FEATURE: The Second War of Independence: Does Coachella Show What a British Music Festival Should Be?!

FEATURE:

 

The Second War of Independence

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

Does Coachella Show What a British Music Festival Should Be?!

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THERE is still the amazing buzz around Coachella…

and the you-had-to-be-there-to-believe-it reunification of Destiny’s Child! That rare appearance of the trio (last night) was part of a career-spanning set from Beyoncé: one of the first major shows she has performed since giving birth to her twins last year. I, personally, couldn’t give a flying-f*ck about her twins – I am all warm and paternal that way! – but feel it amazing she has managed to get back onto the stage and not lose any of her spark and swagger! I am not going to turn this into a showcase and feature about Beyoncé – I am a big fan but have written about her before – but feel her set and performance was what Coachella is all about. There is that assumption and gospel that Glastonbury is the best festival on the planet. Whilst I argue Glastonbury has an aura and atmosphere that cannot be beaten; I wonder whether the main thing, the music, is as strong as the U.S. best?! I haven’t even mention SXSW when it comes to the U.S. showing – another huge festival that commands the biggest names in music. One of the problems with Glastonbury is the need to either have modern and obvious headliners or a male-majority featuring. Maybe we have a good female showing lower down the bill: the headliners are usually male, Rock-based and commercial.

IN THIS PHOTO: Björk

One of my hopes is we have Beyoncé headline Glastonbury in 2019 – there is a fallow year in 2018 – and, maybe, someone like St. Vincent or Björk doing another headline set. The fact all three of those artists are relevant and contemporary – two have released albums in the past few months – they can command a show and perfectly enthral the crowds. Coachella would think nothing of having a huge showing like that in their ranks. Beyoncé has been called in after giving birth; she has been given the platform to wow and show she is still one of the strongest modern artists around. Look around the bill and one can see much greater diversity and gender-balance. SZA, St. Vincent and HAIM are among the biggest acts; Cardi B is in the line-up and will be one of the biggest attractions. Tonight (Sunday, 15th April) will see Eminem take to the stage and, let’s hope, feature a number of songs from his classic alums – fewer from his recent effort, Revival. Another reason I wanted to highlight Beyoncé as a reason why Coachella is braver and bolder than Glastonbury is the reviews that followed her headline set yesterday. The Guardian wrote about the event:

“She’s also indebted to her musical past, and not just her own history. She splices Drunk in Love with Nina Simone’s Lilac Wine, elevated on a crane over the crowd. She has a go at husband Jay Z’s back catalogue, her orchestra alluding to Dirt Off Your Shoulder. There are classic hits from her early solo days, including Baby Boy; outings of the likes of Flawless and Don’t Hurt Yourself showcase her rock stardom with her third outfit change into black PVC. When she sings the infamous line “I woke up like this”, she turns to Coachella and asks: “How did you wake up this morning?”

 IN THIS PHOTO: Beyoncé

The thing is, Beyonce did wake up like this. There is clearly a double entendre to the notion of wokeness, but the show doesn’t get woke at the expense of actually waking everyone up to the joy and togetherness of live performance.

Once she’s proved her mettle more times than necessary the thought of potential guests starts looming. She covers a smidgen of Dawn Penn’s You Don’t Love Me (No, No, No) and you wonder if it might segue into Destiny’s Child’s No, No, No, but not yet. There are a few hits to get through – Hold Up, Countdown, Check on It – and then Jay Z comes out for Deja Vu. After Beyoncé has spent almost an hour singing scorned female anthems about adultery, they display a heart-melting chemistry for one another. Moving into Run the World, however, she appears in army khaki, and you know it’s coming. She has to paid her dues to the thing that got her to this point”.

That gives you an impression of what a festival headliner is all about. Sure, last year, we had Radiohead do a pretty bold and emphatic set. They were amazing and played songs from their earliest days – taking us right up to the moment and producing a spine-tingling performance. The other headliners – Foo Fighters and Ed Sheeran – pale into insignificance when it comes to the acts on offer in the U.S.

There is Kamasi Washington and David Byrne; Portugal. the Man and Fleet Foxes. Coachella’s ‘first round’ will conclude today – next Friday, Saturday and Sunday will repeat the action we have seen since Friday. You look through the bill and, whilst there are a lot of male acts; there is great balance than many festivals in this country. The fact the U.S. organisers have featured one female headliner is a lot better than our festivals – this year’s Reading and Leeds and last year’s Glastonbury have all been male-headlined. I have alluded to SXSW but, if you put it up against Reading and Leeds; one would have to give the advantage to the U.S. Many American artists who play over here always say Glastonbury is their best festival. That may be a kindness to us but I feel it has more to do with the spirit of the people as opposed to the facilities, music and weather. You cannot deny the British are among the world’s best when it comes to defying the conditions and sending chills through the air. We are wonderful at raising sun when there isn’t any; making a lot of noise and all joining together. One gets the impression Coachella is more relaxed, open and casual. We assume the audiences are not as together and rapturous; the sensations not as vivacious and mesmeric; the rules more strict and rigid.

IN THIS PHOTO: Kamasi Washington

The Americans are tighter when it comes to having drinks on site and being a bit lary. Gone are the days when people could drink and smoke what they wanted; climb over fences and do what they wanted. Whilst a sense of liberty and relaxation adds to a more harmonious and chilled festival; the added booze and excess leads to sore heads and regretful mornings. Coachella is more serious and is not quite as willing to let its patrons wander around with beers in hand. The fact is, when you go to the site and explore the facilities; it can match Glastonbury for its options, food and produce. One of the biggest decision-breakers come when you weight up what weather you want for a festival. Many say the cloudy and wet conditions is knitted into the fabric of the country. We moan whatever the weather is doing – we would not be happy if it were sunny and warm. California is hot and sunny; it can be stifling but, if anything means people are in a good mood before they get there. The British have learned to adapt to the bad weather and show that sense of adversity. I would prefer a festival where the temperature was a bit warmer and the sun was out – getting drenched is only appealing when you can dry off and have somewhere cosy to sleep.

PHOTO CREDIT: Unsplash

A lot of people go to bigger festivals like Reading and Leeds, Glastonbury and the like because of the community and additions: music is not the only reason why humans flock in their thousands. I feel, though, the music itself is the centre and soul of any festival. If you are forgiving of inequality, poor quality and predictable then why would you spend all that money going? Reading and Leeds’ line-up for this year has been slagged off for having too few great names and too many Rap/Grime acts. Although Kendrick Lamar is there to add some beef and authority; the likes of Kings of Leon, Fall Out Boy and Panic! At the Disco is a rather lacklustre and dreary proposition. There is no Glastonbury this year: the remaining festivals are offering few big names. Coachella has Jorja Smith and Jessie Ware: some of our very best are going to the U.S. because, one feels, they are not being afforded proper exposure at British festivals. Although Dua Lipa and Wolf Alice will take to the stage at Reading and Leeds; where are the exciting headliners and those epic sets?! I doubt we will produce anything as scintillating and years-lasting as Coachella will this weekend. Many have argued there is something ultra-fashionable about Coachella. People taking selfies and posing; Californian cool oozing from every palm tree and the bijou and hip shining bright.

There is something muddy and charming about Glastonbury. If we had to balance the merits of the British and American best; it all comes down to that final category: the quality and spread of the music. You can award Britain merit for its people and its upcoming artists; the way we flip a finger to the weather; the unique spirit only we can bring. The music itself is the reason people come to festivals and why they need to be supported. I worry about the quality of our headliners and how some festivals are losing their ethos and edge. There is an imbalance regards gender and we are not putting another of the biggest stars on the big stages – our attempts to match the sparks of Coachella and SXSW are rather timid and worn-out. The fact our premier Rock festival has Kings of Leon and Fall Out Boy headlining tells you all you need to know! I worry Glastonbury, when it returns next year, will not learn anything and make the same mistakes (regards its commercial headliners and lack of female names). We can teach the Americans a lot about the people and atmosphere: they are schooling us regarding the quality of music, the spread of genres and their all-killer-no-filler approach to bookings. We are being promised a hot summer in this country but I doubt, no matter how warm the weather gets; the music on show at our festivals will not be as fierce and memorable as the artists…

TAKING to the stage at Coachella!

FEATURE: Like a Broken Record: The Worst Albums Ever

FEATURE:

 

Like a Broken Record

 PHOTO CREDIT: Unsplash 

The Worst Albums Ever

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I am going to look at more serious and timely things…

 PHOTO CREDIT: Unsplash 

as the day ticks on but, looking back at my seven-year history; I don’t think I have ever assessed the worst records ever created! It sounds rather mean but, when you look back at all the fantastic albums that have been released through the decades, I wonder whether we ever consider the terrible records that, really, should not have seen the light of day (or were far beneath what we expected from that artist). I have been having a think and compiling selections from other sites, too; here is a rundown of those albums that critics all agree on: they are pretty darned naff!

ALL IMAGES: Getty Images

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Lou Reed – Metal Machine Music

Release Date: July 1975

Label: RCA Records

Critical Review:

“Lou Reed’s private obsession or a tired joke? Reed’s always claimed that MMM was a misunderstood recording that pushed the envelope of classical music. Since its 1975 release, critics have generally argued over the sincerity of this, or whether it was just a record label “fuck you” and a load of ear-shredding noise that’s impossible to sit through.

Truth is, we’re in neither camp. Recorded by manipulating a feedback explosion spewing forth from two amps sat next to two guitars, the album has its moments of hypnotic beauty. You can, if you really want to, hear anything from birdsong to ice cream trucks in its loops” – Record Collector

Duran Duran – Thank You

Release Date: 4th April, 1995

Labels: Parlophone/EMI; Capitol (U.S.)

Critical Review:

“An album of Duran Duran covering their "influences" was never something even the most dedicated fan wanted to hear, yet the band had the audacity to record Thank You, a collection of the group's favorite songs. Featuring songwriters as diverse as Bob Dylan and Sly Stone, Thank You works best when the band realizes the monumental silliness of its cover, as on "White Lines," which is performed with Grandmaster Flash himself, and the acoustic blues rendition of Public Enemy's "911 Is a Joke." Or it works when the band can reinvent material like Lou Reed's "Perfect Day" into a slick MOR ballad. When Thank You doesn't work, it's because the band doesn't quite get what made the original version special ("Lay Lady Lay" and "Watching the Detectives")” - AllMusic

The Enemy – Streets in the Sky

Release Date: 21st May, 2012

Labels: Cooking Vinyl; eOne Music

Critical Review:

“Fifteen minutes into the third album from The Enemy and already I'm feeling dangerous. I feel sulphuric. I am a creature. I am a planet killer. My nice Italian flatmate is singing in the next room and all I want to do is hurt him. If I strangle him, say, I will probably cry throughout. SOS, Mayday, Tom Clarke is screaming but no one is listening. I wave from the shore. I feel as though I've been left alone with you, Clarkey. This is a low point in British guitar music. For pity's sake, deliver us from evil” – Drowned in Sound

Limp Bizkit – Results May Vary

Release Date: 23rd September, 2003

Labels: Flip; Interscope

Critical Review:

“They are also that bit more insistent than their scores of imitators. Durst demands to be heard, and on Results May Vary, he goes to any lengths to make sure he is. If he's not blasting out the speakers on the generic Gimme the Mic, he is sulking "Nobody knows what it's like to be hated" on a slo-mo version of the Who's Behind Blue Eyes.

At least Limp Bizkit can't be accused of festering in the rap-rock ghetto: Durst's moody aggression adapts to gothic gloom (Underneath the Gun), Bon Jovian bubble-rock (Build a Bridge) and old-school funk (Red Light, Green Light, featuring a supremely sleepy Snoop Dogg).

But Durst's problems are ever-present - and does anybody still care?” – The Guardian

Dirty Vegas – One

Release Date: 18th October, 2004

Label: Parlophone

Critical Review:

“This English trio’s self-titled 2002 debut made the combination of dance beats and rock guitars feel surprisingly cozy and calm. It also won a Grammy and sold a million copies, aided by Mitsubishi’s TV campaign using “Days Go By.” Still, it was snapping street-punk compared to the follow-up. Pinpointing the worst element here is tricky: The hokey tunes of a million AOR nightmares? Or the jarringly stupid lyrics (on “Walk Into the Sun,” overly earnest singer Steve Smith informs, “Lately, I’ve been feeling different/Like I’ve come from outer space”)? Oh, but let’s not ignore the sound; less like, say, Underworld than Richard Marx being persuaded by his accountant to go electronic. If this exhaustingly awful album repeats its predecessor’s success, the world will seem more confusing than ever” - Blender

The Chainsmokers – Memories…Do Not Open

Release Date: 7th April, 2017

Label: Parlophone

Critical Review:

“…The female singers all sound like a Sia guide vocal for Rihanna; the men mostly simper shallow emo-EDM cliches about failing relationships. Eventually everything sounds the same - the more you hear the less there is to listen to. This is Trump-pop: shallow, always betraying its influences, with a third-grade vocabulary and ambition that runs no further than emptying the nearest wallet” – The Guardian

Charlie Puth – Nine Track Mind

Release Date: 29th January, 2016

Label: Atlantic

Critical Review:

“Puth cannot fill this frame of sentimentality with any genuine sentiment: The album’s emotional range covers the spectrum from light longing to light infatuation, contributing to the overall sense that Nine Track Mind is aimed exclusively at hairlessness: children, prepubescents, the discomfitingly waxed” - Pitchfork

Bob Dylan – Self Portrait

Release Date: 8th June, 1970

Label: Columbia

Critical Review:

“To say the least, it's confusing, especially arriving at the end of a decade of unmitigated brilliance, and while the years have made it easier to listen to, it still remains inscrutable, an impossible record to unlock. It may not be worth the effort, either, since this isn't a matter of deciphering cryptic lyrics or interpreting lyrics, it's all about discerning intent, figuring out what the hell Dylan was thinking when he was recording -- not trying to decode a song” - AllMusic

Spice Girls – Forever

Release Date: 1st November, 2000

Label: Virgin

Critical Review:

“As if guided by focus groups, tracks like ”Wasting My Time” and ”Let Love Lead the Way” could be any urban radio girl group. Every genre cliché, from homogenized harmonies to delicately plucked stringed instruments to male rapper interjections, is securely in place. The music is so tasteful, restrained, and assembly line proficient that it makes early singles like ”Say You’ll Be There” sound like the rawest punk rock” – Entertainment Weekly

Westlife – …Allow Us to Be Frank

Release Date: 8th November, 2004

Labels: Song BMG; RCA

Critical Review:

“Having never expressed any interest in the genre before, Allow Us to Be Frank, clever puns aside, feels like a lazy and unimaginative cash-in from a band who, thanks to covers of tracks by Barry Manilow, Cliff Richard, and Phil Collins, aren't exactly renowned for their cutting-edge invention” - Rovi

The Clash – Cut the Crap

Release Date: 4th November, 1985

Label: Epic

Critical Review:

“…too much of Cut the Crap is Strummer's angst running on automatic, superficially ferocious but ultimately stiff and unconvincing” – Rolling Stone

Chris Cornell – Scream

Release Date: 10th March, 2009

Labels: Mosley; Suretine

Critical Review:

“The idea of Cornell's sex-god wail over Timbaland's mechanized funk is appealing. But "Scream" draws out the worst tendencies in both of them. The icy remove of Timbaland's third-string beats here makes Cornell's lyrics like "Pain and suffering. Will come to those. When I get even." feel cartoonish, while Timbaland's vocal processing sucks the elastic virility from Cornell's voice. "Never Far Away" somehow indulges the grievous ballad excesses of both Akon and Daughtry simultaneously. Only the slinky "Ground Zero" arrives at incendiary friction.

