in bands and had their time in the sun. I am sure there are some, like me, who are jealous of those who get on the stage and feel the adulation from sweaty and delirious audiences – feeling that love spread through their bones; the confidence and sense of validation they get cannot be easily quantified. Music, in general, is a tough profession and one cannot say why people do what they do. I am sure there are some writers who are a bit regretful they never had the chance to be in big bands or own the stage. The response to that is not to go into journalism and jab at every artist out there. For me; music journalism was a way of filling a hole. I started songwriting at sixteen and could never get it together in that sense. I still have a bit of stage fright and do not have the confidence to get into a studio and belt a tune out. I know my limitations and are not repressing rage through the medium of sarcastic one-star reviews. I would love to get into music and record – maybe down the line someday... – but it would be in the form of an Electronic/samples album…something that didn’t need me to sing or tour.

I feel like I have taken a shot at music and have no lasting regrets. Journalism is my chance to get involved with the music world and have my say – even if it is a bit back-seat and passive. I love discovering new acts and keeping busy. I can be a little less angered because my role involves being positive and reviewing great music. I write reviews for Too Many Blogs and have had to dish out one or two less-than-polite reviews. For the most part; I am free to choose my workload and, if I criticise an act, it is always constructive. I am never full-on-mean or hold any form of spite. I am seeing a lot of colleagues – professional and unpaid alike – who are still exposed to the social media-driven scapegoating. They (critics) are accused of being failed musicians and not knowing what they’re talking about. It makes me wonder whether people value the minds and words of music journalisms, We are seeing a dwindling sphere of printed journalism and a lot of websites come up – they vary in quality and relevance. At a time when albums are readier and more available than ever; can we truly say critics and journalists are a spent force?! It is good to browse and make our own minds up but I am always keen to do research before buying an album.

I may not agree with the evaluation (of the journalist) but it is good to have differing opinions and see if there is a consensus. I am not bothered by any accusation of sour grapes and failed career plans. If anything, this is true: music journalism is less stressful and more fulfilling than recording music. I do not have to worry about raising money to fund my career – although, being unpaid is a little annoying – and have the luxury of turning down requests. I can take days off (but never do) and am not exposed to the worst anxieties and pressures of music. Instead, I get to interact with musicians around the world and have greater freedom and range. My life consists of sitting at a laptop which denies me the chance to get out into the open and connect with people: at the same time, I am not trudging up the country and spending a lot of time on the road. On balance, I feel I have the best of both worlds. I get to go to gigs and hear the best new music around. The real reward is helping a new artist see their music reach new artists and get exposure. Some of my proudest moments come when I review/interview an act and they are overwhelmed by the words and assessment. That may sound arrogant - but it makes me feel a lot better and drives me forward. One cannot underestimate the pleasure you get when interacting with a musician.

Keeping active by promoting brilliant artists is one of the best decisions I have made – even if there are downsides. The constant screen-time can foster fatigue and isolation but I make sure I balance out the work with some time outside. Having done this for over six years; I am in a position where I am looking to build my blog and take it in new directions. Music journalism is, unfortunately, an endangered beast and requires conservation, funding and compassion. We need all the good and ambitious writers we can get right now! I can understand those who hold a certain cynicism for journalists who criticise everything and seem to doubt everything that comes from the music world – there is no real reason being a journalist if you approach everything with negativity and anger. I did not get into journalism to piss on musicians and rally against those who are doing what I cannot. Most journalists are in the game for the right reasons: they want to add their voice and do something genuinely good. We are at a time where there are divisions and debates forming. Rather than questions journalists for being tough on certain acts; we need to urge focus when it comes to tackling the issues in the industry – everything from sexism and mental-health issues to racial disparity and the security of live venues. Music is a community and we all need to be supportive of one another. Music journalism is something we should be encouraging young writers to go into; emphasising the good points and how much good it can do. I am, hopefully, proof you can help others and help a lot of good artists out. Those who claim music journalists are failed musicians – and filled with bitterness and regret – need to turn that negativi energy and realise people like me are here, not because our music careers have flamed out, but because this is the only…

THING we want to do!

FEATURE: What ‘Sophomore Slump’?! Second Albums That Amazed the Critics

FEATURE:

 

What ‘Sophomore Slump’?!

PHOTO CREDIT: Unsplash 

Second Albums That Amazed the Critics

_________

THERE is an actual phenomenon…

PHOTO CREDIT: Unsplash

known as the ‘sophomore slump’. In musical terms; it states those who produce exceptional debuts and get critics hot with that first-time brilliance will slow and disappoint when it comes to the follow-up. Maybe that is a sign of too much pressure and expectation; getting lucky right out the gates – or people building unrealistic visions of the artist. The years have been littered with artists who failed to live up to the brilliance of their debuts...

We had The Stones Roses’ awkward Second Coming. There was The Strokes’ Room on Fire – and the fact it transposed Is This It (their debut) in terms of appropriate critical summary. Guillemots’ Red (2008) was a shadow of 2006’s Through the Windowpane. There are some albums that come along and, either maintain the genius of the debut or goes that one step further: defies all of the odds and show that early flash of brilliance was no fluke!

I have assembled a collection of the best second albums: those that kept the public hooked and, with it, brought in new fans…

ALL ALBUM COVERS:

Getty Images

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Beastie Boys – Paul’s Boutique

Release Date: 25th July, 1989

Label: Capitol

Genres: Alternative; Hip-Hop

Debut: Licenced to Ill (1986)

Bruce Springsteen - The Wild, the Innocent & the E Street Shuffle

Release Date: 11th September, 1973

Label: Columbia

Genres: Rock ‘n’ Roll; R&B

Debut: Greetings from Asbury Park, N.J. (1973)

Amy Winehouse – Back to Black

Release Date: 27th October, 2006

Label: Island

Genres: Soul; R&B; Neo-Soul

Debut: Frank (2003)

Radiohead – The Bends

Release Date: 13th March, 1995

Labels: Capitol; Parlophone

Genres: Alternative-Rock; Indie-Rock

Debut: Pablo Honey (1993)

Elvis Costello – This Year’s Model

Release Date: 17th March, 1978

Label: Radar

Genres: New-Wave; Power-Pop

Debut: My Aim Is True (1977)

Led Zeppelin – Led Zeppelin II

Release Date: 22nd October, 1969

Label: Atlantic

Genres: Hard-Rock; Blues

Debut: Led Zeppelin (1969)

Public Enemy - It Takes a Nation of Millions to Hold Us Back

Release Date: 28th June, 1988

Labels: Def Jam; Columbia

Genre: Hip-Hop

Debut: Yo! Bum Rush the Show (1987)

Kanye West – Late Registration

Release Date: 30th August, 2005

Labels: Roc-A-Fella; Def Jam

Genre: Hip-Hop

Debut: The College Dropout (2004)

Blur – Modern Life Is Rubbish

Release Date: 10th May, 1993

Labels: Food (U.K.); SBK (U.S.)

Genre: Britpop

Debut: Leisure (1991)

Carole King – Tapestry

Release Date: 10th February, 1971

Label: Ode

Genres: Soft-Rock; Pop

Debut: Writer (1970)

Nirvana – Nevermind

Release Date: 24th September, 1991

Label: DSG

Genres: Grunge; Alternative-Rock

Debut: Bleach (1989)

Weezer – Pinkerton

Release Date: 24th September, 1996

Label: DGC

Genres: Alternative-Rock; Power-Pop; Emo

Debut: Weezer (1994)

Adele – 21

Release Date: 24th September, 2011

Labels: XL; Columbia

Genres: Soul; Pop; R&B

Debut: 19 (2008)

Neutral Milk Hotel – In the Aeroplane Over the Sea

Release Date: 19th February, 1998

Labels: Merge; Domino

Genres: Indie-Rock; Lo-Fi

Debut: On Avery Island (1996)

Madonna – Like a Virgin

Release Date: 12th November, 1984

Labels: Sire; Warner Bros.