After a recovery in the minor leagues, Ankiel made a successful return as an outfielder. Fans of inventive pop and rock music can only hope that both Timbaland and Cornell have similar comebacks in them” – Los Angeles Times

Alanis Morissette – Jagged Little Pill Acoustic

Release Date: 10th March, 2009

Labels: Maverick; Warner Bros.

Critical Review:

“It’s just a shame the new recordings are so damn anemic. I suppose the album was tailor-made for the java-sipping on-the-go types who frequent Starbucks, which is selling Pill exclusively for six weeks (much to the chagrin of traditional retail outlets across the country). We wouldn’t want to overexcite them, what with all the caffeine running through their veins. But I just can’t imagine rushing home to listen to this, and even if I did, it certainly wouldn’t wake my parents up” - SLANT

FEATURE: Access All Areas? How Disabled Gig-Goers Are Still Being Ignored

FEATURE:

 

Access All Areas?

 ALL IMAGES/PHOTOS (unless stated otherwise): Unsplash 

How Disabled Gig-Goers Are Still Being Ignored

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ONE need not be confined to a wheelchair…

or have a pronounced physical injury to be considered disabled. As someone who suffers from depression (an illness rather than disability) the ‘invisibility factor’ is a daily stress. It is assumed that, unless you are constantly weeping and suicidal, there is nothing really wrong. Even when you explain the severity and depth of depressions; many write it off as a minor thing and a personal problem – not something that should burden other people. I cannot imagine the sort of ignorance that extends to venues and live performance spaces of the world - to those who have limited access and genuine disabilities. Those disabilities can include deafness and blindness. People from all walks of life and ailments have a passion for music and, therefore, should be provided the opportunity to participate in gigs. It is an inalienable right for everyone: not something that should alienate those who are less able-bodied and mobile as the majority. A fantastic charity called Attitude Is Everything has a manifesto and business plan that aims to reverse the stigma and restrictions imposed on those with disabilities. They say, on their website:

“Attitude is Everything improves Deaf and disabled people’s access to live music by working in partnership with audiences, artists and the music industry.

Having begun as a pilot project in 2000, we are now a fully independent charity and part of Arts Council England’s National Portfolio of Organisations. We encourage events producers to go beyond the legal obligations set out in the Equality Act and implement best practice, providing a fair and equal service to their Deaf and disabled customers.

IMAGE CREDIT: Attitude Is Everything 

I have heard a lot of stories concerning those who, visibly and not, have been turned away from gigs or been unable to enter the premises. There are more and more venues considering disabled patrons and making accommodations. That might include wider seating and easier access to the venue; priority seats for disabled patrons – little improvements so that people are not needlessly turned away. Whilst many of us have no issues getting into venues once our tickets are purchased; for some, the experience they face when at the entrance is shocking and unacceptable. Some have been turned from the door because they had no visible physical issues and were able to stand. If you are deaf or blind, it might be clear-cut in terms of your needs and disability. There are conditions that affect mobility and access that do not necessarily present themselves in an overtly physical form – some people might need easier access to toilet facilities or be unable to scale steps/aisles to get to their seats. Even if you are a smaller venue; it can be intimidating, once in the place, to get enough room and visibility. Is this an issue that affects all venues? How large is the problem? Reading an article from early last year; it seems, at least, there is an improvement occurring:

“Access to live music for disabled people is improving, according to the head of a leading disability charity.

In 2016, Attitude Is Everything found a third of live music events had "no access information" on their websites for deaf and disabled people.

Since then, CEO Suzanne Bull MBE says that 40 festivals and venues now have dedicated pages online.

"Most disabled people are going to want to make an informed choice about where they're going to spend their money.

"What is the point of buying a ticket if you don't already know if you're going to get into that venue."

Band On The Wall is a venue in Manchester which was awarded Attitude Is Everything's gold status, which the charity uses as an example of somewhere which provides excellent disabled access.

Gawain Forster, Projects and Facilities Manager at the venue, says the changes mean they often get repeat customers.

"Customers with access needs come here regularly and often. If you make it easy for someone to attend and they have a good time, they keep coming back.

"That is the basic principle of business".

What happens when you are one of those people who is not confined to a wheelchair or need an aid to mobilise you? Do you suffer unfairly and are treated poorly because, if you are able to walk around, your disability cannot be that bad?! Many have, lately, spoken out regarding getting into venues and having their pleas ignored – they have been refused entry or not had their requirements taking into consideration. I have hinted at how the issue seems to be lessening.

Around the same sort of time as the previous article I quoted; another one, from the Independent, looks at deficits and worrying statistics:

“A study of 251 live music venues and 135 festivals, backed by Arts Council England and carried out by disabled music fans on behalf of the campaign group Attitude is Everything (AIE), found that a majority failed to provide adequate information on access for people with disabilities. Among independent venues, 69 per cent gave no prior details at all and 50 per cent of the remainder offered information described by the report as “poor”.

The findings provoked Emily Eavis, organiser of the Glastonbury Festival, to “urge all festival and venue organisers to ensure that they provide high quality and comprehensive access information” for disabled music fans.

Fans recounted stories of being ordered out of disabled toilets for taking too long, having their vital medical equipment subjected to searches and being doubted by staff over their need for a raised platform because they are not wheelchair users”.

It can be hard proving a disability if there are not clear physical signs. Most music-goers would not fabricate an illness or problem to get better seating. Everyone wants to get in and would not have to lie about a disability to get entry to a venue. There is such a demand for live music that many feel they are unable to do anything about the seating position/width and access rights; others are unable to spend the money making life easier for those with disabilities.

We need to make music as accessible and open to everyone. If we place barriers in front of those who are less able to get around and have a disability then we risk sending out a very poor message to the world. I know there are venues that are set up a particular way and, to adapt them to better accommodate disabled attendees, then it would require a big overhaul and capital input. In a lot of cases, it takes more understanding and tolerance from those who police venues and take tickets at the door. There is ignorance around what constitutes a disability and how some are unable to put their point across. Going back to Attitude Is Everything, and another part of their website caught my eye:

“We support the music industry to understand Deaf and disabled people’s access requirements at music venues and festivals by building equality into the strategic process using a Charter of Best Practice. The ethos of the Charter is that Deaf and disabled people should be as independent as they want to be at live music events and over 100 venues and festivals have already signed up”.

A piece, written by Rob Maddison, shows the experiences he had when performing and D.J.ing:

“…When I got out of hospital, I quickly discovered why: access. The first problem I encountered was how to get into my old rehearsal room, quickly followed by the challenge of getting into venues. Almost all the places I used to play, from small rooms to 2,000-capacity clubs, had suddenly become an impossibility for a musician in a wheelchair. Even a small step could appear like a mountain. Yes, there are helpful roadies and stage crew who can carry you up stairs, but this is extremely risky at the best of times. One slip and it’s all over”.

There is enough testimony and experience to see a split: some venues are adapting to the needs of disabled goers and others are not. It seems, at any rate, a survey needs to be conducted to ensure there is adequate access for disabled musicians and gig-goers. The fact there are so many visible disabled musicians might stem from the poor awareness and lack of accessibility. Deaf and disabled customers put so much into the gig economy and are invaluable to the music industry. If they are turned away then it risks haemorrhaging an important stream of revenue and faithful customer base; making it know the music industry is for the able-bodied solely. That is not what we want to tell people. More investment from the Government needs to happen, that is for sure. In any case, before then; we need to better informed regards the spectrum of disability and why the wheelchair is not the definitive symbol – the only disabled people are those restricted to a wheelchair. They need to be considered, of course, but there are so many who suffer restricted mobility or have neurological issues that limit their access and movements. I have hopes things can change – I am saddened there is ignorance and lack of understanding towards the disabled community. It might take more money and conversation but, if we can get the cogs turning and changes happening; it will make gig-going a much more pleasurable and less upsetting experience for…

THE disabled community.

FEATURE: Here Comes the Fear: The Growing Issue of Stage Fright

FEATURE:

 

Here Comes the Fear

 ALL PHOTOS (unless credited otherwise): Unsplash 

The Growing Issue of Stage Fright

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THERE is probably a better name…

to describe the sensation and nerves an artist gets when they hit the stage; the feeling of cotton balls being stuffed into the mouth and the stomach being pounded – the head spins and the words fail to come (anxiety, I guess, is more apt and less rigid). A lot of new artists I am interviewing at the moment are saying the same thing: they had to overcome stage fright and tackle something that, until recently, ruled their lives. There is something heartbreaking about having all that talent and ambition inside of you; the fact nerves and an inability to project in front of a crowd – or step up to the microphone in a studio – prohibits expression. One of the reasons I am raising this issue is my own drawbacks: stage fright and nerves have restricted my horizons and made me a little hesitant to get onto radio and put my voice out there. Many say that, when you are flying and get over those initial hurdles; everything is okay and you’ll wonder why you were ever so worrisome. The trouble remains: getting past those, seemingly insurmountable roadblocks are a lot harder than pithy bromides and casual maxims. The same way one afflicted by depression cannot simply overcome their illness with good spirits and optimism: someone who has that terror and crippling stage fright cannot, by force of indomitable determination, lose that burden and purge all that weight.

I can do radio and speak fine – I have been on before – and, aside from those initial nerves when the show gets started; I relax into the task and am excited to be where I am. One of the problems comes when being asked to sing or take control of the mantle. There are legendary artists, and new heroes, who have confessed to having stage fright. In fact, many of the biggest Pop names, at some time, have battled fears and anxieties. There is, however, a distinction between straightforward anxiety and the unholy pain of being unable to perform on stage. To some, it is about the immensity of the task and the sight of thousands waiting for something spectacular – the expectation gets heavy and starts to prod the heart, head and stomach. To others, it is the fear of losing their voice or screwing up their words; the embarrassment that comes with back-tracking and improvising – others, for example, are affected by the fact they are unaided and have to produce an entertaining and coherent gig. In my case; I have that sense of eyes being trained onto me; the way people are waiting for something to happen that moves them – having to face self-doubts and the unnerving silence that comes with gigs. I have not performed myself but the mere thought of stepping onto the stage holds some problems.

Maybe experience and conquering that fear is, in itself, the best way to remedy stage fright. Maybe you need to have some bad experiences and keep going before you can truly be confident and comfortable. There are deeper psychological issues and anxieties that make it hard to visualise a day when one can transition from a nervous and dry-mouthed performer/orator to a truly level and calm star. From holistic and homoeopathic remedies through to hypnotherapy and counselling; there are ways people are dealing with stage fright. Artists like Adele and Val Halen have, at some stage in their careers, faced stage fright and all that comes with it. I have been reading a few studies that explain what stage fright entails and ways one can try and defeat it. An article in The Guardian - back in 2015 - examines invoking stage fright in its physical manifestations and sentient self:

“At the Royal Northern College of Music, Professor Jane Ginsborg has a particular method for explaining this to her students. She asks them to write down what it feels like to fall in love, then, much later, write down what it feels like to stand backstage moments before a performance. Love and fear seem like contrasting emotions, but the descriptions most students will write for each are eerily similar. The bottom line is that the body has only one way of knowing excitement.

It’s why almost every soloist will experience the physical symptoms of music performance anxiety to some degree, particularly in the moments before walking on stage. At its very worst, this anxiety causes the heart rate to rapidly drop, resulting in the player simply freezing or even fainting on the spot.

Most common is the “fight or flight” response, less severe than freezing, but it can still stimulate a vicious cycle. The nervous system pumps two hormones, adrenaline and noradrenaline, into the bloodstream. When their levels get sufficiently high, it leads to physical reactions such as higher heart rate, muscle tremors and increased blood flow from the stomach to the muscles, causing nausea and the feeling we describe as “butterflies”.

If controlled appropriately, these hormonal imbalances can lead to a heightened state of awareness, and a more powerful performance. But given the fine muscle movements and coordination behind musical technique, too much can impair technique, leading to increased anxiety and panic, followed by concentration and memory lapses, and more stress”.

The subcutaneous itch and sting of stage fright is something some people never get over. The way the article above simplifies the body’s response to nerves and copes with it fascinates me. I guess, in some ways, stage fright is binary and does not have that many tentacles. One has that fight-or-flight instinct and it is hard to temporise the need to flee and abandon the stage. Are there, then, ways around the problem and medications one can take to negotiate with stage fright?! Another article I have been reading looks at the question in more depth:

“Janet Hilts, a California-based anxiety coach and producer of the DVD workshop, Dissolving Stage Fright, describes performance anxiety as a sort of post-traumatic stress disorder.

"When you think of little kids in moderately normal homes, they love performing — you can't stop them," Hilts says. "Then, some experience stomps that enthusiasm out of people. Some might have grown up in an environment where there was a lot of criticism, or maybe they were encouraged to be quiet."

To treat stage fright, some doctors prescribe "beta blocker" medications that close off the receptors responsible for our natural "fight or flight" response. Though these medications have been approved by the Food and Drug Administration, some anxiety specialists such as Hilts favor a more natural approach”.

There is that battle between taking a natural approach to medication and relying on prescriptions and drugs. The will and defiance needed to conquer something like stage fright can be rooted in, as alluded to, how our hormones react and guide us when we are children. It is interesting seeing the reasons why some might take to the stage with aplomb and no fear: others might have those jitters and pace backstage before they go on. Is there a downside to self-medicating and finding individuals ways to control those nerves? The Telegraph, back in 2014, cast the spotlight on that question:

“…The problem is that, by dulling nerves, pills or alcohol also dull the edge of tension and inspiration that makes for a great performance. They also treat the symptoms not the cause, says Aaron Williamon, head of the Centre for Performance Research at the Royal College of Music. “Basically there are two components to stage fright,” he says. “There’s the automatic physiological response to being in a stressful situation, things like dry mouth, racing heart and so on.”

Then there are the psychological aspects, which include unhelpful thoughts, like imagining the performance is going to be a disaster.

“The first one you can treat with things like exercise, which lower the amount of tension-inducing hormones in the body, such as cortisol,” says Williamon. “For the second one, cognitive therapies are very effective. It’s a matter of getting the musician to think about the situation in a more rational way. For example, instead of thinking that the audience is the enemy, and the performance will either be perfect or a disaster, you retrain the performer to accept that there will inevitably be a few mistakes, and the audience is on their side”.