Genre: Dance-Pop

Debut: Madonna (1983)

Bob Dylan – The Freewheelin’ Bob Dylan

Release Date: 27th May, 1963

Label: Columbia

Genres: Folk; Blues

Debut: Bob Dylan (1962)

Pavement - Crooked Rain, Crooked Rain

Release Date: 14th February, 1994

Label: Matador

Genre: Indie-Rock

Debut: Slanted and Enchanted (1992)

FEATURE: 78/52/20/20: How Musicians Can Take Guidance from Psycho’s Famous Shower Scene

FEATURE:

 

78/52/20/20

PHOTO CREDIT: Getty Images 

How Musicians Can Take Guidance from Psycho’s Famous Shower Scene

_________

LAST night…

PHOTO CREDIT: AP

78/52, a documentary that focused on Psycho’s legendary shower scene, was broadcast on British T.V. Alfred Hitchcock’s most-famous film was provided with a forensic autopsy: filmmakers and actors assembled to provide their take and views on the starling centrepiece. From those involved in Psycho directly to those who take huge guidance from Hitchcock’s masterpiece – they were keen to provide an analytic, blow-by-blow account of the scene. The documentary’s title refers to the seventy-eight camera set-ups and fifty-two cut-always that went into the grisly overture. It has been years since I last saw the film and couldn’t remember every detail of the shower scene. It was interesting watching 78/52 and seeing experts examine every angle (literally) and the techniques involved. Janet Leigh entered the bathroom following a desperate detour to the Bates Motel. Greeted – rather chillingly – by Norman Bates (Anthony Perkins); Leigh (playing Marion Crane) checks into her room and decides to take a shower. Beforehand, we look at Bates’ creepy interactions and the chilly emptiness of the motel – mentions to his unseen mother build that sense of discomfort. Everything leads to this biblical, multi-angled crescendo. Crane disrobes and steps into the shower; she turns the water on and then there is an empty space in focus – we wonder why the camera decides to rest there. Apart from the sound of the running water, there is no other sound – Bernard Hermann’s chilling, rapturous score does not strike until the appearance of Bates.

PHOTO CREDIT: AP

The fact we focus on the door is because of what happens next: Bates, dressed as his (dead) mither enters and rips back the curtain. We see Crane’s screaming face in close-up and no real facial details of Bates – instead, there is this mushroom-shaped head and shadow. The sense of terror comes from insinuation and imagination. The blade is seen elevated but it never enters the flesh – there is, actually, one frame where we see the knife penetrate Crane’s stomach. Rather than a sustained, physical attack – producing blood and ripping through flesh – there are flashes of the knife and suggestions…without seeing the knife go into the ill-fated heroine’s body. In 1960; nobody had encountered something as terrifying and awe-inspiring. The scene took seven days to shoot and an immense amount of detail. Hitchcock wanted to get the sound of a knife entering flesh just right. Many melons were tested but only the one had that precise sound. Chocolate syrup as used as blood and, the fact the scene (and film) was shot in black-and-white makes it more frightening. The sight of red blood would have been too gory and would have lacked something. So, then…what does this all have to do with music?! I was watching the documentary and amazed at how revolutionary the scene was in 1960. People were running out of the movie theatres and there was, when it premiered, sustained screams and panic.

IN THIS PHOTO: Alfred Hitchcock/PHOTO CREDIT: Getty Images 

A filmmaker like Alfred Hitchcock does not slack when it comes to directing. Psycho’s best-loved scene took endless perpetration and care – the kind rarely seen in films to that point. One could argue that fastidiousness and invention was needed to make the scene perfect. I wonder whether today, in a fast-paced music industry, composers and writers have the time to write music in the same way. Listen to the way Bernard Hermann’s stabbed strings elevate and add to the shower scene – a masterful combination that only heightened the electricity and terror. The last time we saw anyone expend Hitchcock levels of detail and work into a single piece was, perhaps, The Beatles. Listen to Sgt. Pepper’s Lonely Hearts Club Band and you can see how much effort was expended. The Beatles slaved to get their sounds right and pushed the studio to the limits. They worked day and night and changed the face of music. Tape was cut and taped together; new instruments were spliced and tape slowed down – single songs took multiple sessions and personnel to realise the visions of John Lennon and Paul McCartney. That album was a revolution back in 1967: the fact there has been nothing like it since raises questions. The modern music scene is packed and inspiring but, to my mind, we have not heard a phantasmagoria and epiphany to rival that Beatles masterpiece.

IN THIS PHOTO: The Beatles/PHOTO CREDIT: Apple Music/Getty Images

There have been genre-defining albums and works that have challenged convention. I cannot think of an album that has incorporated the level of detail and genius as Psycho’s shower scene. Many might feel it an unfair comparison. That scene was very short - and it would be impossible to give that much attention to a full-length record. I am not expecting musicians to pull a Hitchcock and create a masterpiece eleven or twelve times over – maybe a single song would benefit that sort of time and attention. I would like to think, years from now, music experts will be dissecting a song and studying its bones and formation. Even the most detail-orientated and fulsome songs do not have the same degree of detail as a Hitchcock scene. I know film employs visuals (in addition to sound) so directors need to think about every consideration and aspect. Music is not necessarily simpler and less complicated than film. I wonder whether modern artists have the money and time to put something so enticing and complicated together. The Beatles, back in 1967, moved music on as much as Alfred Hitchcock did with film in 1960. Technology has moved on so much: the modern musician has everything at their disposal. It is easy to create symphonies and mix samples; push boundaries and create huge soundscapes.

PHOTO CREDIT: Unsplash

I wonder whether something big could be created – that takes music back to basics but pushes the limits of what we think possible. Maybe it would involve various microphones being draped and treated (different in terms of make and age) and taking a Beatles-like approach to music – slicing tape and slowing down certain section of a track. I am always looking for music that defies convention and compels songwriters, generations from now. That may be a big ask but I wonder whether it is actually possible. If it could be done fifty years ago; surely we have the capacity now to create something wondrous. There are some brilliant songs/albums arising – nothing that really provokes me to pick it apart and discuss it with like-minded peers. Maybe a full-on documentary about a single film scene is a bit excessive: one cannot argue Hitchcock’s finest single moment is undeserving of such passion. Music warrants someone coming along that wants to make a real change and push the industry forward. Even if it was a single song; having a visionary come along and shake the rules up would be a breath of fresh air. It may not come from Pop or Alternative sides of music: perhaps a Classical artist or Folk songwriter will take up the challenge and do something mind-blowing and inexplicable. I cannot be the only one who wants a musician to pen something that makes the listener sweaty and confused – just how can something like this be explained?! The impact Psycho’s shower scene had on unsuspected audiences in 1960 is still being talked about today: in 2018; there is a desire for something as arresting and stratospheric. I know there are artists out there who could create something huge and industry-changing. The interesting will be seeing…

PHOTO CREDIT: Unsplash

WHERE this breakthrough comes from.

FEATURE: Memories of NME: Why the Death of the Print Version Is a Tragic Milestone

FEATURE:

 

Memories of NME

ALL IMAGE/PHOTOS (unless credited otherwise): Getty Images/NME 

Why the Death of the Print Version Is a Tragic Milestone

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LAST Friday has been talked about…

by all and sundry in the media. For some sixty-six years; the NME has provided the music-hungry public with its fix of news, reviews and features - Friday saw the final printed magazine arrive. I have seen journalists come out and give their reasons for loving NME. I have been reading Mary Anne Hobbs’ piece for The New York Times - and why the end of NME’s print version is a tragedy. She worked at the magazine and recalled some great times. One experience, interviewing Nirvana and trying to put a piece together to impress her editor, found her retreating to a room and slaving over the interview – transcribing the conversation word-by-word and putting the hours in. Cigarettes were smoked and endless cups of coffee consumed. Hobbs painted a picture of the NME office in the early-1990s: meagre wages and people working every hour possible; crammed into the office, looking for that latest scoop. The setting sounds draconian but, as she explained; it was about the love and passion for music. I have been looking at tweets about NME’s R.I.P. From musicians and D.J.s through to producers and music fans – there have been so many sad and regretful expressions on social media. It is sad to see the printed magazine go out of circulation: the online edition will continue to run, well…for a very long time. Maybe the end of NME’s famed hard copy is a sign of the times: music journalism is online and there are few surviving magazines.

To me, there are childhood memories and good times associated with NME. For me; it came into my life at aged eleven or twelve (around 1995) and the infamous Britpop battle between Oasis and Blur. Seeing the gnarly Gallagher brothers squaring to Damon Albarn and his crew was a giddy delight. This was pre-Internet – well; music websites, anyway – and I would go and buy the magazine at the weekend. It was an essential purchase and, as soon as I was at the newsagents; I would take the magazine to a coffee shop and pour over every page. It was not just the headline news and the cover that fascinated me: every page provided some intriguing and worthy. The magazine was not as advert-heavy back then – it has become more commercial in recent years – and, if there were some, they served a purpose. One could find like-minded people to connect with – those looking for band members – and there were some great stories and titbits. I was always hooked on the reviews: the latest smashes being given a good going-over by the journalists at the time. Writers like Hobbs and Stuart Maconie helped bring the magazine to the masses and add original voices – you could feel their passion and personality coming through on the page. Rather than have a squad of faceless, rank-and-file writers producing anodyne and expressionless words: here, one could discover a haven of sharp minds and driven souls.  

PHOTO CREDIT: Unsplash

I have been hard on NME and how it has changed over the years. I feel it has come to the point where it is about advertising and making things as commercial as possible. There are some good articles/interviews but there is something lacking. Many have voiced their concerns and highlighted a decline in standards and appeal. I am with them, to an extent, but feel NME’s allure and quality come in its printed form – the fact they had to give it away for years signals it was destined for the pile. Maybe it can be revived but it seems unlikely I guess. The reason I am sad to see the end of NME’s ‘traditional’ format is the memories that flood to mind. After the 1995 Britpop heyday; I saw the end of the movement and the directions bands like Oasis, Pulp and Suede were taking. The 1990s, in fact, was a great period for musical discovery and eye-opening moments. I remember the late-1990s and the changes happening in British music. Blur were still going but my favourite period was the embrace of American guitar music and the bands coming out around that time. The Libertines arrived at the turn of the century and there was an exciting British Hip-Hop/Rap movement waiting in the wings. In fact; my memories of NME chart back as far as the early-1990s.

IN THIS PHOTO: Nirvana/PHOTO CREDIT: Press

I have faint memories of Nirvana gracing the covers. The Grunge overlords were natural stars and inspired a generation of musicians. Seeing something as grand as the U.S. trio staring back at you – with a cheeky grin – remained in the mind and made you want to dig deeper. The interviews had a unique edge and always involved the reader. One did not experience the usual, tired-and-tested questions and formulas. There was genuine wit and intelligence; the questions were original and the artists, justly, responded. The magazine represented a sense of rebellion and exclusivity. There was chatter in the school playground and, if you did not have a copy of NME in your possession, that marked you out for questioning and ridicule. There were those who opted for Pop options and fluffier magazines – Smash Hits was a favoured publication for many. Because of its sense of cool and authority; those who read NME were part of a ‘tribe’. We all stuck together and felt connected. Someone who thinks the same as me and follows the same music – those important realisations got me through school and bonded me closer to those I would have, otherwise, have ignored. It was a perfect ice-breaker and weekly forum. We (me and a selected group) would converge to the playground – or a playing field somewhere – and flick through the pages. There was the Blur and Oasis camps (I was in the former) and those who preferred American Alternative – those who opted for British outsiders.

One of the thrills NME provided was that narrow and dirty feel. The magazine was not that huge – compared with something like MOJO – and it felt pretty light. Not only was it perfect for swotting school bullies – it was easy to fit under the arm and you didn’t have to spend all day reading it. The pages were thin and there was the illicit feel of flicking through and seeing some in on your fingers. I followed NME through the 2000s and tracked the birth of bands like Arctic Monkeys. Each time a new bunch of heroes were proffered and featured; I would rush down to the shop and get the skinny about their latest work. Even when NME was moved online; I was keen to get the printed version and get that authentic, genuine feel. There is nothing like the build-up and anticipation of the magazine: waiting feverishly so you can grab a copy and scurry away to a safe hiding spot. The fact that has come to an end leaves me feeling emptier and lonelier. I speculated how NME’s decline was only a matter of time. Even if a change of editor and ethos has reshaped NME and offended some of its regulars; the legacy left, and the memories we all have, cannot be overlooked. The fact it lasted nearly seven decades is an impressive achievement, indeed! I am thankful to have been part of the fanbase; to have grown up when British music was coming to the forefront – the fact I found company and that sense of belonging. For someone struggling to adapt to the changes in life and the challenges of school – having NME in my hands was a lifeline and a huge motivation. Rather than bemoan the changing times and declining standards: a passionate and thankful nod to a musical hero…

FELT much more appropriate.  

FEATURE: The Mother’s Day Playlist

FEATURE:

ALL PHOTOS: Unsplash

The Mother’s Day Playlist

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TOMORROW is the day we…

celebrate the mothers in our lives and, with it, reflect on the past. All of us have our own plans and ideas for tomorrow – and how the day will be spent. As we look ahead – I am sure there are some who have forgotten tomorrow is Mothering Sunday (in the U.K., at least) – I have been thinking about appropriate music for the day...the songs that provoke images of motherhood/mums; appropriately-named/themes songs that fit perfectly alongside one another (one or two that are a bit spicy). There might be songs I have missed out (I am sure there are!) but here, for casual delectation, is a Mother’s Day-themed/inspired playlist that…

CONTAINS something for everyone!

FEATURE: Women in Radio: Why the Male-Heavy Industry Needs Challenging

FEATURE:

 

Women in Radio

 IN THIS PHOTO: BBC Radio 6 Music's Mary Anne Hobbs/PHOTO CREDIT: Getty Images

Why the Male-Heavy Industry Needs Challenging

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I was looking online at The Pool…

 PHOTO CREDIT: Unsplash

and came across an article that suggests we, as a nation, are getting a bit tired of equality and gender-parity! Around two-thirds of the public, here, feel feminism has gone ‘too far’ – and we should cool down a bit. It is worrying when you look at that stat: there will be many women in that sixty-six-and-a-bit-percent majority. This week; we saw International Women’s Day arrive and, with it, the chance to oxidise and expose discussion and debate. There is no pantheism and simple answer regarding feminism/equality: the only way to nourish improvement and compel evolution is to highlight the disparities and formulate constructive architecture. We have been battling through a tundra of ignorance for decades (or centuries, more likely) and unable to find true progression. There are small changes occurring, but, as The Pool’s article outlines; some worrying (ignorant) statistics should shock all of us into action:

“…Actually, hold up, we don’t need to imagine a hellish future in which feminism has gone too far; we are, according to most British people, living in it. Yes, according to a new survey carried out by Sky News for International Women’s Day, 67 per cent of British people think feminism has either gone too far (40 per cent) or gone as far it should go (27 per cent).

 PHOTO CREDIT: Unsplash

So, here we are: the gender pay gap, when part-time and full-time workers are considered, stands at 18.4 per cent. Each week, two women are murdered by a current or former partner in England and Wales. Half of British women have been sexually harassed at work. But feminism has gone too far”.

The final six words of this extract should be delivered with a certain inflexion – think an L.A. teen upping the sarcasm-o-meter to a full-blown eleven. Maybe there is fatigue and weariness from some factions – given the fact feminism and gender issues have been thrust into the limelight this past week – but a beleaguered apathy is akin to severe ignorance and acceptance. The ferromagnetic material of the apathetic is exactly what the debate does not need. I am lifted by small transformations occurring in the music industry. I can see, yes, there are more women being recognised in the mainstream. The new wave of Pop queens – Sigrid and Billie Eilish among them – are joining contemporary favourites like Lorde. There is a malingering and fetid racial bias – I shall cover that in a future piece – but, of course, that is not going far enough. There is a pledge – it seems like a loose-tongued drunken promise; holding no weight and proof – that, by 2020, festivals will have a fifty-fifty gender balance. That year seems strangely ironic and prone to scrutiny: will there be proper hindsight and clear vision only two years from now?!