There are a few articles that look at ways one can manage stage fright. Although it might be impossible to go from a cowering and nervous performer into a huge and boldly empathic alternative; that does not mean all is lost. Few artists out there can stand on a stage and be free of nerves and never be affected by stage fright. Classical artists have it; mainstream Popstars are afflicted – it is an issue in every corner and avenue of music. The best way to control and manage the problem so that one can get onto the stage and sustain a career is to follow a combination of self-actualisation exercises; natural cures and supplements – consider, if the issue is pronounced; go into therapy and look at the reasons why the stage fright is so bad. Many assume they are alone and it is not that bad for other people: so many others have the same fear and anxieties that affect how they approach music. I am going to radio and the media more but realise I need to address minor stage fright – looking at talk-therapy and some natural options that might alleviate some of the symptoms. I cannot imagine how bad it is for other people, though. The added pressures put on artists’ shoulders these days makes it all so much worse.

IN THIS PHOTO: Adele/PHOTO CREDIT: Getty Images

There is endless competition so the desire and demand to have them endlessly perform and be at their best ALL OF THE TIME can create insurmountable nerves and exacerbate a real problem! We need to go easier on musicians and recognise those who are afflicted by stage fright. Although few accommodations can be made; having a greater knowledge of the condition and how debilitating it can be will go a long way to lessening the severity of the symptoms. For anyone who does face daily stage fright; there is help out there and ways to take some of the strain off – even if there might not be a quick cure. Some big artists have suffered from stage fright for years. NME, back in 2015, looked at Adele and how her stage fight made it increasingly difficult for her to tour:

“In a new interview with NPR, the singer explained that she was finding it harder to perform and was “too frightened to try anything new.”

“I get so nervous with live performances that I’m too frightened to try anything new,” she said. “It’s actually getting worse. Or it’s just not getting better, so I feel like it’s getting worse, because it should’ve gotten better by now.”

“With my stage fright, I just don’t want to let people down,” she continued. “I get so nervous onstage that I don’t have the guts to improvise or anything like that”.

There is hope, though, that stars like Adele – who can still tour and take to the big stages – have found ways of dealing with stage fright and its worst traits. The bigger question is whether something effective and concentrated – without causing harm and addiction – can be given to musicians who suffer bad nerves and anxiety. The rewards, if that is ever possible, would be hugely beneficial…

TO the music world.

FEATURE: The April Playlist: Vol. 2: Sky Full, Fists Pumped and Crying Pretty

FEATURE:

 

The April Playlist

 IN THIS IMAGE: Florence Welch/IMAGE CREDIT: Unskilledworker 

Vol. 2: Sky Full, Fists Pumped and Crying Pretty

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THIS is another bumper week for new music…

IN THIS PHOTO: Kamasi Washington

We have a stunning new song from Florence + the Machine; a wondrous cut from Kamasi Washington and an alluring and busy gem from LUMP – a new project of Laura Marling and Mike Lindsay.

If all that wasn’t enough to whet the appetite – you have some nerve! – then we have Janelle Monáe, Gaz Coombes and Nicki Minaj; Sigrid, Manic Street Preachers and JONES – with a bit of CHVRCHES and Frank Turner to add a bit of spice and excitement!

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

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Florence + the Machine – Sky Full of Song

Kamasi Washington – Fists of Fury

PHOTO CREDIT: Mathew Parri & Esteban Diacono_100

LUMP - Curse of the Contemporary

The Weeknd - Call Out My Name

The Magic Numbers - Ride Against the Wind

ZAYN - Let Me

Meek Mill - 1942 Flows

Carrie Underwood - Cry Pretty

Amy Shark – I Said Hi

Bebe Rexha – Ferrari

Frank Turner – Make America Great Again

Vance Joy – Saturday Sun

Ina Wroldsen – Sea

Janelle Monáe (ft. Grimes) – PYNK

Catherine McGrath – Wild

Gaz Coombes – Shit (I’ve Done It Again)

Nicki Minaj – Chun-Li

Sigrid – High Five

Breaking Benjamin - Torn in Two

Maren Morris - Rich

Miley Cyrus – The Bitch Is Back

Plan B – It’s a War

Snow Patrol – Life on Earth

PHOTO CREDIT: Laura E. Partain

Courtney Marie Andrews – Songs for Tourists

Daktoa, Not3s - Sober

Twin Shadow – When You’re Wrong

Isaac Gracie – telescope

The Shires – The Hard Way

Laura Veirs – The Canyon

JONES – Tender

Matthew and the Atlas – Cali

Manic Street Preachers – Vivian

Noel Gallagher’s High Flying Birds – She Taught Me How to Fly

CHVRCHES – Miracle

Superorganism – Night Time

Youngr – Drive

PHOTO CREDIT: Shervin Lainez

Speedy Ortiz – Villain

Tinashe, Little Dragon - Stuck with Me

FEATURE: Spotlight: Amber Mark

FEATURE:

 

Spotlight

 PHOTO CREDIT: Immstagramer 

Amber Mark

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IF you have not affiliated yourself…

IMAGE CREDIT: Getty Images

with the brilliant Amber Mark; ensure you correct that and get involved with her music. The New York-based artist has come a long way since her beginnings. A couple of years ago, Noisey spoke to Mark and asked where she recorded her music:

“What's the most enjoyable part of the process for you?
Yes, 90 percent of the times it's been in my bedroom. I've had the opportunity to work with other producers, but I feel I've produced my best work on my own, such as Space. For me the most enjoyable part would be the production side. Don't get me wrong, I have many days where I sit for hours and get nowhere. But when I feel the beat is good and I'm vibin' with it, its almost a mediation for me”.

Love Me Right is the songwriter’s current gem and shows what development and evolution have taken place since her introduction. It is a mix of eclectic, tropical beats and a summer-ready feel; vocals that are chocolate-rich and divine. One gets impressions Erykah Badu and some of the finest female artists of the past couple of decades. It is a brilliant song and one that shows she is ready and able to handle everything chucked her way. There is a lot of interest in the American songwriter at the moment.

PHOTO CREDIT: Rachel Cabitt/Pitchfork

Handling devastating loss can be tough for all of us. There are artists who tackle that pain and channel it into terrific music: most like to retreat and not really open up about it. Amber Mark lost her mother in 2013 and, following her death, poured her talented and sadness into music. What arrived from that transition was a stunning sound and imaginative palette. Her first track, S P A C E, was released last year and proved an instant hit with critics and fans. It was like nothing out there and, listening to it the context of her current material; one can hear that confidence and talent early on – she has grown and blossomed since then, too. Zane Lowe picked up her music and, after a few months, so many people were flocking her way. Her debut E.P., 3:33am, is out (released last year) and demonstrates what a consistent and alluring proposition Mark is. Each of the tracks on her E.P. is about stages of grief. There is the dealing of isolation and grief; having to accept things and realise she (her mum) is gone. The number ‘three’ plays a big part in Amber Mark’s life – she was born in 1993; her brother in 1983; her mum died on 3rd June, 2013. The aspiring star has managed to turn that anger and loss into something genuinely brilliant and spiritual. There is a lot of maturity and confession in the E.P.

Amber Mark has been hot on the interview trail and has not long left the U.K. – promoting a song, one hopes, leads to another E.P. She has taken advantage of some our best spots and, fingers crossed, she comes back and plays real soon. The New Yorker will not have a lot of time to get to the U.K. – what with 3:33am loved by many and gaining a lot of traction. The young artist, I know, was obsessed with Michael Jackson growing up. One can imagine her parents playing some great vinyl and exposing the impressionable music lover to wonderful sounds. Based in the U.S.; Amber Mark is competition with some incredible artists. We have brilliant Soul and Pop artists out there – to me, there is something different, refreshing and long-lasting about Mark. She has the strength and fortitude to bridge any problems and tackle the barriers and strain of the music industry. Mark breathes tenacity and natural spirit, which means she can negotiate any hard sell and cheating tongues – get her music out to the world and navigate her way through music on her own terms. Mark recently talked to Pitchfork about making the E.P. and how it got started:

“I didn’t really have the intention of writing an EP. “S P A C E” was one of the first songs I’d ever written, mainly because I had been dealing with a bunch of emotional roller coaster shit within myself. That was a way I could express myself properly, and it felt like a release. I was also really frustrated with myself, because I knew I wanted to be in music and to write music, but I wasn’t finding any producers that were working for me. So I just took matters into my own hands. Someone had given me Logic, and I started to do it all on my own. Writing by myself in my bedroom is definitely where I feel most creative”.

IMAGE CREDIT: Getty Images/Amber Mark

She went on to assess what the E.P. means and how she wants 3:33am to connect with other people:

“I want this EP to have a bigger meaning, and I want people to feel even more emotional with this than they did with the previous one. Like, I still have drama. It may be all, like, love drama now. But it’s still drama”.

Mark will tour through North America through the spring and summer. It looks like we can expect her back in the country later in the year. Many fellow songwriters will take guidance from her and be inspired by what she is doing and the sound she throws done. There are elements of Sade – who she has covered and, after being written to by Mark, recognised her as a torchbearer and natural soul – and you feel, when listening to any of her songs, alive and exposed at the same time. Her seven-track E.P. talks about everything from drinking heavily and losing patience; having to shoulder the loss of an idol and assimilating grief and numbness into her life. One might read those words and assume everything is gloomy and hopeless. Instead, what we get is an E.P. filled with hope and passion. Amber Mark’s voice has so many layers and colours constantly bubbling, fizzing and swooning.

I cannot wait to see where Amber Mark goes and how the music world reacts to her. She is not naïve and an ingénue artist: there's a fierceness and understanding that goes into confident and assured music. One listens to her perform and it is like she has been doing this all her life. I can imagine her domestic scene being rather adventurous and fun. She revealed in an interview – with NME, I think – her boyfriend neglecting to put down the toilet seat is bugging her! You can sense that charm and humour that emanates from Mark. More than anything; in a year where female artists, in music and other industries, have to fight harder for recognition – it is humbling seeing Amber Mark among the leading voices in music. Barely singing a word; she proves what incredible female talent there is in music right now. There is a definite gap in the industry that requires filling: the sumptuous vocals and deep songs of Amber Mark are there to take the breath and resonate with the listener.

PHOTO CREDIT: Mon Mon Dieu

3:33am is out and, rightfully, it has accrued some massive love. This is the first big time for Mark and her career. From here, she hits the road pretty hard and will get to see a lot of new faces. I hope she is okay and gets some great reaction. I am confident people will fall for her music and take her to heart – it is only right! I am a big fan for a number of reasons...Mark has that intriguing and engaging personality that makes you want to listen to every word she says. The music gets into the soul and is unlike anything out in music. Finally, and importantly, there is a durability and a sense she will continue to reign and influence decades from now. I can hear that star quality and iconic sound from her debut E.P. If you have the time, and are so inclined; let 3:33am fill your ears and see why so many people…

IMAGE CREDIT: Getty Images

ARE tipping her for big things.

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Follow Amber Mark

IMAGE CREDIT: Getty Images

Twitter:

https://twitter.com/Amb3rMark

Instagram:

https://www.instagram.com/instagramber/

Facebook:

https://www.facebook.com/AmberMark/

Spotify:

https://open.spotify.com/artist/0tbeZu9lv8YEKSQ9tZSslu

YouTube:

https://www.youtube.com/channel/UCMpn3xVjGSB8zztwLjENjvw

SoundCloud:

https://soundcloud.com/ambermark

FEATURE: The Seasons Change: The Spring Playlist

FEATURE:

 

The Seasons Change

 ALL PHOTOS: Unsplash 

The Spring Playlist

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YOU cannot help but notice the weather is changing…

and things are getting warmer and brighter! Sure; we have wet conditions and cloudy skies but, by and large, the weather is turning and people are dispensing with their winter clothes. I have been making plans and getting quite comfortable with the improving sky. Spring gives us all a chance to reflect and get outside; be more optimistic and reveal in the longer days. With the changing season comes the possibility of festivals and experiencing more music. I have been thinking about spring-related songs and sounds that put me in mind of optimism, warmer days and the changing light. Here, before we start a new working week, is a list of songs that, I hope, put you in the mood for spring. Sit back, relax and let these songs – regardless of what the weather is doing outside – to put you…

IN a better mood.

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FEATURE: Four-Track Mind: The Brilliance and Popularity of the E.P.

FEATURE:

 

Four-Track Mind

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

The Brilliance and Popularity of the E.P.

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WE can see definite splits and differences between…

PHOTO CREDIT: Unsplash

the mainstream and underground music. What I have noticed is the nature of releases and how few popular artists, years ago, released E.P.s. When I was growing up; it was all about the single or album: there was no in-between stage or compromise the curious consumer could get their teeth into. Everyone from Sigrid and Wild Beasts have released E.P.s – in fact, most big artists, at some time, will release one or be involved with someone else’s. This year; Panda Bear (A Day with the Homies) and Belle and Sebastian have released E.P.s – How to Solve Our Human Problems was their series of concept E.P.s. Sigrid’s 2017 E.P., Don’t Kill My Vibe, helped launch her onto the world stage and under the gaze of the BBC (who named her one of their ones to watch for this year). It is a much more common thing in new/underground music. Artists, here, release singles and then, before they put together an album, they release an E.P. and have something to put out to the world. Often, this consists their singles and maybe, one or two other tracks they have written to accompany them. The reason behind this is the cost of the album. Many do not have the funds to compile an L.P. and it is a great way of keeping the music alive and out there.

Most of the artists I deal with are either releasing E.P.s or singles. Many do record albums but I am finding very few release one that early in their career. A lot of the time, it is about getting hype and ensuring there is enough demand for an album. Mainstream artists do not really have the same issues. If you are good enough to rub shoulders with the best of modern music; chances are you will have a label behind you or enough of a public ear to put an album out. I am seeing a few popular artists put out E.P.s as a between-albums device. Often, there is the pressure to do things like everyone else. Artists have to fulfil contracts and release a certain number of albums. When an album is announced; they drip-feed singles and slowly bring music into the world. By the time the record is out; most people have heard four or five songs. It creates a rather disjointed experience and means you are over-familiar with half the album. What appeals to me if the fact you get a perfect balance between the immediacy and singularity of a lone track; enough depth and interest as not to bore the senses. If you release a four or five-track E.P.; that means you can satisfy the fans and not have to commit to a complete album. A lot of new albums suffer from bloating and a little too ambition. Some might run out of steam by the half-way mark or be disjointed in terms of pace and quality.

PHOTO CREDIT: Unsplash

I am always excited when a big artist like Jack White or Courtney Barnett releases a single. I am invested in the follow-up and then wait with baited breath for the album. The past year or so, I have noticed one thing: many of the albums I have predicted for greatness have been a bit of a let-down. There are great records out there but, in a lot of cases; one could have forgiven the artist for releasing a concise and quality-rich E.P. Consider hot new acts like Goat Girl and Cabbage and the attention coming their way. They have both released albums in the past few weeks – Goat Girl and Nihilistic Glamour Shots – and have received terrific reviews. I know they will be touring those albums and keeping busy throughout this year. There is going to be the inevitable pressure: labels and fans baying for new material. Rather than wait for a year or two for a new album; a remedy might be to fill the gap with an E.P. I am seeing more artists do this and it is a great way of keeping the ball rolling without committing to something full – you might risk rushing a release and taking away that acclaim. New artists release E.P.s for different reasons.

IN THIS PHOTO: Arctic Monkeys

The cost of producing an album can be steep and rather daunting. Even if it a D.I.Y., simple thing; you need to write the songs and be confident with the material. From there, you have to gig the songs and make sure people hear/buy it. I feel the market is not as obsessed with the album as it was back when I was younger. I am seeing double A-sides come back; artists are releasing B-sides and giving themselves more flexibility. Even if an unsigned artist doesn’t have critical pressure and a strict time scheduled; they need to get music released so people know who they are and keep fans happy. The days of doing standalone singles seem to be long gone. Maybe a double A-side is a solution if you do not have an E.P. quite worked out – we need to get away from the assumption music is all about the album. The progress and structure of a new artist is anatomically different to a mainstream artist. There is too much focus on an album and getting artists to release records quickly. Some are leaving huge gaps between albums; others are hurrying material and it leads to sloppy results. An E.P. seems like an elegant and logical solution to the problem at hand. I wonder whether the five-year gap between Arctic Monkeys could have been filled by an E.P.

PHOTO CREDIT: Unsplash

Fans and the media would have something to hear; the band would stay in the public eyes and it would let us know they are still active. I know their upcoming album, Tranquillity Base Hotel & Casino, will be an epic thing – it NEEDS to be after that long wait – but I wonder whether an E.P., back in 2016, would have been a good idea. New artists bring out E.P.s because it is a natural stage between singles and their first album. Even when they have brought out that debut album; they release E.P.s and do not feel the need to bring out a new album every year. The E.P. is a perfect balance that allows artists to keep making music and not having that stress of putting together ten or eleven songs. I feel more popular artists need to take this approach to music-making. They may fear there would be commercial risks – music shops don’t really stock E.P.s anymore – and fans would feel short-changed. To me; the E.P. is a nice collection of songs that have concision and depth – without being too brief or risk suffering from a dip in quality. I understand there is always pressure from various angles to keep putting material out. Releasing an E.P. can be a pressure, too, and risk being rubbish if you do not let an artist create.

PHOTO CREDIT: Unsplash

The fact big bands and acts are releasing them means the industry is starting to loosen and give artists a bit of freedom. I guess E.P.s have always been around but it is nice to see they are popular in an age of streaming. People hanker after music in all its forms so one feels, the next time a big name has some great material but not enough for an album; do not wait years for inspiration – get an E.P. out and, if you have a sudden rush of inspiration; you can release another E.P. and not have to put so much stress on your shoulders. I am a big fan of the album but there is something about an E.P. both special and intimate. New musicians rely on the E.P. and able to work this way; bigger artists are starting to turn to them, too. Newcomers like Sigrid have used the E.P. to put their singles into the market and open eyes – before they have enough material to put out an album. I hope the dexterity and accessibility of the E.P. leads to other changes and developments in music. Maybe artists will go to another extreme and release a double-album; some might release to cassette and float that out – there are possibilities out there. Those musicians with a four-track mind interest me greatly. There is something incredible about an E.P. I cannot put into words. I hope this year sees new musicians keep them in the fore and compel mainstream musicians to…

IN THIS IMAGE: The cover of The Comet Is Coming's E.P., Death to the Planet

FOLLOW their lead.

FEATURE: Kintsukuroi: London’s Forming Cracks and the Future for Musicians

FEATURE:

 

Kintsukuroi

 IMAGE CREDIT: @Laucorne 

London’s Forming Cracks and the Future for Musicians

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THE past couple of weeks have seen news reports…

ALL PHOTOS (unless credited otherwise): Unsplash

filled with violent scenes and doom-laden prophecies from the streets of London. There have been over fifty murders in London this year already. Although we have lived through years, fairly recently, with a higher number of deaths; there seem to be a very real problems unfolding. A lot of the murders are knife-related and, aside from some random and isolated killings; a lot of them seem to be either gang-related or about territory. Some commentators, including Cressida Dick, have looked at social media and the way that has led to the issue. Many are going onto social media and urging these killings; sending insults and pushing people to go out and commit murder. Looking at a report by Sky News - and Metropolitan Police commissioner Dick has backed away from assumptions the rise in deaths on the streets of London constitute a crisis:

“The head of the capital's police force told Sky News she is "really concerned" about recent deaths and admitted London has experienced a "bad three months" in terms of murders.

But, Commissioner Dick expressed her hope Scotland Yard would soon reduce the bloodshed as she confirmed 300 extra officers a day will be deployed in London over the weekend.

Since the turn of the year, Sky News has identified 51 people who are suspected to have been deliberately killed in the capital amid a spate of stabbings and shootings, with two teenagers left injured in the latest knife attack at the Whitgift Shopping Centre in Croydon on Friday evening”.

PHOTO CREDIT: Getty Images

There has been a sharp rise in deaths the past few weeks. Maybe news of killings is spurring would-be perpetrators to follow suit and settle debates in the same way. Although there are more dangerous parts of the world – and knife/gun killings are nothing new – there is distinct cancer that needs curing. Why young people have access to guns and why they are driven to such random and senseless murders. I have written about London and how it is a Mecca for many aspiring musicians. Many people move here to succeed and progress their careers. It is a packed and busy time for music; there is little room for error and, if you want to go all the way, you need proximity to great venues, labels and stations – so your music does not have to travel too far. There have always been problems in the capital but now, as we move into spring; we are all waiting for sun and warm weather – excited to see things improve and take advantage of the conditions. Instead of having an optimistic outlook; many are worried about the spate of deaths and what this signals. Many I know are moving to London and, understandably, are hoping to stay there long-term. Of course, the chances of dying in a stabbing or shooting are very slim – it is unlikely someone will be randomly targeted by a stranger.

We are all subject to the randomness of life and the dangers around us – there is no way we can protect everyone from everything. I have side-stepped a definite move to London for a more pragmatic and safer aim of Manchester. That is not compelled, in whole, because of the growing violence and struggles there. It is, for many musicians, putting them off and creating nerves. London is at the leading edge of British music and needs to send the message to the world (the city) is a safe place and is improving. We know issues around rising rents and Brexit; other problems that are putting a lot of people off of London. We hope the killings will desist and things will return to ‘normal’ before too long. What worries me is the fact there is a lot putting musicians off of London. All of the biggest labels and venues are here; it is the busiest city in the U.K. and, as such, need to retain its reputation as being a creative and great place for musicians. The fact there are murders happening does not detract from London’s multicultural people and the options open for musicians. If many, who are thinking about relocating, see what is happening on the news; one has to ask whether they will avoid London or delay their move.

I have changed my plans and cannot lie that, in some way, the rise in violence has put me off. I am not saying where I wanted to move to (around Brixton) would be any worse than it has been the past few years. There are so many great things about London but, if you balance it against other cities; how ideal and sustainable is a comfortable life there? It is clear there are cracks in the city that need gilded repair and some expert treatment. The city is like an ornate and treasured jug. It is proud and beautiful; it has a place and purpose but, right now, there are value-decreasing cracks forming at the bottom. The only way London can keep its crown as the go-to location for musicians hoping to make a go of their career is to address a lot of the problems it is facing. Gentrification and rent hikes are putting enough people off already: unabated street violence is another fault we can do without right now. I wonder whether, in combating the reasons behind the violence in the capital; we can bring music in to help give these disaffected young people direction and place. I know their motives for murder are more complicated and personal than simple boredom and disaffection. There is a frustration building in the boroughs; a sense they (the young) are not being listened to and represented.

IMAGE CREDIT: Getty Images

The Prime Minister, so far, has been an absent leader and theoretical tackler regarding the new cases of gun and knife-related deaths. One would hope the P.M. takes a more direct and passionate approach to finding out why so many young lives are being snubbed out; how we can all resolve to fix the problems and discover the reasons why people are turning to murder. Mayor Sadiq Khan has been attacked and blamed for the rise in attacks this year – many have come out and queried why politicians are being so passive. Tottenham M.P. David Lammy, when speaking to The Guardian, highlighted how the war on drugs has failed; how much black lives DO matter – and why Sadiq Khan has been relatively silent about the problems:

“Sadiq and I have a good relationship,” he says, but the only reason he can think of to explain why Khan didn’t call is also his greatest fear: “I think it’s that we’ve come to normalise it. We think of gun and knife crime among teenagers as normal. And it is not.”

To Lammy, the rise in London murders feels ominously different to previous surges of violence. “I am more worried about this spike because the profile of the people getting caught up in it is younger. The callousness of shooting into a crowd outside a cinema, shooting at young women, the normalisation – never mind the ramping up by social media – all of that makes me alarmed and worried. I am pretty confident that we’re not going to get over this problem unless there is a proper political consensus. This is not going to self-correct”.

I am not suggesting arts and participation in music is going to be a magical cure to a deeper issue – it is a surface solution. I am not trying to tackle the issue by avoiding the problem: my point is that there are ways we can communicate and negotiate with those who are killing others by actual discussion and progression. Ignoring the problem and casting blame is not a solution; highlighting social media’s role and not doing anything about it is appalling and incredibly unhelpful. I feel a more cooperative and personal approach to the problems would help ease the burden and conflicts happening on the streets. Giving young people an outlet and a productive channel is a good and practical first step. Beyond this; we need to look at reasons why London’s youth feel they have to go out and kill others. There is a rising drug epidemic – cocaine use and trade are on the increase – and there is a sense of disaffection and alienation. With homogenisation and the changes happening in London; a lot of its settled and native residents feel they are being pushed to the boundaries. London is a wonderful city but, if we continue to negate discussion and shirk responsibility, the problem will only worsen. The violence we see on the news will put many people off moving to London; there is that inherent strain on the music industry – fewer people will want to come to the capital – and that will only get worse.

We need to make London a place people want to come to; where musicians feel safe and they feel they have a voice. Politicians are being accused of conscientious objection and remaining silent. Rather than hold meetings and get out into the affected communities; they are standing behind desks and making false promises. Let’s all resolve to discover what is behind the rise in knife and gun crime; how we, as people of the U.K., can work together and stem the tide. London is at the beating heart of the isles and, as such, should be a shining and golden example of what Britain is about. If people look at the news and what is happening here right now; they will be put off and reluctant to spend time here. Musicians pine for that London life but, the more murders we see reported; are ones already based here going to move and take their talents to other parts?! I am hearing of some emigrating; others, who planned on coming, are going elsewhere. There are definite problems and they will not be fixed with words and a wait-and-see policy. I am genuinely worried London is starting to lose its way a bit and that, in the long-run, will have a huge impact on the music industry. If we can apply some logical thinking and proactive policies; that can help redress the problems coming from the streets and make the young populous feel heard and understood. We do not want people avoiding London and feeling it is an unsafe place to be. If all that fails then, well; I guess…

THERE’S always Manchester!

FEATURE: In Order to Succeed: Is It Possible to Create a ‘Perfect’ Playlist?!

FEATURE:

 

In Order to Succeed

ALL PHOTOS (unless credited otherwise): Unsplash

Is It Possible to Create a ‘Perfect’ Playlist?!

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EVERY music obsessive has that same dream…

IN THIS PHOTO: St. Vincent/PHOTO CREDIT: Renata Raksha

the chance to create their own playlist for radio! One might counter with an obvious suggestion: become a D.J. A lot D.J.s, in fact, do not get as much say in the running order and musical inclusions as the producer of the show. Unless you are playing as a club/pub D.J.; chances are, someone else will be directing what is played on your show. I know one can have a podcast and run a radio broadcast themselves. My point – getting away from semantics and digressions – is this: could one ever create a ‘perfect’ playlist?! Among my musical dreams would be the chance to appear on Desert Island Discs. I realise that is never going to happen – as I have not achieved anything that would warrant an appearance on the show – but each ‘castaway’ has to choose eight records. The fact I would struggle to select eight songs from The Beatles shows what an unenviable task it would be! I would also love to do a bespoke, one-off show for a station: compile a selection of music and introduce each song. Even then, one would suspect there would be around about two hours of music. If I got that call; my mind would instantly explode with joy and energy. After that, considering the task ahead; that sense of discipline and dread would come in...

Even if I was given free rein to choose, maybe, fifteen songs; I would still wonder whether it was possible to distil my vast tastes down that far – coming up with a playlist that covered genres, decades and tastes. Would I, by the end of the broadcast, be able to satisfy everyone out there and throw down an unbelievable gauntlet? I know there is no real competition when it comes to assembling music and having your own show. What I mean is, when you have the chance to showcase your musical favourites and impressive library; you do not want any weak spots and obvious inclusions. You’d want to get the running order right so you’d start with an immediate track that gets people up and invested; maybe keep the pressure high on the second song – end with something that has similar energy and desire! My opener, as above, would be Beyoncé’s Ring the Alarm. That might sound like an unusual choice and left-turn for someone like me. To me; there is no finer way to open a broadcast. There are two reasons why. Not only is it a fantastic and popular song; it is from a black female artist. That might sound like a controversial thing to say. Many people assume a male D.J./journalist would choose a male artist to open a show – any decent playlist would ensure ethnicity and gender was part of the mix.

My balance would see an equal weight of male/female; go as early as the 1960s – I am tempted to include some older Jazz from Miles Davis, mind – and go right up to the current time. I would not feature too much music from the first five years: including brand-new unsigned artists is a smart suggestion. It would be impossible to cover ALL genres in a single show. I would not have any Country, Dubstep or mainstream Pop; I would be reluctant to include much Heavy Metal into the show. That being said – and, with vast and varied preferences – I would go from Kate Bush/Eva Cassidy calm to the rush and rawness of Metallica and Queens of the Stone Age. If Beyoncé opens the show; the choice of closer would be a two-horse race – between The White Stripes and Tears for Fears. The latter would be there because Everybody Wants to Rule the World is my first memory of life/music – and, therefore, holds a very important place. I am a massive fan of The White Stripes and love rarer songs such as Hand Springs (a B-side not many people have heard). In fact, no; I have changed my mind: Nirvana’s Negative Creep would be my swansong. You can see how hard it is to whittle a playlist down to a rather focused and cohesive group – imagine what a nightmare it would be if I had a regular, daily radio show!

I have outlined all the negatives and horrors of assembling a one-off playlist/show: there are infinitely more pleasures and joys. This feature is not a chance to indulge my desires and aimlessly prattle about my musical tastes. Every time I listen to a show on BBC Radio 6 Music (or another station); I listen to the array of music played. There are older songs I have not heard of before; cuts from brand-new acts that get into my head – more obvious songs that sound perfect and right for the moment. There is a lot to be said for one’s musical tastes and song choices. They say the eyes are the window into the soul: I would argue a proper-cultivated and balanced playlist is even more revealing and alluring. I have, so far, mentioned more American artists than British. Among other artists I would include – in a two/three-hour show – would be Björk, Eels; King Gizzard & the Lizard Wizard, Kate Bush; Nick Drake, The Beatles, St. Vincent; Deee-Lite, The Smiths; Paul Simon, Madonna; Radiohead, Jeff Buckley; Carole King, Billie Holiday – I guess it is still straying into the U.S. side of the spectrum. The sheer pleasure of scowling through vinyl and digging through digital crates would obsess my mind. I’d have to throw in The Avalanches and Beastie Boys; lob in Steely Dan and Basement Jaxx. I guess, even if I thought I had a brilliant playlist ready for broadcast, I’d ask myself the same thing: is it as good as it could be?!