 PHOTO CREDIT: Unsplash

I am wandering from the busy city streets of focus and straying too far onto country paths, alas. My point remains: I am not buying the fact people – festival organisers and the bodies who wield power – will make good their promise. I have talked about gender equality a lot and will continue until music is a level playing field where moronic preferences and the male obsession takes a hike – I am aware my fingers might bleed before that actually happens! I have discussed women in music before but, compelled by women in the industry discussing the percentage imbalance; I felt reinvestigation was prudent and sage. I will come to look at a crew of BBC Radio 6 Music talent that gets me angry (in a good way) – a female army that proves why the male-dominated radio industry needs T.L.C. I have addressed other angles of music – from festival line-ups and playlists through to award nominees and the fight women have in music – but radio is an area that is still fostering discrimination and rogue practice -  the fact one cannot see the faces of the women being (near) marginalised does not make it fair or acceptable. There are some phenomenal female D.J.s working away from the major – i.e. BBC – stations.

IN THIS PHOTO: Goldierocks/PHOTO CREDIT: Getty Images

Emma Conybeare works for Capital XTRA and is an infectious and passionate talent. I will not present the showreels and resumes of all the women I am naming: my point is you can look them up and hear what I mean; I can attest to the fact they are stunning and worthy of great focus. Conybeare has been in the industry a short while but is one of the most engaging and talented young D.J.s in the business. Gemma Atkinson co-hosts Key 103’s (Manchester) breakfast slot – and brings her classic voice (a smoky and gravelled allure mixed with a warmth and accessible humour) and knowledge of popular music to those lucky enough to listen in. Atkinson, alongside her acting work, has a glittering career in radio – and could progress to a mainstream station before too long. Come to London and the likes of Goldierocks and Iko Cherie are responsible for wonderful moments and incredible shows. Vick Hope works on the Capital FM breakfast broadcast and, look at smaller, boutique stations and there are some great female names – Hoxton Radio has Charlotte de Carle, Elspeth Pierce and Laura Fraser on its team. Kate Lawler is on Virgin Radio; Sarah Champion, Leona Graham and Emily Dean can be heard on Absolute Radio. Articles from 2013 and 2014 (and again) - show things were pretty bad a few years ago: they have not really improved as we head through 2018...

IN THIS PHOTO: Emma Conybeare/PHOTO CREDIT: @EmmaCB_

Look at this article from last year and, when looking at how many women-helmed (last year) the biggest weekday shows on BBC Radio 2 (zero) – it makes me wonder why that is. Of course; it is not only a gender divide that has garnered headlines: the disparity in pay has come into focus. This article highlights some shocking statistics. A few male D.J.s agreed to take pay-cuts (to bring their salary more in line with their female peers) but it seems those (noble) gestures are few and far between. It is a faulty syllogism to suggest because things look okay on the surface – if radio has a visible physical manifestation, in that sense – then the on-air talent is okay. The BBC provides the biggest and most-popular stations in the U.K. I am not well-versed in the law and lore of BBC Radio 3 and 4 but I know there is a gender gap there. One has wonderful shows like Woman’s Hour – and presenters like Elizabeth Alker on BBC Radio 3 – but there is still the proliferation of male-led shows. The music industry, even in radio, is still a boys’ club. There is festination and a lot of ear-plugging: those who have a say and propensity to turn away are not redeeming their morals in any noticeable way.

IN THIS PHOTO: Claudia Winkleman/PHOTO CREDIT: Getty Images

BBC Radio 2 and BBC Radio 1 have differences in terms of their music and style but they have a similarity: there are few female D.J.s on the networks. Aside from the fact there are few black faces on either station – again; I shall not get into that now – one notices an absence of female D.J.s BBC Radio 2 has the exceptional Zoe Ball, Claudia Winkleman; Liza Tarbuck and Ana Matronic – another few female D.J.s but, compared to the men; they are still in the minority. Many of the producers on the station, and BBC Radio 1, are men – the female producers are, in my mind, the finest but are still part of the minority. BBC Radio 1 boasts Annie Mac, Adele Roberts and Clara Amfo – Annie Nightingale makes occasional appearances. I look away from the BBC at stations like Radio X and, aside from being a white majority; you get the men staring back at you – that is no different with the BBC. I listen to Annie Mac and Sara Cox (forgot to mention her earlier) and am amazed by their talent, draw and knowledge – I find myself more impressed by their shows than anything their male colleagues come up. The same is true of my favourite station: BBC Radio 6 Music.

IN THIS PHOTO: Clara Amfo/PHOTO CREDIT: Getty Images

This piece has been compelled by the likes of Mary Anne Hobbs and Lauren Laverne. The former, the ‘cover star’, is among the finest voices on radio. Those smooth, alluring and caramel tones are matched with a serious love of music and a professionalism few rival. Listening to her is nearing the summit of what music should be: those who are endlessly passionate and ensure music is their life. I can apply this maxim to every female D.J. I have mentioned: their indomitable spirit and pride is being overlooked (and under-paid). Hobbs’ eclectic music tastes extends to Nils Frahm and Kendrick Lamar; Hard-Rock, Alternative and anything else one can throw into the mix. She is among the hardest-working and popular D.J.s on the station – part of a female minority that, one suspects, has a lighter pay-cheque than her colleagues. A reason BBC Radio 6 Music is my station of choice is (the fact) there are more women in the ranks. I will mention Amy Lamé, Cerys Matthews and Nemone – alongside their producers – but the likes of Lauren Laverne are outweighed by a majority of men. Laverne has spoken about radio, in essence, still being dominated by the boys. The stations (BBC Radio 6 Music) is a tight-knit and familial station but one cannot overlook the facts: the majority of talent on the station are men.

IN THIS PHOTO: Lauren Laverne/PHOTO CREDIT: BBC Pictures

One can argue a majority is not, necessarily, a bad thing – the fact it is a healthy majority calls into question general recruitment and factual blindness. Laverne’s show is one of the (main) reasons I make ‘6’ my daily ear-accompaniment. She is endlessly cheery warm and bright; keen to uncover the best new music and throw her arms around the extensive bosom of the industry. Not only does she host a weekday morning show: away from the station, she helms the aforementioned (The) Pool and speaks at events – works for other stations and hardly takes time to rest. All of this energy-expending and extra-curricular work could cause burn-out and jaded shows: the fact she produces first-class shows every week means radio, regardless of statistics and pay, means everything to her. Like Hobbs and her BBC Radio 6 Music peers; the job and all the benefits of the station keep them where they are. I love the station - and, actually, have them tattooed on my arm – and every D.J. there is crucial! Bold, wonderful and captivating D.J.s like Hobbs and Laverne make it what is it – one would like to see more of them. I am a big fan of Nemone and Amy Lamé: two of the best D.J.s on the station. Both provide a unique spin and are essential personalities on the station.

IN THIS PHOTO: Amy Lamé/PHOTO CREDIT: Getty Images

I have a lot of love for the boys on BBC Radio 6 Music (including the scamp Shaun Keaveny) but find myself drawn more to Lauren Laverne and Mary Anne Hobbs – in terms of their depth of knowledge and the way they can captivate the listeners. The same can be said of Cerys Matthews, Nemone and Liz Kershaw. Tomorrow marks BBC Radio 6 Music’s sixteenth birthday – Kershaw will broadcast a musical party from 1 P.M. – and, as the prodigious teenager reaches the age of consent – one hopes its youthful energy and curiosity side-steps prurient interest and focuses on balancing the books and bringing more women to the station. Behind-the-scenes is music news presenters like Claire Crane, Elizabeth Alker and Georgie Rogers; producers such as Jenny Smith (Chris Hawkins) and Helen Weatherhead (Mary Anne Hobbs) - fantastic people who help make the station what it is (Rogers’ recent piece for International Women’s Day was one of the finest I have heard on the station). I am not sure what the 2017/2018 statistics are – total number of women on radio as D.J.s and producers – but there is not a marked step-up from the bleak findings of 2013/2014. Maybe it all stems back to the problem: the white, middle-aged man still owns music and is, therefore, less likely to buck trends and instigate revolution. Gender inequality starts at school - and the fact it is rooted in childhood days means, in a way, we are expected to accept it from our earliest times...