Trying to achieve that ‘perfection’ seems like an impossible thing. I guess, in a way, we are trying to show how good our musical tastes are. If one were to have the chance to showcase their music collection to the public; they’d want to please themselves and the people out there. Many argue there is no such thing as a ‘guilty pleasure’. Would you scroll through your song choices and make sure there wasn’t anything too cheesy or tragic? I would love to put some classic ABBA in there: would other people see it as a bit naff and derailing? I think it has a place but, against artists like Nirvana and The White Stripes; is it possible to put an ABBA song among the pack?! We are getting into areas of psychology and perception. Each radio show I listen to – a three-hour broadcast from a range of D.J.s – I am amazed by the way the songs hang together and there is that flawless and natural flow. I envy producers and the skills they have when it comes to programming show. Not only do they have to consider all the music they include in a show; there are jingles and announcements; making sure everything runs smooth and, if you are dealing with the public; they are looked after and organised. It seems, then, something as comparatively simple as thinking about songs is a breeze!

All of this, in essence, is a long-winded audition for a future invite! Every true music lover has two big assets/drawbacks. We all think we have the best musical tastes in the world; all of us, too, think we have a passion for music like nobody else. There are many like me, who do not get a chance to show their musical plumage, who are having this same thought process. What would happen if we got onto the radio and were asked to narrow down our favourite music to a (relatively) short list – you can see why I’d be a nightmare on Desert Island Discs! There would be something simultaneously sorrowful and wonderful about a one-off, golden ticket. I have thought of other acts whilst typing this – Eminem and The Bangles among them – and look at the genre spread. Once you have thought of the list of artists you want to include; there is the matter of arranging the sounds so it is a nice mix without too many sound-alike songs in a row – starting and ending with a big impact. Programming a show is like ordering an album: ensuring the tracks are in the right order and create the best possible listening experience. Returning to my original question: is it possible to create something perfect and universally popular?

I feel music is subjective enough so someone, somewhere will pick up on a ‘bad’ or misplaced track. You cannot quibble with The Beatles and Kate Bush, say: many might not like a bit of Beyoncé or Eminem filing their ears! Music is a way of expressing ourselves and representing our personality and complexities through sound. There is that desire for people to like the music and, as such, bond with the person putting it together. I feel I could curate a playlist that had a good mix of genres and artists; throwing in some curveballs and ensuring all ages were catered for. My mind would always hover to the list and wonder, somewhere, whether there is a substitution I should make. It is a good conundrum to have before you: come and do your own radio station and choose whatever music you like! It, actually, a bit of a dream – the fact there is the nightmare of chasing perfection does not dampen the honour. That opportunity would, ironically, lead to new discoveries and revelations. I will end this now – with my chosen closing song – but compel others to think about their musical tastes and what they would do were they provided with the chance to do their own show. Every little move, machination and mannerism return me to the pressing question and the need for a definitive answer. No matter how good our tastes are; no matter how educated and passionate we are; I wonder whether it is technically possible to produce and compile…

A ‘perfect’ playlist?

FEATURE: Drive with a Chance of Reverb: The Continuing Need for an All-Encompassing Music T.V. Show…

FEATURE:

 

Drive with a Chance of Reverb

 ALL PHOTOS (unless credited otherwise): Unsplash 

The Continuing Need for an All-Encompassing Music T.V. Show…

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I can’t remember how many weeks ago…

it was when I mooted the desire for a return to the days when there were genuinely good music-based T.V. shows on. It might have been around, I guess, the time of the one-off revival of The Old Grey Whistle Test – hosted, on the night, by Bob Harris (in February). I floated an idea out there: getting The Old Grey Whistle Test back on a full-time basis. I have been following the progress and nature of the newest music show on the box: Sounds Like Friday Night is hosted by Radio 1’s Greg James and Dotty. The show has been picking up good reviews and a firm following but, to me, it appeals to a particular demographic. The main artists booked are Pop-based and chart-bound. The presenters have charm and charisma; there is a connection between them that cannot be faked. There are amusing sketches and the whole show has a feel of nostalgia-cum-modernity: recalling some of the aspects of Top of the Pops with the urgency and polish of modern-day music. Whilst it will continue on our screens – I feel it has another few series left in the tank… - there is a gap forming in the market. When The Old Grey Whistle Test returned to the screens; there was a two-fold aftershock that stuck in my brain. Seeing Harris and other contributors look back at the show’s best memories and finest guests. It was great seeing the likes of Bob Marley and Sex Pistols play for the show.

IN THIS PHOTO: Dotty and Greg James/PHOTO CREDIT: BBC/Getty Images

There was a varied catalogue of guests during its long reign. The show ran from 1971 to 1988 and stood out from what was on the T.V. Now, in 2018; we have very few musical options. Look at Jools Holland’s late-night, hugely popular show and Sounds Like Friday Night – that is about it, really! I am not suggesting there is a straight revision of the long-gone music show: more, a guide from its foundation, updated for the modern age. One could argue today, given the access we have to music; there is very little desire for music T.V. YouTube means, essentially, any artist can get their faces on the screen and their music viewed. One can see the biggest mainstream tracks and hidden gems from unsigned acts. There are two rebuttals regarding that assumption. For a start; YouTube is a huge and unfiltered site that has little of the organisation you would hope. So many artists and videos pass you by – even some of the big-league releases slip by; it is hard compartmentalising and organising videos so we get a good and fulsome spread of sounds. The other problem (with YouTube) is the fact it is not the same as seeing a band/artist play live. Reviving The Old Grey Whistle Test, essentially, would be a rather lazy move...

Some would argue why I am floating this notion prolifically and vociferously. To me, modern music needs a T.V.-based tentacle that provides platform for artists, new and established. Sounds Like Friday Night is, for the most part, a pulpit for the best of the mainstream/near-the-mainstream artists to shine and perform. The performances are live but, in terms of genre and age demographic; it is narrower than, say, Jools Holland’s brand. Even if you consider Later… - that is a show that has been on a fair few years and its format has not shifted (critical attention and praise: no need for a retooling, sure?!). If one can argue – wrongly and foolishly – there is room for one talent show, let alone several of the bloody things; you can apply the assumption to a show that promotes genuine, proper musical talent! The concept I would pitch – I am not sure of its name just yet – would use The Old Grey Whistle Test as its muse and mother. The studio would be fairly small and have a smattering of audience members. It would not need a lot of lighting, gloss and glamour: nor would it be a glorified portal toilet in an industrial estate in Coventry (no offense to the makers of portable toilets!). We have Facebook Live and YouTube: neither is an effective and practical substitute for the thrill and physicality of music T.V.

IMAGE CREDIT: Getty Images

I know the game has shifted compared to The Old Grey Whistle Test/MTV days. People have access to musical visuals without having to switch on a T.V. Families do not excitedly hustle around the glow of the box – I am making this sound like a 1950s dystopia! – to see the latest sh*t-hot music video or an interview with the likes of Madonna or Talking Heads. Given the inaccessibility and inconvenient nature of live music – many people cannot afford to travel or have time to watch a great artist play – moving that to television would, you’d think, be a win-win scenario?! The ‘classic’ element would keep that studio setting and sense of minimalism. You would have a single host in the studio – not necessarily someone young and trendy: it is open for debate and discussion – and the music being featured in the studio itself would be a real mix. There would be accommodation for established artists in any genre – so long as the music is great and affords itself to the rawness and nature of the studio. I would like to see established acts like, spit-balling here, Radiohead or Björk performing new songs (if such an eventually was to happen!) and some classics. Newer acts – Goat Girl and IDLES; Hannah Peel and Nils Frahm, for example – could lay down a song or two each?!

IN THIS PHOTO: Goat Girl/PHOTO CREDIT: Getty Images

The way I have described the set-up and backdrop (of the studio) sounds like musical nihilism: it would, in fact, be quite a homely and good space for the artists to pull great performances out the bag. Running alongside the performances would be music news and updates. We would bring in social media aspects and bring live – as close to the show’s broadcast – news updates to the people. Interviews would either be done in the studio or a special location. I have been thinking of artists being interviewed in a cocktail bar – something like Nightjar in London. It is a quirky and cool space; one where the interview and artist can get down to business and chat. They would select a favourite song or album of theirs; talk about their past and new music – a full and unique interview series. There would be multiple features and regular spots – including recommendations of new acts and documentaries that tackled issues/sides musicians and fans alike would be into (mental-health features and the live music scene; the music culture of various cities; highlighting music from a certain decade/year etc.). There would be documentaries that explored classic albums. This is nothing new: stations like VH1 have investigated legendary records and talked to the people involved. From The Beatles’ eponymous record to Fleetwood Mac’s Rumours; the introduction of Elvis Presley and Joni Mitchell’s Blue – a thorough and candid look at the album’s creation, its best moments; its lasting legacy and how it changed music at the time.

IMAGE CREDIT: Getty Images

I would like to see a one-hour, weekly show that helped preserve legendary music and surprise those who are passionate about the prospect of a cover-all music show. It would act, in a way, like a radio show: a selection of genre/decade-hopping songs and great live bits; minimal needless chatter and quality at the absolute top of the list (depends on what station you are tuned into!). The show would not necessarily need a comedic/light feel – I have an idea for a music-based animated short that would be a miniature sitcom. Education and enlightenment are important factors that cannot be overlooked. Whilst the emphasis is going to be on live performance and making sure there is a national platform for the best new acts; it would be naïve to reject the needs of the fully-rounded and cultured music fan. If we just had a show that did live sets and nothing else; its appeal would be one-dimensional. The magazine aspect of the show would be a delicate balance. One would not want something tabloid-like or trashy: neither would it be wise to have a snooty or austere show that had a sense of elitism. It could be on BBC 2 or BBC 4 but, when it gains traction and popularity, a natural shift to BBC 1 would seem the best option. That transition does not have to come at the expense of the show’s identity and ethos. It would retain its gnarliness and ensure its tattoos were being sported boldly – none of this three-washes-and-its-faded henna stuff!

Getting the right host is a crucial consideration. It need not be a single name – maybe a duo (one could be studio-based, in London; the other, perhaps, over in Manchester?!) would do just as well. The aim is to broaden the demographic reach and include every age. There would be some controversy and spit to the show – nothing that alienated younger viewers, though. The desire is to get that much-watch music T.V. show that recalls the days of MTV and Top of the Pops. I know we cannot return to the past and create the same sensations as the 1980s and 1990s, for example. What everyone wants is an accompaniment to the music T.V. shows we have right now. Three shows – unless I am missing an obvious one – is hardly a ‘crowd’. It would be great to have something on the screens that encompassed the best radio stations/shows with older-days music television; link it with the modern pace of life and bring in a mix of technology-advance and classic-nostalgia. Putting the live element up-front and central means those who cannot afford to see a hot new band perform can see them from the comfort of their home. Whilst the experience is not exactly the same as going to a gig; that is, in a good way, a good thing.

Artists who appear on the show would not find that T.V. light too alluring and seductive: the chance to get your music out to home-based audiences and uninitiated ears is a definite bonus! I cannot pitch a show directly to the BBC – they do not take submissions from individuals – but, one suspects, there is a production company out there who could coherently and effectively do so on my/everyone’s behalf. There is that endless desire for a show that nods to the best days of music television and gives it a modern lick of paint. 2018 is a year where music needs to listen to voices that are going unsatisfied and silent. A great T.V. show could, actually, help tackle issues surrounding music right now – venues struggling; sexism and inequality; whether streaming and digital music is better and more important than vinyl and traditional forms. I would love to see it happen. The show would not cost a lot and good work alongside those already on the market. I like Sounds Like Friday Night and fills it does what it needs to perfectly – with two great presenters helming it! If we added a younger brother/sister to the cot; worked with T.V. and radio stations and devised something that would be popular and long-lasting (getting any kinks sorted along the way) then I believe, if all goes well; it – whatever the show is called! – could last as long as…

IN THIS PHOTO: Bob Harris, on the set of The Old Grey Whistle Test/PHOTO CREDIT: BBC/Getty Images

THE Old Grey Whistle Test.

FEATURE: Figure It Out: Why Industry Leaders Need to Stop Reducing Women to Image and the Physical

FEATURE:

 

Figure It Out

ALL PHOTOS (unless credited otherwise): Unsplash 

Why Industry Leaders Need to Stop Reducing Women to Image and the Physical

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THIS piece has been compelled…

IN THIS PHOTO: Jameela Jamil/PHOTO COURTESY OF @jameelajamil

by an initiative launched by Jameela Jamil. She has introduced an Instagram account that gets women to think beyond what they weigh. Her inspiration came from an unlikely source: an Instagram post where the Kardashian sisters (I don’t know if any male members of the family were included) compared their weights. Jamil’s goal is to get women talking, openly, about their lives and its full spectrum. There is, I guess, a crudeness that still runs through advertising. The perceived notion of a ‘perfect’ woman is a slender and toned physique. That woman is usually very beautiful and has barely an ounce of fat on her – often, the image behind idolised is underweight and close to being unhealthy. Many women obsess over weight and see that as the most important thing about them – making sure they do not offend the eye and fit into the guidelines advertisers and billboards put out. A woman’s personality and worth is not binary and limited. Sexuality, personality and professional desires are more important and under-covered: the ongoing conflict regarding image and pre-conceived models of ‘sexy’ and ‘beautiful’ are causing many women’s’ anxiety levels to rise beyond control. Jamil’s desire is to reappropriate the notion of womanhood and desirability. By urging women to think widely and uncritically; it has led to revelation and improvement. Many women have contacted her and given their thanks.

That spirited and inspiring movement has made me look more closely at the way women are being perceived in the industry. Sexism is, of course, still ongoing and untamed. Every female artist I speak with has the same impression: they are not being perceived the same way as male acts. We are living through one of the most disconnected and detached eras of human existence. We have technology and endless resources available at our figures. Rather than use this to better the human race: there is greater stress, self-criticism and lacking confidence than ever before. I have written about sexism and sexualisation in the music industry a few times before. What troubles me is an ill that has spilt from other industry into music. Hollywood has improved in some ways: in other ways, it has crawled back into the swamp. There was a time, decades ago, when a fuller-figured woman was seen as ideal. Not to focus too cheaply on the physical; there wasn’t quite the same pressure to have actresses being thin and looking a certain way. Now; we look out into the world and see adverts everywhere. Women, often, are dressed in swimsuits and lingerie. If they are more modest; the model you see looking back at you is very striking, beautiful and thin. Music, unfortunately, is struggling with some of the same issues.

If men are used to advertise a product or service; they are not told to look a certain way or be a particular weight. There are so few adverts that, A) feature a woman on them and, B) when they do, go beyond looks and the physical. I have seen adverts for headphones and music-streaming sites and the artists being used to push the product are ostensibly sexy, slender and covered in make-up. Many might argue this has always been the way: in every industry, for many decades, women have been portrayed this way. I wonder what effect that is having on artists who already have a hard time of things. We all know there are fewer women in headline slots and on the drive-time radio shows we all listen to. There are gaps and issues that need to be patched and reversed. What gets me is how many record labels and avenues of music are either pushing sex too much into the forefront – if not, they want their artists to be a certain way and have a particular ‘look’. Perhaps this is not something that impacts underground music as much as the mainstream. Aside from a wave of tough, spirited and intelligent young performers coming through – from Sigrid and Cardi B to St. Vincent and Stefflon Don – I am still seeing popular artists proffered because of their looks. The situation has improved slightly but there are still big problems.