IN THIS PHOTO: Liz Kershaw/ PHOTO CREDIT: Getty Images

Things need to change and those at the top need to change their recruitment and ensure more women are brought to radio. I can see no justifiable reason why men are favoured above women: if anything, there is greater nuance and pleasure listening to a female D.J.; they have more about them and are more engaging on the mind and ear. Music has gender-imbalance in every crevice and, the fact so many are getting ‘bored’ of feminism, does not fix the problems we have. If we are going to make changes and ensure there is a level playing-field for men and women; something as simple as reversing hiring policies needs to happen. Men are no more profitable and attractive to the listener than the women – even if shaky stats and research show otherwise – and there is a demand for more women on the radio. If small steps were made then that could make a big difference. It takes voices and protest to get things rolling: constant monitoring and reviews to ensure things do not lapse and slack. If we can do that then, I think, the industry will be a stronger beast – if it is only correcting the gender misalignment in radio. I, as would many, expect this to happen very soon; we all need to make an effort to see change happen. If that will happen, I am not sure: if it does not, then we need to as why and challenge those who block betterment. Even if some are weary of the ongoing debates around sexism: few can deny areas like radio need to see more women included and…

PHOTO CREDIT: Unsplash

REAL progress happen.

FEATURE: The March Playlist: Vol.2: A Sadboy in the Club

FEATURE:

 

The March Playlist

 IN THIS IMAGE: Hinds 

Vol.2: A Sadboy in the Club

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THERE is a nice mixture of…

IN THIS PHOTO: Lily Allen

bigger tunes and some lesser-known ones this week. Manic Street Preachers and Lily Allen introduce new material; there are fresh slices from Hinds and Beach House; a cool video from Wolf Alice - and songs from Dream Wife, The Shires and Plan B.

In addition; you can sample numbers from Young Fathers; Albert Hammond Jr.; Anderson.Paak, Kylie Minogue and Editors – with many more in there to choose from!

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

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Wolf Alice – Sadboy

Hinds – The Club

Manic Street Preachers - Dylan & Caitlin

Lily Allen - Higher

James Bay – Pink Lemonade

PHOTO CREDIT: James Pearson-Howes

Simian Mobile Disco – Hey Sister (Short Version)

John Newman – Fire in Me

Kylie Minogue – Stop Me from Falling

The Shires – Guilty

PHOTO CREDIT: Hollie Fernando

Gengahr – Is This How You Love?

George Ezra - Hold My Girl 

Vince Staples – Get the F*** Off My D***

Wiley – Remember Me

Years & Years – Sanctify

Ady Suleiman – Loving Arms

Plan B – Guess Again

Liv Dawson - Talk

Camila Cabello - Never Be the Same

Albert Hammond Jr. – Tea for Two

Kojey Radical – If Only

David Byrne – Dog’s Mind

Editors – Darkness at the Door

Lewis Capaldi (ft. Jessie Reyez) - Rush

Flyte – Moon Unit

PHOTO CREDIT: Scarlett Carlos Clarke

Matt Maltese – Greatest Comedian

Moose Blood – Such a Shame

Young Fathers – Border Girl

Dream Wife (ft. Fever Dream) – FUU

Dizzee Rascal – Ghost

Samantha Harvey – When It Comes Down

Anderson.Paak – Til It’s Over

Ocean China – Chinese Assassin

PHOTO CREDIT: http://www.patrickgunning.com/

Sea Girls – Eat Me Whole

Bon Jovi - When We Were Us

Island Club – Sober

Caitlyn Scarlett – Ornaments

FEATURE: 100 Songs: The International Women’s Day Playlist

FEATURE:

 

100 Songs

 ALL IMAGES: Getty Images

The International Women’s Day Playlist

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TOMORROW is International Women’s Day…

and, in the music community, a perfect time to recognise the brilliant women, past and present, who have made an impact on all our lives. I have collected one-hundred songs from one-hundred female artists/fronted-groups – from the 1940s to the current time. It is a genre-hopping playlist that proves why sexism in music is so infuriating and archaic – a miasma and disease that needs burying for good. I have chosen one-hunred songs because it is a centuruy since women were granted the vote in the U.K. Ensure, however you mark the day, you show your love and support for the brilliant female artists who have made such an impact on music - and will continue to…

FOR centuries to come!

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FEATURE: Spotlight: Liv Dawson

FEATURE:

 

Spotlight

Liv Dawson

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THERE are a lot of promising artists…

coming through the music industry at the moment. Liv Dawson is an extraordinary talent who is connecting with so many people. Some of her song-titles might put you in mind of other artists – Deep Purple (Hush); Turin Brakes (Painkiller) and Carole King (Tapestry) – but the work is all hers! Hush – released last December – is the latest song from Dawson and a slinky, sexual number.  I am reminded of the 1990s and the great R&B/Pop coming out during that time. The production is liquid-smooth and Dawson’s command and control is clear. I remember when I first encountered Liv Dawson in 2016. I was exposed to songs like Still and Reflection: even then, the talent and promise was clear. Still is smooth and casual; it has a sweetness but, above all, is that sheer ability from Dawson. The song is more Pop-natured than something like Hush: the mutation and development over the past year or so has been incredible. Reflection reminds me of U.S. artists like Christina Aguilera in terms of tone and accent – the mood and vibe reminiscent of the best from Pop music. 2017’s Searching promises those poppy beats and bouncing electronics; the instant hooks and big vocals. Seeing Dawson grow from 2016-2017 is amazing: the songwriter a little bolder and the songs more adventurous. The biggest change has been from the out-and-out Electro-Pop vibe to a young woman exploring Soul and R&B.

It is understandable Dawson came onto the scene with a desire to write Pop and produced energised, fresh songs. That is what many artists do in order to get acclaim and recognition. For her, it was about following her heart and instincts – people reacted and her music was proffered widely. Listening to something more adult and assured like Hush sees Dawson enter a new phase. She sounds sexier and more alluring; able to elicit shivers and intrigue with the simplest of touches. That relatable and familiar core remains: able to strike the listener and write songs they will understand. Each song from Dawson explores the personal and relationships; heartache and anxieties alongside seduction and passion. These are topics we can all understand and find comfort in: Dawson elevates beyond the obvious and brings the listener into her world. That world, I hope, will expand in 2018. She has just come off tour with Khalid and, if the photos and updates are to be believed; it was a blast and treasured time for her. There is a new single out next week: TALK shows the young songwriter is on a role and in love with music. I am not sure what the single is about but I am keen to review her very soon. It has been a while since I last interviewed her (2016) and there have been lots of developments since then.

2018 has already kicked off and, for Liv Dawson, there have been some great times already. I wonder whether there will be E.P. later in the year. It seems, a couple of years into her career, an album might be right. She has some great songs under her belt and the desire for an album would see her mind create new songs – match four or five new ones with the singles she has already released. You listen to Dawson and she mixes mainstream-ready Pop – with more credibility and talent – with sensuous, rich R&B. She bridges the girl-groups and icons of the 1990s with the best of the modern day. I have been following modern-day idols like Dua Lipa and seeing why they are being celebrated. Dua Lipa, to me, is a bit too moody – it seems to be her persona – and the songwriter too samey and mass-produced. She has just scooped a couple of BRIT Awards: a bigger talent like Liv Dawson deserves more acclaim and exposure. One of the reasons Dawson will have to work harder is the fact she is real and human. That might sound like a shot at Pop artists like Dua Lipa – who are all about commercialism and do not reveal much of themselves – but it is a bigger compliment to Dawson. In an age where fake and plastic artists still have too much say: Dawson is a proper woman who connects with her fans and wants to remain grounded.