There are fuller-figured female artists on the scene but, when you see female artists being promoted and highlighted; there is still that optimal weight/look/age. The vast majority of the mainstream Pop artists are young, thin and beautiful; too many interviews and putting artists in provocative poses and reducing them to skin and bones. If a female artist wants to push their sexuality and looks – as a way to be more empowered and confident – then that is a different thing. We are not quibbling with semantics. New female artists coming through are looking out at the mainstream and seeing artists look a certain way. I am naming nobody but I could rattle off a list of names that, to me, symbolise what labels and music industry bosses are looking for. I wonder how much of the imbalance and sexism we see in music is down to look and sexuality. If an artist is not thin, stunning and sexy then they are overlooked. I know female artists are determined to fight back and gain merit on their own terms but, when they are working in an industry where cracks are starting to show – does it signify a slippery slope?! I still get the impression the biggest labels around the world are recruiting and spotlighting female artists who look a certain way – rather than what is coming from their minds and mouths.

Attractiveness and sexual appeal have nothing to do with music. I can understand professions where a woman’s looks and bodies would be seen as an advantage. Music is about songs and sounds: expecting female artists to look a certain way in order to succeed is a rather unsettling and unpleasant thing to digest. If there is not quite the same blatant discrimination and looks-obsessed push as we see in advertising; we need to address music and wonder why many female artists are being promoted because of their looks and sexual appeal. Aside from considerations of looks and sexualisation; I am hearing from many other women who have self-doubt issues and obsession with body image – exactly what Jameela Jamil is trying to override. There have been articles and impressions (from artists) that outline the industry’s obsession with musical idealism – a body looking a particular way and the women being cute and submissive. A few years ago; U.S. songwriter, Ke$ha blamed her eating disorder on the music business’ expectations:

“The music industry has set unrealistic expectations for what a body is supposed to look like, and I started becoming overly critical of my own body because of that,” she wrote. “I felt like people were always lurking, trying to take pictures of me with the intention of putting them up opine or printing them in magazines and making me look terrible”.

Another article explored the idea of ‘sex sells’ and how female artists are consciously dressed in designer clothing and turned into accessories:

“That is why we always see music artists dressed in something impeccable from the "hot" new designers with fancy cars and jewelry. They too have meet this standard of meeting society's expectations to be commercially successful. From them, society, specifically women, learn that you have to be rich and should envy their lifestyles. As for the bystanders and video girls found in the videos, society, specifically women, learn that you have to be "made up", have an amazing body with matching assets (big breasts and voluptuous behind), fair skinned, natural beauty is not widely accepted, and imperfections should be covered up. All of these unrealistic expectations lead to body dissatisfaction and lowered self-esteem”.

Many could state the problem has lessened since, say, 2014 – when a lot of articles arrived that explored the way female stars are being marketed. We see big female stars in music videos cavorting and pouting; teasing their curves and being turned into the ‘ideal’ woman. Another article,  2013, looked at music and how women are being made to look/act a certain way:

“ It’s rare to come across a song these days that does not discuss the anatomy of the female body. Musical lyrics put so much emphasis on the butt and breast size, that it’s no wonder women are never really satisfied with their body images. Fox news posted an article this morning about a woman who had to undergo quadruple amputation because of an illegal silicone she had injected in her butt. She was approached by a woman who claimed the silicone injection would plump up her butt to her desired size”.

Things are slowly starting to improve. There has been a range of songs that explore positive images and going beyond the physical. They have urged women – songs written by female artists – to celebrate their flaws and human sides; to look inside themselves and not be defined by weight ranges looks and fitting into what society deems as ‘acceptable’. I wonder how much of the pressure has come from women themselves: compared to the control and hand of male music executives. There are artists who put pressure on themselves and feel the only way they can succeed is by being slender/curvy and/or stunning. They might wear low-cut dresses and write songs that augment sexuality and the physical. Even if there are cracks of lights twinkling through the mist; there are fetid realities that are not being tackled. Right now; more allegations are coming through about sexual abuse and female artists being taken advantage of. Alongside this is the industry’s pressure to have their big stars looking good and behaving a certain way. If unsigned artists look into the charts and see big stars bring told what to wear and what to do with their bodies – that sends out a rather cold and troubling message! New artists are free to look and behave however they want but there is still something common occurring.

IN THIS PHOTO: Lorde/PHOTO CREDIT: Getty Images

Women are tying their self-worth and validation in terms of pounds, ounces and ‘hits’. There is a world of anxiety and self-pressure around their image and whether they are ‘enough’. Music needs to send out the message that it will support female artists and give them the same rights/opportunities as men. Those in positions of power need to tell women they will succeed and be promoted because of their minds and complete personalities. Men have never been in a position where they have had to flaunt their bodies to get attention and popularity. Things are taking a while to change and, as I look out at music; I wonder whether lessons are being learned and enough is being done. Women themselves are sending out positive messages but it is hard to change perceptions and minds when we see so many images and videos of these inch-perfect women looking incredible; reaching huge streaming figures, seemingly, because of their looks. The BBC ran a piece that drew together a few artists who suffered from bulimia/eating disorders and anxiety – felt they had to look a certain way to fit into music. Lorde was one of those who spoke out:

"I remember being made aware of my looks and my body in a way that I had never been," she recently told the NME, recalling the early days of her career. "I remember all these kids online were like, 'F*ck her, she's got really far-apart eyes,'" she said. "Just weird sh*t like that...It rocked my foundations and could have f*cked me, you know?"

Luckily, Lorde has able to find safe spaces to develop her peace of mind. "I was able to return to my family and shelter against that and get to where I am now," she said. "I feel so comfortable in myself".

We do not want to send out the message that there is this ideal look/figure every female artist needs to conform with. The messages from names like Lorde should get into the heads of an industry, male-dominated and ruled, that still asks its popular stars to think about their sexuality and size – rather than the music and their soul! If female artists are told body image and sexiness are not as important as what they have to say and do; we can help reduce psychological disorders and women putting so much pressure on themselves. Not only will show music in a better light; it will encourage female artists to come through, stand tall and be unafraid to…

STEP into the limelight.

FEATURE: The April Playlist: Vol. 1: Where Does the ‘Goat’ Part Come From?

FEATURE:

 

The April Playlist

 IN THIS PHOTO: Goat Girl/PHOTO CREDIT: Phil Smithies  

Vol. 1: Where Does the ‘Goat’ Part Come From?

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THERE are some pretty interesting…

IN THIS PHOTO: Kylie Minogue

albums out this week! Goat Girl’s eponymous debut is here; there is a new album from the legend that is Kylie Minogue; Sex & Food is the latest from Unknown Mortal Orchestra; En Vogue, rather awesomely, bring us Electric Café; Hinds and Eeels do not disappoint – that is not to overlook the singles…

Manic Street Preachers, The Aces and Plan B have brought us treats; so too has Cardi B (with Kehlani), James; Dua Lipa (and Calvin Harris); Baxter Dury and Lady Leshurr…

ALL PHOTOS (unless credited otherwise): Getty Images

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Ben Howard – A Boat to An Island on the Wall

Manic Street Preachers – Liverpool Revisited

Calvin Harris & Dua Lipa – One Kiss

The Aces – Last One

Friendly Fires – Love Like Waves

James – Better Than That

Sabrina Claudio – All to You

Blackberry Smoke – Medicate My Mind

Cardi B (ft. Kehlani) – Ring

Eels – Bone Dry

En Vogue – Rocket

The Chainsmokers - Everybody Hates Me

Goat Girl – Slowly Reclines

PHOTO CREDIT: @avanstokkum

Hinds – Linda

Baxter Dury – Listen

New Hope Club – Start Over Again

IMAGE CREDIT: Unskilledworker

Florence + the Machine – Tiny Dancer

Alice Merton – Lash Out

Lady Leshurr – Black Panther

Kali Uchis – Flight 22

Kylie Minogue – Love

Lisa Stansfield – Deeper

SG Lewis – Sunsets – Pt. 2

 

Sinead Harnett - Body

Thirty Seconds to Mars (ft. Halsey) – Love Is Madness

Tom Misch – Man Like You

Lethal Bizzle – Flex

Unknown Mortal Orchestra – How Many Zeros

Sofi Tukker – Batshit

The Wonder Years – Raining in Kyoto

Albert Hammond Jr. – Set to Attack

Tove Styrke – On the Low

Johnny Marr – The Tracers

The Shires – Accidentally on Purpose

Plan B – Grateful

Beach House – Dark Spring

Soleima – Pacify Me

PHOTO CREDIT: Hollie Fernando Photography

Fenne Lily – The Hand You Deal

Ross from Friends – March

FEATURE: Of Songs’ Praise: The Best Albums of 2018: January-April

FEATURE:

 

Of Songs’ Praise

 IN THIS PHOTO: Shame/PHOTO CREDIT: Pinterest

The Best Albums of 2018: January-April

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I am in the mood to write a lot…

IN THIS PHOTO: tUnE-yArDs/PHOTO CREDIT: Getty Images

of ‘best of’ features that look at contemporary and older music. Seeing as we are in April, and have enjoyed a busy three months of music; it felt like a good juncture to consider the best albums of 2018 so far. I have been excited seeing new bands and established masters produce some exceptional work. Field Music’s Open Here, so far, is the top of my list. Other critics have their own views: the subjective nature of music makes it interesting trying to decipher the true champions of the year. Here are the albums, I feel, have made the biggest impression on this year…

ALL IMAGES: Getty Images

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Shame – Songs of Praise

Label: Dead Oceans

Release Date: 12th January

Critical Snapshot:

“This is a band with a real sense of showmanship, as those who have witnessed Shame’s sweat-slicked live shows will know. It’s this that makes ‘Songs Of Praise’ utterly invigorating” – NME

Standout Track: One Rizla

Nils Frahm – All Melody

Label: Erased Tapes Records

Release Date: 26th January

Critical Snapshot:

“It’s a wonderfully imaginative process. ‘Human Range’ uses wind instruments like the horn to give it this kind of airy quality, while the notation is more stuttered, bringing in also that premier wind instrument – the voice. ‘All Melody’ is a masterpiece of texture. Incessant overlapping rhythms which swoop down from on high, peeling off into the subsequent track ‘#2’ which just wallops you with rhythm. It’s continuously changing, perfectly timed, evenly spaced - an impeccable album” – Drowned in Sound

Standout Track: All Melody

tUnE-yArDs – I Can Feel You Creep Into My Private Life

Label: 4AD

Release Date: 19th January

Critical Snapshot:

“Merrill Garbus must now be recognised as one of the most exquisitely playful and inventive voices of our generation. “I came to get down,” she says on “Home”, “but you’re not telling my story, man.” More than ever, it’s time we started listening better – to other voices, certainly, but also the way we use our own” – The Line of Best Fit

Standout Track: ABC 123

Kacey Musgraves – Golden Hour

Label: Mercury Records

Release Date: 30th March

Critical Snapshot:

“The result is Musgraves’ most accessible record and her most ambitious, a magnetic, comfortable culmination of her pop and country instincts. While dynamic enough to house both the stirring, alone-at-the-piano fragment “Mother” and a full-on country-disco kiss-off in “High Horse,” Golden Hour is alluringly cohesive, both lyrically and musically. In “Wonder Woman,” she confronts a partner’s unrealistic expectations and gives a simple counter: “All I need’s a place to land.” Throughout these songs, she finds one” - Pitchfork

Standout Track: Space Cowboy

Lucy Dacus – Historian

Label: Matador

Release Date: 2nd March

Critical Snapshot:

“It's music that bears the weight of the critical accolades heaped on her upstart 2017 debut No Burden rather beautifully. Dacus and her band sound emboldened, confident, like kids who are thrilled they still have something to prove” – Rolling Stone

Standout Track: Night Shift

Young Fathers – Cocoa Sugar

Label: Ninja Tune

Release Date: 9th March

Critical Snapshot:

“Cocoa Sugar bursts with the weird warmth of an ice burn, a sizzling stew of Tricky-covers-the-Fall garage rap. Each song is nasty, brutish and short, bristling with imagination. Wow shackles its motorik angst to a dead-eyed drawl, seasoned with abattoir squeals. In My View is a slugabed’s vision of anthemic pop, while Toy is the most conventionally vicious rap here, every word a wound. The trio reckon this is their most “linear” album, which seems a stretch. It feels just as estranged of pop’s traditional structures and strictures as they’ve always been. It feels exhilarating; it feels like freedom” – The Guardian

Standout Track: In My View

Field Music – Open Here

Label: Memphis Industries

Release Date: 2nd February

Critical Snapshot:

“In the years to come we might turn to Plumb or Measure before Open Here to remind ourselves of the essential Field Music, yet this, their seventh record, is nevertheless a thing of immense songwriting charm and ideological strength, defined by its sardonic judgement of various seismic social shifts” – The Quietus

Standout Track: Count It Up

CupcakKe - Ephorize

Label: CupCaKKe

Release Date: 5th January

Critical Snapshot:

“CupcakKe's confidence and complete lack of a filter remain her greatest allies on Ephorize, with the album feeling like an arrival. Queen Elizabeth may have made some noise, but here, she drowns out the competition. Her position has become undeniable, leaving room for only one thought: what's next. She's sure to be eating on the couch for a while” - The 405

Standout Track: Single While Taken

Hookworms – Microshift

Label: Domino Recording Company

Release Date: 2nd February

Critical Snapshot:

“It's the beginning of the 2018 and talk of albums of the year right now is obviously churlish, but on Microshift we're hearing a band hitting their sweet spot with such an effortless swagger that we're sure this is a contender” – The Line of Best Fit

Standout Track: Negative Space

Anna von Hausswolff – Dead Magic

Label: City Slang

Release Date: 2nd March

Critical Snapshot:

“Dead Magic is a brilliant artistic statement, Anna von Hausswolff’s best self-definition to date. She still finds inspiration in the areas others fear to tread and is able to transform it into compelling pieces of work. It will be fascinating to see how deep and dark she can eventually go” - musicOMH

Standout Track: Ugly and Vengeful

Rolo Tomassi – Time Will Die and Love Will Bury It

Label: Holy Roar Records

Release Date: 2nd March

Critical Snapshot:

“Time Will Die… is a hugely satisfying listen, with the longer songs in particular allowing the band free rein to indulge every experimental urge. Contretemps pits Eva Spence’s frenzied vocals against twinkly post-rock guitars and a delightful organ pattern, but ends up a delicate ballad. Alma Mater and Whispers Among Us juxtapose hardcore fury and tech-metal shredding with lush melodic sections. And with many of the songs flowing into one another, this album sounds like a multi-part epic made up entirely of multi-part epics. And also, undoubtedly, like a career high” – Kerrang!