She is obviously stunning, but her natural looks and appeal are second to her immense talent as a songwriter/performer. Her fans follow her because she lets them in and ensures there are no lies. A lot of stars are shrouded in mystery or controlled by the record label. They have to carefully think about everything they post on social media and are incredibly measured. Dawson is someone who values honesty and wants to come across as a natural and unspoiled musician. This year will be the biggest one for the London-based artist. She has to entertain the fact there will be festival dates and the hot summer will welcome her in – loads of gigs and chances to get the people dancing! London is hospitable when it comes to artists and, because of that, Dawson will have ample chance to get her new music out there. I feel international dates are the next step. She has come off the support slot with Khalid: going solo and having her own international tour is only a matter of time. Not only is Liv Dawson a talented artist who creates a mix of mystery and appreciation: her personality captivates and welcomes you in. One can imagine going for a drink with her and slopping out by the T.V. watching a box-set. She would make a perfect travel companion and one would easily open up and chat about music for hours.

She is very striking but not too intimidating; ever-friendly and warm and, at a time when we need strong artists to lead the way; an empowered and gutsy female artist who will headline a festival before long. There is sexism rife and rampant in the industry right now. The best female artists are being overlooked and treated unequally. Liv Dawson and her peers are fighting back and create incredible music. The door is open for her and, in a short time, she has managed to create a huge fanbase and capture the critics. That will all get better and bigger as we move through the year. I know Pop music is changing its course and nature. The best artists are producing a more rounded and adult sound; the songwriting is deeper and richer – the overall sound is, perhaps, more introverted and personal. Liv Dawson is keen to put her soul onto the page but never wants to drag the listener down. Her goal is to win as many people as possible and get her music as far and wide – inspire other people and compel them to take up music. It is amazing how far Dawson has come since her earliest day. She gets more confident and passionate by the month, it seems. If this trajectory continues then there is every possibility Liv Dawson will be a mainstream success…

BEFORE you know it.

__________

Follow Liv Dawson

Official:

http://www.livdawson.com/

Facebook:

https://www.facebook.com/LivDawsonMusic/

Twitter:

https://twitter.com/livdawsonmusic

Spotify:

https://open.spotify.com/artist/7i8fq2gFSVgPdWVXOlDEx7

Instagram:

https://www.instagram.com/livdawsonmusic/

YouTube:

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

FEATURE: The Best Original Song Playlist: An Oscars Special

FEATURE:

 

The Best Original Song Playlist

 IMAGE CREDIT: @90AcademyAwards 

An Oscars Special

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TONIGHT is a night when Hollywood’s very best…

PHOTO CREDIT: Unsplash

get out their frocks and tuxedos and take to the red carpet. All eyes will be on the nominations for Best Picture and Lead Actress – which can be discussed on non-music blogs – and which stars defy the odds and scoop the biggest awards. The Best Original Song category is one of the lesser awards that, doubtless, deserve kudos and attention. Over the years, there have been some unwise choices and undeserved winners: Sam Smith’s Writing’s on the Wall (Spectre) and Phil Collins’ You’ll Be in My Heart (Tarzan). In the Original Score/Best Original Score category; there is hot competition indeed! Hans Zimmer’s Dunkirk sits with Jonny Greenwood’s Phantom Thread; John Williams and Carter Burwell are also nominated – for Star Wars: The Last Jedi and Three Billboards Outside Ebbing, Missouri. This year’s Best Original Song finds Mighty River (Mary J. Blige) take on Sufjan Stevens’ Mystery of Love; Remember Me, Stand Up for Something and This Is Me makes up the remain nominees.

Each song is wonderful and adds something incredible to the film. Mary J. Blige’s contribution to Mudbound resonated – the same goes for the other artists listed in the category. Whilst eyes are on all the major categories and hotly-tipped films; spare a thought for those minor categories and the wonderful artists and composers who will not win the same acclaim and attention on the night. In honour of a rather varied and exciting Best Original Song list; I have collated some of the best winners from the glittering and exhilarating…

ACADEMY Awards.

FEATURE: The Musician As a Brand: Should There Be a Limit?

FEATURE:

 

The Musician As a Brand

 PHOTO CREDIT: Unsplash

Should There Be a Limit?

_________

FROM time to time…

IMAGE CREDIT: Getty Images

I scour the online pages of The Guardian for inspiration - I saw an interesting feature that was published there recently. The horrifying news stared out at me: George Ezra has his own podcast! I won’t bore you with the details – I am sure he will do that on his own – but there are some worrying facts coming out. It is called, in a nod to Shakespeare and Kafka I am sure, George Ezra & Friends; it features contributions from such heavyweights as Ed Sheeran and Rag ‘n’ Bone Man. It is understandable one young songwriter would talk to similar musicians in order to get their perspective on the industry: guidance to those who want to emulate their idols and see what they went through. Shocking revelations from the series include Ed Sheeran busking and dodging showers; Rag ‘n’ Bone Man struggling to get musician friends to return his calls and strangling a Doberman in a Tesco carpark for peeing on his Subaru (the is a lie: it would have added much-needed spice to the podcast). I am sure things will get spicier regards George Ezra & Friends – but I am not holding my breath. I wouldn’t object to the idea of a musician podcast were there anything different and interesting. One might not expect George Ezra to match knuckles with Liam Gallagher or get Lady Gaga a little pissed. It is a rather vanilla and forgettable series that interviews musicians whose stories and anecdotes have already been expressed in millions of ways on countless radio shows.

IMAGE CREDIT: Getty Images

Jessie Ware had a successful podcast in 2017: Will Young’s podcast, Homo Sapiens, is still going. There are those who argue (these podcasts) provide relief and detachment from the pre-planned scripts of the record labels. The artist is not bound by a radio show and a certain way of speaking – they get to be a normal person and add a new dimension to their bow. Podcasts are becoming ever-popular and it seems you are not somebody until you have one. I can only imagine it is a matter of time before Rihanna has her own; maybe a warts-and-all symposium from James Blake? I have mentioned one name, Liam Gallagher, who would actually bring something good to the podcast! You couldn’t broadcast it live – anyone sharp enough to bleep the expletives that fast should have their fingers insured! – but a one-off podcast from Gallagher, where he shares his taste in music and interviews a guest, would be appealing. It is the one-off notion that appeals more to me. If the idea of George Ezra chatting to hirsute and unwashed musicians is enough to peel the skin from your testicles – avoidance, luckily, is easier than commitment! I like Ezra’s music and feel he offers something interesting to the music industry. It is the bland and ready-for-Starbucks nature of music that irks me.

Turning musicians into a ‘star’ is nothing new. Everyone from Britney Spears and J. Lo have launched their own perfumes (and advertised other perfume brands(: Madonna, Kanye West and Rihanna (among others) have their own clothing lines. Throw in the number of artists who have promoted various headphones (Pharrell Williams and will.i.am) – the list goes on and on. There is a difference between commercials and other brands and the artist setting up their own lines. It is a tricky argument to settle. On the one hand; artists can influence people and raise money for causes; get their music out there in different forms and create their own identity. I feel a lot of musicians want that freedom from the label and a chance to be who they really are. I have mentioned will.i.am: he is hugely into technology and has innovated and invented breakthrough products. I guess he sees himself more a businessman and inventor – among other things. The thing I have an issue with is musicians feeling they need to spread themselves thinly and get involved in every avenue possible. Hollywood and the film industry is different but that is different: I expect commercialism and endless product placements there. Music is turning more and more into an advertising channel! How long before the aforementioned Rag ‘n’ Bone Man brings us the unique scent of wet cat?! A special aftershave, Scratch!, is not as far-fetched as you’d think.

IN THIS PHOTO: Rag 'n' Bone Man (the new face of Scratch!, perhaps?)/PHOTO CREDIT: Getty Images

I wonder why artists need to sell products and cheapen themselves. I’m sure the money is good but I find myself annoyed by artists who sell products. If you believe in something then you can say it on social media: why go on T.V. and film and create a nauseating advert?! Podcasts are different but, again; do musicians add anything special and worthwhile? I feel it is a move towards celebrity and creating a ‘brand’. There might be some good podcasts from musicians but I feel, if you are going that way; it is important adding something inspiring and challenging. There is a lot of scope for a musician to create something great and progressive in a podcast: the fact most do not is a wasted opportunity. Maybe combining interviews and live performances with personal insight; some charity angle or discussion about deeper issues – a varied show that would genuinely bring people in. The latest step from George Ezra leaves me wondering what his motives and objectives are. I cannot imagine too many will tune in to hear what Ed Sheeran has to say about his early life and touring – he has done Desert Island Discs and numerous interviews. Whilst podcasts are more successful in the hands of other people: I feel the musician can do a lot of good if they look beyond being famous and creating their own brand.

Selling headphones, technology and aftershave is not going to do a lot of good for anyone – except for the wallets of the artists involved. I get fed up seeing any celebrity advertising anything: having a musician linking their name with anything unconnected with their own music is egregious. It is hard earning money in the business - but I wonder whether cheapening yourself is the best way of solving the issue. Musicians have an important voice and, in these times, that is best served tackling issues and conflicts that are evident. Rather than link with brands and get your face everywhere possible: create a podcast or show that puts issues at the forefront; promote and back a product/service that is worthwhile and important. Streaming and the Internet makes it easier than ever to get your music and words anywhere you want. I hope things change so there is less of a lure regards advertising and needless podcasts. I have never been a fan of musicians establishing their own fashion labels and anything unconnected with music. Some would argue this entrepreneurial spirit is inspiring for youngsters: they will see their favourite star being successful in the business world and that will compel them to do likewise. I see that but raise you this: it means nothing if the music itself is not strong.

PHOTO CREDIT: Unsplash

I am not against musicians being varied and ambitious. My problems arise when their endeavours contribute very little to the world. If the motive is indulgence and money then it sends out a bad message to fans and others. There are so many causes that need voices; nations and communities that could benefit from the voice and image of a musician. Podcasts are an avenue that would benefit from something more fun, intelligent and original. I am sure there is a lot of fun to be had listening to your favourite musician chatting with other artists about their upbringing and rise to success. We are in a year where musicians can genuinely change things and use their status to affect some real improvement. Hearing boring podcasts and watching artists flog tacky brands is not what we need now – or have ever needed. The notion of ‘the musician as a brand’ is one that divides opinion and creates some interesting arguments. Commercialism and musician-endorsed activities have been happening for decades now: it has not necessarily increased with the advent of the Internet. There is a lot of good to be done out there: our best artists have the opportunity to inspire future generations in areas unrelated to…whatever modern artists feel they are doing. It is okay if you have a fashion label or perfume – we do not need to see generations idolise that! Scarp the dull chin-wags between musicians and limit those who lend their faces to all manner of terrible products. Instead; create a fantastic brand that sees musicians, new and established, support change and kickstart innovation – and create podcasts/broadcasts that challenge the mind in addition to entertaining it. The latest nightmare podcast, George Ezra & Friends, is fluffy and disposal – a throwaway contribution that adds nothing of much value. It should be a lesson to artists that they should use their power and position to add something positive to the world…

RATHER than waste a lot of time.

FEATURE: Remixologists: Taking a Great Song and Making It Better

FEATURE:

 

Remixologists

 ALL PHOTOS (unless credited otherwise): Unsplash 

Taking a Great Song and Making It Better

_________

I have been getting involved with music from the 1980s/1990s…

and bonding with artists I first encountered when I was younger. I was thinking about Arrested Development and the song, People Everyday. The ‘original’ – their cut of it – appeared on their debut album, 3 Years, 5 Months and 2 Days in the Life Of… and was a huge smash. The version on the album is different to the one I remember fondly: the Metamorphosis Mix. That version is slicker, faster and more thrilling! It is catchier and more enduring: completely reinterpreting the one that appears on the 1992 album – the version, I feel, people prefer. One can argue a remix is only good because of the original material: the same way a cover version cannot succeed were it not for the source from which it was inspired. I take that but my argument remains true: a great remix can elevate a song and endure it succeed decades later. That song is one example of a great reimagining. Black Box’s Ride on Time is another classic song from the 1980s. We remember that big, bold version that features the version of Heather Small. That is the ‘U.K. Mix’ - and replaces the Loleatta Holloway vocal. Remixing has been a part of music for a long time and, when done right, can add a new spin to a song. It was more common in the underground in 1980s and 1990s – there were chart songs remixed; not quite as prolific as later years – but it is interesting seeing how the artform has evolved and the best examples out there.

D.J.s and producers like Norman Cook (Fatboy Slim) have taken songs like King of Snake (Underworld) and added his own say on the song. It is Cook’s input on Brimful of Asha that stands in my mind. The Cornershop original is on their album, When I Was Born for the 7th Time, and was a minor success. It was a slower and more ‘traditional – from an Asian band – cut of the song. By the time Norman Cook got to it; it became a huge hit in 1998. Cook’s techniques and expertise gave the song a crozier, energetic quality the original lacked. One can see that remix as one of the best of the lot. It helped bring that song to the masses and, with it, renewed interest in the album. Norman Cook is a prolific remixer – someone who knows how to take a great song and make it world-class. Some epic remixes of 2017 include Chromeo’s take on Green Light (Lorde); Kendrick Lamar's talents on Mask Off (Future); Soulwax’s take on Charlotte Gainsbourg’s Deadly Valentine – the list goes on. Throw in some classics like Armand’s Dark Garage Mix (1996) of Sneaker Pimps’ Spin Spin Sugar; Ben Liebrand Rough ‘N Ready Mix of Ram Jam’s Black Betty (1989); Eric B & Rakim’s Paid in Full (Seven Minutes of Madness – The Coldcut Remix) and the Andrew Weatherall Mix of My Blood Valentine’s Soon. Toss in the Professional Widow remix from Armand’s Star Trunk Funkin’ and The xx’s take on Florence + The Machine’s (cover of) You’ve Got the Love – so many to choose from!

I have not even mentioned Portishead remixing Paul Weller’s Wild Wood; DFA taking in M.I.A.’s Paper Planes; the Dave Angel Nightmare Mix of Eurythmics’ Sweet Dreams; Todd Terry owning Everything But the Girl’s Missing…and so forth. I am seeing a lot of new artists have their songs remixed by a range of producers and D.J.s. Some will release an E.P. of remixes – taking from their catalogue and having others rework their music. It can be fascinating seeing what others do and what direction they take songs in. Not only might one hear a Folk song given Jazz or Latin edges; a Pop song made to sound grittier and more dangerous – it can get the music to a larger audience and a new crowd. Clubs are open to pretty much anything and it is a great chance for D.J.s to spin something to catch club-goers out. I have heard about modern artists make their way to clubs through the medium of the remix. It is not only modern songs being remixed and making their way into new settings. Stone-cold epics like Marvin Gaye’s Sexual Healing (by Kygo) have been remixed; The Doors’ Riders on the Storm (Infected Mushroom Remix) have been redone; Aerosmith’s Dream On has been remixed by GRiz – The Rolling Stones’ Gimme Shelter has been remixed by Zeds Dead.

There is endless scope for talented producers, artists and D.J.s to take something older and make it sound new. Whether that is a song from The Beatles or Toni Braxton’s You’re Makin’ Me High – there is so much to work with! One of the reasons I love a remix is because it is almost like a new song. Most of the ones I encounter are Electronic/Club versions of tracks: something a little more intense or, perhaps, moodier than the original. You forget about the original song, for a minute, and it is a completely new experience. As we have seen with remixes of Brimful of Asha and People Everyday – it takes a well-known song from the basement and turns into a huge hit! Those who dislike music from the 1980s, for instance, might learn to love it if songs were given a remix. That might sound like cheating but adding a modern spin on older sounds can ensure it survives and inspires. Many are reluctant to dip further back into the annals of music: the assumption is it’s a bit crusty and irrelevant. If a hotshot sees a new perspective and potential then, before you know it, they have added shine and new direction to that song. That updating and reimagining gets people interested and looking at the music in a new light. There is no denying you can make a song worse by remixing it. I shall not mention failed attempts but they are there – it is not that easy taking a fantastic song, adding your own voice and ensuring it remains appealing.