Standout Track: The Hollow Hour

FEATURE: The First Amendment: Why Jesse Hughes’ Comments Regarding the Student-Led Gun Protests in the U.S. Is a Warning Shot Against Free Speech

FEATURE:

 

The First Amendment

 IN THIS PHOTO: Eagles of Death Metal's Jesse Hughes/PHOTO CREDIT: Gustav Maartensson/AFP/Getty Images  

Why Jesse Hughes’ Comments Regarding the Student-Led Gun Protests in the U.S. Is a Warning Shot Against Free Speech

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THERE is something rather annoying…

IN THIS PHOTO: Nikolas Cruz appears in court for a status hearing before Broward Circuit Judge Elizabeth Scherer. He faces seventeen charges of premeditated murder in the mass shooting at Marjory Stoneman Douglas High School in Parkland, Florida/PHOTO CREDIT: Mike Stocker/Pool/Getty Images

about giving certain people a voice and means of spouting their words into the world. Following the Parkland (Florida) massacre, where seventeen students were killed in the U.S.; the always-controversial Jesse Hughes called the student-initiated protests “pathetic and disgusting”. The man is not exactly a stranger when it comes to letting his gob overtake his brain. Eagles of Death Metal's frontman, following the attacks at The Bataclan in 2015, mooted they were an inside job by security at the venue – or they simply allowed it to happen. One is hardly in any doubt when it comes to Hughes and his views on the Second Amendment – the right of any American citizen to bear arms. He should look just above that Amendment and keep his opinions to himself once in a while. The right to free speech is only valid when you are not deliberately trying to denigrate the memory of deceased gun-violence victims. To call angry and distraught students ‘pathetic’ when their motives are pure and honourable is incredibly callous. Rallying against them and, in essence, accusing them of being posers and ignorant is as bad as anything Donald Trump has come out with. Looking back at Jesse Hughes’ rap-sheet and the man spends a lot of time with his foot firmly wedged in his mouth!

PHOTO CREDIT: Getty Images

Eagles of Death Metal are hardly a world-class and mega-popular band: they are in the public and, as such, there is a faction out there who will agree with what Hughes has said. Of course, there is, naturally, many more who disagree with his views – the fact many Republicans attacked his views proved the Rock musician was, pretty much, pissing into the wind. Hughes should know better than to promulgate hatred and insulting opinions. He was on stage when terrorists opened fire at The Bataclan back in 2015. The remnants and after-effects of the attacks are still being felt. Back in November last year; Guillaume Valette took his own life – two years after surviving the attacks. There are many others suffering mental-health issues. The same is true of the recent massacre in the U.S. The student protests are not a response to this isolated event: they are the response to the years, decades and centuries of gun-violence in the U.S. Many us have lost count of the number of news reports that have come through with images of dead students – members of the community and scores of innocent people wiped out. From attacks at churches to the police shooting black ‘criminals’ – their annoyance and need for change are understandable. I was reading a piece in Paste Magazine, where they reacted to the ‘apology’ Hughes issued following his ill-thought-out comments:

“As mea culpas go, this one is paper thin. Hughes apologized not for what he did—namely, attack in the grossest terms the effort by these survivors to take action in the wake of the unspeakable tragedy they witnessed—but for what “it seems” like he did. Worse, he framed it in his own undeniably traumatic experience as a survivor of terrorism, despite an unfortunate history of lashing out at other victims”.

Looking like strung-out mime, Hughes insisted in Saturday’s Instagram video: “What I had intended to be a statement about the hijacking by any side of the aisle of the beautiful agenda of the movement of our nation’s youth came off seeming like a mean-spirited personal attack and slight of the youth themselves and even a personal attack of its leadership, and I want to be clear, I never intended for that to happen. I was not attempting to impugn the youth of America and this beautiful thing they’ve accomplished. I am truly sorry.”

This is not the first time I have written about a Jesse Hughes comment: sadly; I do not think it will be the last time. Whether the man is constantly strung-out or a radical gun-nut; there is never any excuse for such degraded and insensitive remarks like his. Saying students – who protest against gun deaths – are pathetic, in many ways, supports those who carry out these vile acts. It is the insincerity of Hughes’ apology – promoted more by backlash than morals and regrets – that adds an extra sting. He is like a bully who is forced to issue an apology to the students he tormented. He has been screamed at and threatened but, when all is said and done, it is lip service.

PHOTO CREDIT: Unsplash

Politicians like Donald Trump, with his equally ignorant and gross views on gun control, are setting examples to musicians and public figures whose small minds and right-wing views are doing more damage than they realise. We have already seen enough controversy and disrepute in the acting profession over the past few months – as more and more revelations come to light in regards sexual abuse. Music is not immune to controversy and disreputable figures. The last thing music, and any industry, needs is the sort of comments Hughes made. Some can say his remarks were not too stark and he wasn’t, technically, supporting the perpetrators of the recent attacks. The fact Hughes has ‘form’ and has already had to issue a similar apology, you’d think, would have made him think twice. We cannot beat around the facts: he is a supporter of gun ownership and does not have any problem with what the attacker did – and, it seems, what happened in 2015. If he felt aggrieved at the attacks then he would have come out and lambasted the attackers – rather than looking at conspiracies and questioning those who want an end to gun-violence. I worry Jess Hughes’ stance is going to inspire other artists to let their inhibitions slip when the next tragedy unfolds. I wonder whether there should be stricter punishments following Hughes’ most-recent remarks.

PHOTO CREDIT: Unsplash

The fact he received such a backlash and condemnation (not for the first time!) should be enough for those in a position of power to take action. I am not saying the Eagles of Death Metal man should be banned from music or forced to pay compensation. What I do think is more needs to be done to ensure anyone who has the same views as Hughes keeps them private. The Second Amendment does not really apply outside of American: in the U.S., it does not mean you can run your mouth off and not think of the consequences when you harbour such deplorable politics. Gun-related deaths are not on the decline and it seems, with the current President, we are no closer to solving the quandary. Trump will never repeal the Second Amendment and, so long as the Republicans hold sway in the White House; there will never be dialogue and discourse aimed at compromise and moral advancement. I will leave things there but, before departing, wanted to look at music and how its male members are tarnishing its good name. There have been reports of sexual abuse by members of popular bands – ranging from inappropriate touching to rape. We are trying to clean that sorry mess up and not slide into the same murky pit as Hollywood. Fat-mouthed musicians like Jesse Hughes should think about what they are saying and show greater respect to those who want to see an end to gun-violence – even if their protests are not, in the short-term, going to make a huge difference.

IMAGE CREDIT: Getty Images

Those students (who protested) mourned and felt the effects of the attack – some claimed they seem pretty well-adjusted and upbeat considering the violence; their motives were cynical and aimed at creating publicity – and were not doing it to get on the news and be celebrities. In any case; we all should work together to see fewer guns in society; fewer deaths and an end to the blood-filled images we have been seeing on the news. This applies to the entire world: not only U.S. high-schools. Jesse Hughes, regardless of his opinions about gun legislation-tightening, should work towards improving the situation in his country. At the very least, if he can’t think of anything sympathetic and understanding; he should keep his misguided and hate-fanning comments…

PHOTO CREDIT: Unsplash

TO himself.

FEATURE: Teenage Kicks: Debut Singles That Hit the Spot

FEATURE:

 

Teenage Kicks

 PHOTO CREDIT: Unsplash 

Debut Singles That Hit the Spot

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A recent poll/battle on BBC Radio 6 Music…

 PHOTO CREDIT: Unsplash

asked listeners to cast their vote regarding the best debut single from music. The final pitched The Undertones’ Teenage Kicks against Kate Bush’s Wuthering Heights. I won’t spoil the result but those two, disparate, introductions show what a truly great artist can do from the off. I have collated the best debut singles from all-time; from The Beatles’ 1962 gem to more-recent efforts. Here is a list of the finest opening salvos ever…

ALL OTHER IMAGES: Getty Images

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The Beatles – Love Me Do

Album: Please Please Me

Year of Release: 1962 (Album Released in 1963)

Kate Bush – Wuthering Heights

Album: The Kick Inside

Year of Release: 1978

The Undertones – Teenage Kicks

Year of Release: 1978 (Single, Non-Album Release)

Lauryn Hill – Doo Wop (That Thing)

Album: The Miseducation of Lauryn Hill

Year of Release: 1998

The Jimi Hendrix Experience – Hey Joe

Album: Are You Experienced?

Year of Release: 1966 (Single Release From the North American L.P. release)

Lorde – Royals

Album: Pure Heroine

Year of Release: 2013

Ramones – Blitzkrieg Bop

Album: Ramones

Year of Release: 1976

Blur – She’s So High

Album: Leisure

Year of Release: 1990 (Album Released in 1991)

Nirvana – Love Buzz

Album: Bleach

Year of Release: 1988 (Album Released in 1989)

Suede – The Drowners

Album: Suede

Year of Release: 1992 (Album Released in 1993)

Arctic Monkeys - I Bet You Look Good on the Dancefloor

Album: Whatever People Say I Am, That’s What I’m Not

Year of Release: 2005 (Album Released in 2006)

Lily Allen - Smile

Album: Alright, Still

Year of Release: 2006

FEATURE: Illuminati, Fake Bumps and Dorian Gray: Why the Rumours and Conspiracies Surrounding Beyoncé Cannot Hide the Fact: We Need Her to Guide Music Right Now

FEATURE:

 

Illuminati, Fake Bumps and Dorian Gray

 ALL PHOTOS (unless credited otherwise): Getty Images 

Why the Rumours and Conspiracies Surrounding Beyoncé Cannot Hide the Fact: We Need Her to Guide Music Right Now

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WHETHER you consider yourself a big fan…

PHOTO CREDIT: Kevin Mazur (Getty Images for TIDAL)

of Beyoncé or a casual observer; you are probably aware of the ridiculous rumours that surround her. These (rumours) include the nature of age – exactly how old is she?! – and she is part of the Illuminati. Some think her recent pregnancy was a fake – a child would disprove that theory! – and that, Solange Knowles, is actually Bey’s daughter! The fact Beyoncé is in her thirties and, unless she popped out Solange when she was in school; that assumption holds little water – and, why would anyone think Solange would lie about being Bey’s sibling?! Others have speculated Beyoncé killed Joan Rivers and held Sia captive in a lair years ago. I never had Beyoncé pegged as a killer and dictator: going after random celebrates and getting a criminal record is not the best way to shift records! Other sources have linked her to former President Barack Obama; other absurd and wild theories have come to light. Bey actually hit back at those Illuminati rumours in her song, Formation (from her 2016 album, Lemonade). Whether you have enough patience to scotch those rumours and give credence to any turn of the gossip wheel – Beyoncé is not the first musician who has had many theories attached to their name. From the rumours surrounding Paul McCartney’s death back in the 1960s to, well…you can do your own research!

IN THIS PHOTO: Jay-Z and Beyoncé

I am not sure why so many idle and non-seneschal theories surround Beyoncé. I guess, when an artist seems normal and well-adjusted; the press get it into their heads they are hiding something. It is not possible, we are told, for a big name to be an ordinary person – albeit, someone blessed with enormous talent! Beyoncé has hit back at these slights and has, with her husband Jay-Z, added more dates to their On the Run II tour. They will head to the London Stadium on 16th June and, assuming there are no other conspiracy theories thrown at her before then; she will be free to kick some arse in the U.K. I guess, in a way, it is flattering to have people take an interest in your life that does not revolve around fidelity and relationships – even though claiming she is a murderer is a bit much! One of the reasons I wanted to write about Beyoncé is because, right now, she has a role to fulfil in music. She has recently given birth to Rumi and Sir. Having twins can put a career on the back-burner for a bit: the fact she is embarking on tour dates means there is not a lot of time to ponder and relax! Lemonade, two years ago, was the last album we heard from Bey.

That record tackled reports around Jay-Z: many felt her husband was having an affair; one can detect a lot of anger and marital tension in the songs. She came out and claimed Lemonade’s most fired-up tracks were fictional – not related to the suspected cheating of Jay-Z. However you view that statement – maybe there is some truth in it – the sheer anger and confidence put into the music took many by surprise. Other songs, looking at political tension and the role of women in society, got under the skin – Lemonade is her best-reviewed album to date. Aside from Sanaa Lathan being revealed as the actor who bit Beyoncé – the woman can’t catch a break – we have not heard too much from Beyoncé since 2016. I am still listening to Lemonade and feel, back during the Obama administration; there was less reason to be riled and furious than the current (Trump) incarnation. Now, with gun violence and racial tensions; sexism and bigotry acting as White House wallpaper – surely, now, is a time for music’s foremost voice to come forward and attack?! The thirty-six-year-old Texan superstar has enjoyed a long and varied career. Lemonade, to many, is the peak of Beyoncé’s career. Although there were a fair few writers and producers in the musical kitchen: it is Beyoncé’s voice and power that strides through. The tracks run right through R&B, Rock; Soul, Hip-Hop and Blues. There are Country touches and nods to traditional Pop – although, like any Beyoncé album, there is nothing sugary and empty. Anger and betrayal played a big role; anger, political and personal, were evident – that was mixed with lighter tones and reasons for celebration.

Standouts like Don’t Hurt Yourself, Formation; Freedom and Hold Up are as good as any Beyoncé track. Few artists have the same potency and ability to grab the listener by the throat. Look back at her career and you can hear the evolution. I have been a fan of hers since the Destiny’s Child days. In my view; Beyoncé started coming into her own as a leader and performer during Destiny’s Child’s second album, The Writing’s on the Wall. In 1999, with singles like Bills, Bills, Bills; Bug a Boo and Say My Name out in the ether – we could hear Beyoncé stand as the unofficial band lead and bring these songs to life. 2001’s Survivor found the band, and Beyoncé, turn from songs about faithfulness and love to womanhood and independence (although, sexual liberation and equality were part of the band’s make-up from the debut). The title cut is as emphatic and anthemic as they come; Independent Women Part I is a huge banger; Bootylicious and Dangerously in Love are, perhaps, two of the best-known Destiny’s Child songs. During this time, Bey stood out as the group’s lead writer and took more control of the music. Prior to 2004’s Destiny Fulfilled coming out; it was announced each member of the group would release a solo album – to heighten interest in Destiny’s Child and get them more attention. Some felt this move was a mistake: reviews for their final album were not as good as expected.

More writers and producers came back into the folder; there were fewer anthems and ready hits as earlier records – band members Kelly Rowlands and Michelle Williams were more involved as producers. None of this was bad or an error of judgement: the group’s time had run and, despite a couple of gold tracks (Lose My Breath and Soldier), it was time for a change: a time for Beyoncé to stand out alone. A year before Destiny’s Child’s last studio album; Beyoncé released her debut solo album, Dangerously in Love. Its opener, Crazy in Love (featuring Jay-Z) hit number-one in the U.S. and demonstrated how strong Bey was when stepping out of the ‘shadows’. Not that her then-band were causing restrictions: it was about each member and, as such, harder for each member to put their stamp on songs that were, quite often, written by committees. Beyoncé’s solo debut allowed her to help master, produce and write the songs she would go on to perform. She hit her first peak, in my view, on the sophomore album, B’Day. Released on 1st September, 2006 – to coincide with Beyoncé’s twenty-five birthday – the album’s cover sees the star in a sexy and sultry mood. That is not to say the songs on the album had any intention of being submissive and predictable. Among the tracks are some of the most personal and emphatic slices of Bey’s career to that date.