PHOTO CREDIT: Getty Images

Getting music to as many people as possible is vital – remixing is a way of doing this. I feel there is a lot happening in the current time: so many artists have their tracks reworked and love the results. To my mind, there is a gap in the market: going back and reworking older songs. Maybe there is not enough currency in that; people feel there is a lack of appeal and need right now – maybe, a wasted venture and commercial gamble. I know there are bands are artists whose music either sounds dated or ignored. If someone were to come along and spend time on that work…perhaps it could gain a new lease and be a big hit. There are ample ventures and possibilities for any song. I listen to classic club songs like Back to Life (Soul II Soul and Caron Wheeler) and can hear a mix of old and new. That song came out in the late-1980s but, in a way, it sounds right up-to-date and fresh. Perhaps we could witness a similarly behemoth song come along now: take a promising song from yesteryear and give it a modern spit. It is exciting to think what could happen if busy and curious minds dipped back into music’s past. I love a remix and know it can take a song somewhere really special. It happens a lot in the current climate but, perhaps, not as often as one would hope! I guess artists are nervous seeing their song put in other people’s hands; maybe they want to keep it pure and straight. I am not sure but my advice would be this: take a gamble and you will be amazed! As we have seen, looking back at music’s past; a wonderful remix can take a good or great song and make it…

SOMETHING beyond the realms of simple imagination.

FEATURE: Reach Out… Bringing Music to a Wider Demographic

FEATURE:

 

Reach Out…

 ALL PHOTOS: Unsplash 

Bringing Music to a Wider Demographic

_________

THE infamous Storm Emma has brought…

chaos and disruption to the U.K. over the past few days. I live in the South and, although it has been alright where I am; the slightest flicker of snow and we descend into helpless pigeons - the much-mentioned 'Beast from the East' sunk his teeth in! We have never been good at coping with the weather: any time adverse conditions arise; the nation loses the plot and it is incredibly difficult to get around. I guess we are not used to the sort of deep and relentless snow the country saw this week. It has passed now and, whilst parts of the U.K. clean up (others are still stranded), it made me think about music and transportation. Many artists took to social media to explain how they were unable to get to gigs and move around. Whether travelling by train, car or bus; it was a hard task getting anywhere local – let alone gigs further up the country. The worst has passed but the past few days have highlighted some problems that affect the music industry. Bad weather is not an all-year-round issue but it is getting harder for artists to survive and prosper if gigs have to be cancelled. I know there is no way we can control the weather but, given heavy snow will curtail gigs and create problems for artists out there; should we think about alternative ways of bringing music to the people?

I am not sure how many artists managed to get to gigs this week but it seems many were cancelled or rescheduled. They rely on public transport, and so, when that is thwarted by the weather – what are they going to do to get around the problem?! The only way to avoid delays and the sort of inconvenience we have seen is to tackle the weather in more pragmatic ways. We know snow and flooding (or whatever) will slow the country down – so why has the Government not taken measures to get the roads cleared and people on the go?! There has been huge frustration emerging from the fact we have all been less mobile than we are used to. Streaming sites like Spotify are growing and getting larger by the day. I have explored the possibility of making video streaming and gigs more prevalent. Facebook Live makes it possible for artists to broadcast live and reach millions. I have found problems with the platform and wonder if it is as stable and slick as it should be. I have watched videos where the connection cuts and the sound are not great. It can be hard getting a great and fulfilling experience that way. With aspects like weather affected so many people and causing havoc; should we look at other methods for artists to get to their fans? I will mention another element of society (more, in fact) who suffer mobility issues. When we are faced with storms and challenging conditions; it thwarts the best-willing out there and throws a spanner in the works!

I am not sure about the logistics and technology involved but, when looking at the virtual capabilities around; one would imagine creating a slick and all-encompassing service would be possible. When rolling this out, you have to consider how utilitarian it needs to be. I am thinking about those who cannot get to venues or gigs; artists marooned and playing solo to those watching at home – others who cannot make it to gigs for reasons other than the weather. Even in someone’s home; making sure the sound and video quality is top-notch is a major consideration. Combining the services of YouTube and Spotify, perhaps, it could be a free service which would make it possible for anyone unable to get to a gig to see the artist from their home. I know YouTube allows you to broadcast live; Facebook has a service and I am sure, somewhere out there, a similar idea exists. The drawbacks extend beyond sound and video quality: it is the way they are marketed and the flexibility of the concept. There are debates around gigs/costs and how much people should pay to see a top artist – I would like to see an idea that extends to larger concerts and makes it possible for anyone, anywhere to see any artist they like. There would have to be a negotiation and discussion regards cost – you cannot expect someone to watch a Radiohead concert free at home whilst others pay to see it live – but that would be something to negotiate.

There are new artists who rely on gigs and revenue so, with the weather scuppering plans; there needs to be fall-back and recourse. Those bands/artists who have to trudge up the country and spent money reaching people should not have to suffer because of the bad weather. If they were able to convene somewhere safe and broadcast from a space; broadcast over the Internet and provide as clear and cinematic performance as possible – that would open doors and give options when the harsh weather strikes. I said I would mention other factions into this piece. It is not only bad weather that impacts musicians and causes disappointment. I feel we have this image of older people being confined to home and having no interest in music. That jaded and cliché viewpoint of the older human remains: they will tell stories of the past and are more comfortable around the T.V. or listening to BBC Radio 4. I can bet you, if you open their ears to what is out there; they would be more engaged and connected with the outside world. Mobility, cost and convenience affect them more than most people. I know there are artists they want to see and, if you look at it; there are modern acts, they might not be aware of, they’d take a fancy to. The fact their pensions do not stretch to a gig ticket is a disability.

They are less agile and mobile; health issues restrict their movements more - and it can be hard to integrate in spaces usually filled with younger bodies. The social aspect of a streaming service would mean, through text or video; fans of all ages can interact mid-song or after the gig. This service could be connected to a T.V. so you would watch a gig on a larger screen. I would be up for that and, whilst I am able to get around without constriction; my busy working life means I am not able to travel and get out as much as I would like. The elderly are often confined to the home and miss out on music a lot. The radio is a source they can get into all sorts of sounds – it does not give them the sensation of a gig, though. The same is true of the disabled. There are schemes that allow them transportation to gigs and, when there, access and seating. Many are unable to leave home and do not even have the ability to travel. I am sure there are even more people in society who yearn to see live music but are limited for one reason or another. I realised a televised broadcast is not the same as actually being there and experiencing the natural environment. Maybe there are affordable ways of doing this but, for now, I am thinking about musicians and those who want to see gigs.

So, then: what of the solution and making it easier for people and musicians to connect? You might say a fix-all initiative would render venues useless altogether – as you could see any gig from your home. This is not a Netflix for lazy music listeners: this is a way of allowing artists unable to travel a way of broadcasting/earning; those less able and mobile a chance to see music. The fact there are tremendous new artists looking to expand their fanbase means connecting the elderly/disabled with their existing audience is a great thing. Music should not exclude and does not go out of its way to do so – it is hampered by various factors and not as connected as it should be. Britain is never good when it comes to preparing for the worst. The heroics of some people this week – defying the snow and helping others – is humbling. The bad weather seems to bring something great from the people. I did think, when seeing social media stories of artists stranded and frustrated; how we could fix the matter and provide options when all other avenues have been exhausted. It is about making music more accessible and putting less pressure on artists who need to get around.

The way to inspire change is to look at what we have at our disposal and how to best utilise it. I know there are streaming sites and video broadcasting: expanding that and making it affordable to broadcast into people’s homes would be a good way of bringing music to people who, normally, would miss out. Some might say this choice and option would mean fewer people going to see gigs. I would argue the reverse: it would bring new artists to foreign eyes and, when they see what they can do live; there is that temptation to come out and see them. The worst of the weather has passed but, as we look ahead; what do we do the next time the country is ravished by the weather?! It may only be a few days but it can cause a lot of damage and problems. Making sure older people and those with disabilities are not overlooked is vital, too. I do hope there is a common solution because, as this week has shown; we do struggle when things turn bad. Whilst children and office workers have revelled at the chance to take a day or two off: others, who cannot afford to take that time off have felt the pinch. Affecting a safety net and solution would ease the burden – for musicians and fans – and, in the process, open the music world up to people who, normally…

MISS out on such treats!