She was in a productive mood and, with good teams around her, free to conspire, create and expand. Working with her husband, Jay-Z; the album was recorded at four different studios with a range of names/producers. It is not a shock B’Day won the award for Best Contemporary R&B Album at the 2007 Grammy Awards. Get Me Bodied and Ring the Alarm are as good an example of Beyoncé’s magic as you will get –  the latter, a song that suggested what the heroine would do if she caught her man walking around town with another woman! Songs on the album hinted at what she would create a decade later: a strong and proud woman who was taught to take vengeance on men who wronged her. Although there are enough names on B’Day – like every Beyoncé solo album – it was designed to give her range and diversity…rather than show a lack of talent and confidence. I Am… Sasha Fierce was a two-sided release. The first, ‘I Am…’ was composed, largely, on slower songs and ballads: the latter, employing her new persona, was a more pumped and sexual offering. Although the 2008 album did not get universally hot reviews upon its release; singles like Halo and If I Were a Boy (from the first side) impressed and showed a sensitive, mature side to Bey. Nine singles were released from the album: Single Ladies (Put a Ring on It), from the second-half, stands as the highlight cut. Some felt the album failed to reconcile its disparate and unique halves; others expressed doubts regarding the number of singles released and the hype the album received – never able to live up to such expectation.

2011’s 4 and 2013’s Beyoncé got the wheels back on the tracks, as it were. 2011’s swansong, Run the World (Girls) and Beyoncé’s XO showed she had lost none of her ability and talent. 4 showed sensitivity and Beyoncé’s ability to shine as a torch singer. Beyoncé was, at that point, the best-reviewed album of her career. That upward trajectory was no shock: with each release, she was growing in stature and acquiring new skills as a songwriter. Maybe changes in her life – the security of love and motherhood – she gave birth to Blue Ivy Carter in 2012 following a miscarriage the year before – was responsible. However you view her career and quality up until that point; there is no denying the reliability and determination. Live performances were heralded and proffered; her fanbase swelled and, prior to Lemonade, Beyoncé was the most sought-after and influential female solo artist on the planet. Her 2016-released masterpiece prefaced her brief hiatus – with new life in her came new responsibilities. Lemonade blew the doors open and showed, at that point, there was nobody quite like her. In summing-up; the reason I feel we need a Beyoncé charge ties to everything she has achieved – and what we need in music right now. The fact she has overcome marriage difficulties – if you feel Lemonade was autobiographical – and achieved a lot since then means, surely, there is the inspiration for something heartfelt and passionate.

It is the potential righteousness and aggression that excites me. Trump is now in office and there is the Time’s Up and Me Too movements. Women’s rights are at the forefront and there is the fetid sleaze of Harvey Weinstein hanging in the air like an insistent fart. More revelations and accusations are coming out; racism and aggression against the black population are unabated; gun violence is still a huge issue – so many troubles, not only in the U.S., but the wider political stage. In a world divided and struggling; the sort of sermons and spirit Bey brings to the music world is now, surely, needed more than ever?! I look out at music and, aside from Kendrick Lamar and Jay-Z; there aren’t that many big artists able to adequately articulate the frustrations we all face. Sure; there are Punk and Rock bands who make a good stab at it – I feel U.S. artists, sadly, are more impressive when it comes to that much-needed fire and leadership. Eminem, sadly, produced a weak album with Revival. I felt, when it was announced, it would be a modern (albeit, older) version of The Marshall Mathers LP – a collection of songs that reminded us why he is one of the best rappers ever. A lack of focus and too much collaboration (Ed Sheeran, for Christ’s sake!) meant it failed to register and impress – signalling an end to his best days; perhaps, it seems, his last album?!

I feel Beyoncé is the person to step forward and provide the album we all need right now: one that would show it political colours and, at the same time, provide personal and passionate songs (a mix of maternal ponderings and sexual, sensual hip-swivelers!). A new album could stray along the same lines of Lemonade: it would not be bad hearing the second part of that record. What I feel is best – and what she could do – is update its political mandates and bring in some of the inspirations we heard in her earlier career – a 2018 version of Ring the Alarm of Lose My Breath, perhaps? She is in her mid-thirties now; the inspirational palette has taken in new colours. In any case; there is a definite spotlight waiting to be filled. I have been impressed by recent albums by St. Vincent and Phoebe Bridgers. There are so many great female artists providing exceptional, nuanced music. At a time when there is gender-inequality and discrimination; ‘Queen Bey’, it seems, need to sit back on the throne and deliver a devastating message to the world. Whether that will come post-tour – there is chatter she is working on music right now – I hope there is plenty of anger in her heart. An all-ballads record would be understandable: it is not what the public, and her fans, want right now. I am excited to see what could come and, in a year where we need a strong and defiant voice to show us the way; it seems Beyoncé’s talents and powers are required now…

MORE than ever.

FEATURE: Are People Strange? How the Industry Benefits From Artists Who Are a Bit ‘Out There’

FEATURE:

 

Are People Strange?

ALL PHOTOS: Unsplash

How the Industry Benefits From Artists Who Are a Bit ‘Out There’

__________

IF you are the kind of person who licks windows…

and eats dog food for its taste; you’d probably be a bit short-changed looking out at the music landscape - hoping to find something that strikes the ear and makes sense. What bugs me is, among all the progression and evolution in music, there are few artists working on the fringes; those who push the envelope and provide some proper-odd music. I am not saying they need to be as peculiar as, say Captain Beefheart, or some wigged-out Psychedelic band. What I mean is, when you are faced with a blank page and the prospect of an album – what is the harm in doing something a little unusual and adding some strange spice to the pot?! I feel there is too much ordinary music and predictable steps being made right now. The reason I have written this piece is because of two current artists/albums – from Let’s Eat Grandma and Jack White – show what can happen when you tease a bit of acid into the cuisine. White’s latest album, Boarding House Reach, has been receiving some good reviews. There are some that have been a little lukewarm regarding his latest effort. One of the biggest concerns – regarding his latest album – is the lack of real punch and epic riffs…the kind we are used to hearing from the former White Stripes lead. What has made an impact is how he has strayed far from the ordinary and produced an album with weird tics, movements and sounds.

Like some weird loner holed up in a woodland shack; Jack White took his four-track and box-set of Keeping Up Appearances and started the wood carvings of Boarding House Reach. Among the howling wolves and blowing wind was a stream of consciousness that led to some brilliant recordings. Why Walk Like a Dog? has spacey organs and electronics; its muted vocals and shadowy tones show the U.S. musician has lost none of his mystique and eccentricity. Abulia and Akrasia features a rousing speech set against cascading piano notes and aching strings; Hypermisophoniac and Get in the Mind Shaft definitely depart from your normal Rock/Alternative album. There are some softer, more conventional offerings on the record – the fact the album is taking a while to capture all critics is the way White has gone a bit bananas. I have listened to him in interviews lately and the man is his usual warm, funny and fascinating self. Going against the more restrained – for him, anyway – offerings; he has released an album that takes you by the knackers and trips the mind. The album is not an out-and-out weirdo: it has some odd edges and subverts any expectations we had. I wonder whether, in a time like this, we need to be a bit more open-minded and supportive of those artists who go beyond the obvious and take music in new directions.

There are other modern artists, like King Gizzard & the Lizard Wizard who produce music that definitely does not look at sell-by dates and your ‘best before’ labels. They drink from the toilet and juggle beer cans in the park. Whilst those images might provoke a lunatic or derelict; modern inventors and provocative artists show where music can head. Maybe Jack White’s third solo outing has some loose flaps and unfocused numbers. It is when he opens the taps and lets his imagination fly that we get the biggest and boldest sensations. Even though critics have been ambivalent towards his new effort; those who have praised it highly signal out his weirdness and experimentation as a major bonus! Another act doing something different is Let’s Eat Grandma. They have very little common with the American icon. Instead; here are two British friends, Rosa Walton and Jenny Hollingworth. Their 2016 album, I, Gemini, impressed critics and launched the teenage songwriter to the world. Let’s Eat Grandma’s newest track, Falling Into Me, shows what we can expect from their forthcoming album, I’m All Ears (out on 29th June). The song, for them, is more controlled and safe: the previous single, Hot Pink, is a right-out-there barker that, happily, recalls their debut album. The duo match fizzing, violent and eerie tracks with something more accessible and digestible.

One can argue an artist like Kate Bush or Björk – when they arrived in the 1970s and 1990s, respectively – were the equivalents of Let’s Eat Grandma and King Gizzard’. Jack White, although he has been releasing music since the 1990s has increased his cosmic horizons and is exploring sound and texture in new ways. Let’s Eat Grandma are not an art project or something you might expect to see on a John Lennon and Yoko Ono album – weird effects, tape sounds and random howling. Let’s Eat Grandma are a wonderful act who might face a challenge: getting widespread acceptance and appreciation. They have a lot of fans already: getting further out there and resonating with wider markets might take a bit more time. I feel one of the reasons there are not more artists out there like the aforementioned is because music is still, in 2018, too tame and limited. There are innovative and brash artists but, even at their most outrageous and daring; I still find myself wandering off half-way through things. The reason the innovators and legendary ‘kooks’ like Kate Bush created such a stir is that they were not the same as everyone else. I am not suggesting artists need to lose their minds and provide an acid trip to the listeners. The reason I am so captivated by those who do not colour between the lines is (because it) is the antithesis of the bland and formulaic mainstream act. I have a lot of time for popular music but it is nice to get out of the routine and discover something a little unusual.

One-off songs like Frontier Psychiatrist (The Avalanches) have dropped in the world and stunned people. We did not know what to make of that song and yet, years after its release (it was part of the 2000 album, Since I Left You); it is a song people gravitate towards and love. I wonder whether we need to stop being so restrictive with music and push boundaries more. There are more artists – than I have mentioned – who splice genres and take gambles; subsume predictions and take the brain somewhere else. Whether an artist rewinds a tape and splices in a spoken word piece; they distort the voice or create a multi-part suite – I long to hear something that thumbs its nose at the three-minute, suitable-for-radio jam. You do not have to alienate people to be seen as alien. By that; I mean you can create wonder and curiosity by slightly tweaking the ordinary. Jack White’s current album is relatable and resonates with those who have followed its career. What it does do is add a little bit of oddity to his palette and is definitely not, in any sense, boring. A complete overhaul and redefinition of modern music is not the answer to the problem. Having everyone doing the same thing – a little strangeness to the agenda – would create a similar issue. Freakier, unusual artists might, on paper, seem like a hard prospect to love.

I would object to huge waves of out-there artists coming into music and washing over what is already here. What I DO want is more of the artists working in the underground – that have those peculiar embers and inventive songs – get more focus and embrace. Maybe it is a case of the odd kid in school being isolated in the playground. I don’t think modern music is that clique-obsessed and ignorant: there are plenty of mainstream and popular acts capable of enticing with a sense of the strange. What I have noticed is a scene where there are too many same-sounding and restricted ambitions. It is nice having artists who do not care about fitting in with the rules and following the pack. Maybe there are some sound-pushing, wild artists ready to add a dose of the zonked into a more palatable and acceptable concoction. Most of those artists, from what I hear, are reserved to specialist radio shows or are working in the underground. Perhaps artists like King Gizzard & the Lizard Wizard and Let’s Eat Grandma are temporary flashes and rare specimens. I think there is something oddly captivating and attractive about an artist who takes those sort of gambles. I am not in the minority: many people are connecting with songs/musicians who approach things from odd angles. To answer the question posed at the top of this feature, ‘Are People Strange?’; I would say, on the evidence around us, the answer is…

NOT as strange as they should be!

FEATURE: After Ten Minutes of Silence… The Best Hidden Tracks in Music

FEATURE:

 

After Ten Minutes of Silence…

 PHOTO CREDIT: Unsplash 

The Best Hidden Tracks in Music

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MAYBE it is hard to represent this feature…

PHOTO CREDIT: Unsplash

with as much purity and effect as I had hoped. What I mean is that some of these songs, the hidden tracks, occur after a long silence – you don’t get the same suspense and surprise with them out of context (the feature’s title is a nod to how long it takes for the Nirvana song, Endless, Nameless, to arrive after Something in the Way). I have looked at the best hidden tracks from music. Some of them are obvious and much-heard – Her Majesty on Abbey Road, for example – whereas some, I’d imagine, are fairly new to the senses (a certain Oasis track might have slipped many by...). I have collected the tastiest hidden tracks from popular music – and listed the albums/E.P. they can be heard or (or were issued on re-releases or vinyl versions).

ALL OTHER IMAGES/PHOTOS: Getty Images

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Her Majesty – The Beatles

Album: Abbey Road

Release Date: 1969

Can’t Take My Eyes Off You – Lauryn Hill

Album: The Miseducation of Lauryn Hill

Release Date: 1998

Endless, Nameless - Nirvana

Album: Nevermind

Release Date: 1991

Citizens Band – Super Furry Animals

Album: Guerrilla

Release Date: 1991

Milk - The 1975

E.P.: Sex

Release Date: 2012

Late - Kanye West

Album: Late Registration

Release Date: 2005

Encore for the Fans/Listen/Get Me Bodied (Extended Mix) - Beyoncé

Album: B’Day

Release Date: 2006

Alas, I Cannot Swim - Laura Marling

Album: Alas, I Cannot Swim

Release Date: 2008

Bonehead’s Bank Holiday - Oasis  

Album: (What’s the Story) Morning Glory?

Release Date: 1995

All By Myself - Green Day

Album: Dookie

Release Date: 1994

Intense Thing - Ash  

Album: Trailer

Release Date: 1994

France - The Libertines

Album: The Libertines

Release Date: 2004

Poor Song - Yeah Yeah Yeahs

Album: Fever to Tell

Release Date: 2003

FEATURE: Vinyl Corner: The Beatles – Please Please Me

FEATURE:

 

Vinyl Corner:

ALL PHOTOS (unless credited otherwise): Getty Images

The Beatles – Please Please Me

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WHENEVER I need a lift and a bit of cheer…

IN THIS PHOTO: The Beatles in 1963

music is always there and ready to provide something special. Now, as I look at transition and taking on new challenges; I have been looking at the music industry and trying to find guidance. There is an album, however, that provides everything I need in one place: the marvellous debut from The Beatles. Whilst other albums of theirs – Revolver, Abbey Road; Sgt. Pepper’s Lonely Hearts Club Band and The Beatles – are more celebrated and better-received; there is something to be said for their debut. Put 1963 into context. The boys were known by then – having played in Hamburg and establishing a name for themselves at The Cavern Club (in Liverpool). The debut single, Love Me Do, was released in 1962 and, already, the band was popular and creating buzz. After the success of Love Me Do and its number-one follow-up, Please Please Me; there was demand for an album and more material. At the point of entering the studio; eight original songs were written – producer George Martin and Parlophone needed more tracks so they could get an L.P. out. At the time, The Beatles were performing cover songs at their gigs: several of these tracks made their way onto the L.P. The concept was simple, yet daunting: record the album during a single day; essentially, as a live-sounding L.P.

IN THIS PHOTO: The Beatles in 1963/PHOTO CREDIT: Pinterest

The aim was to release something that was, in essence, a Beatles live set – a sprinkling of covers alongside the originals of Paul McCartney and John Lennon. Interest in The Beatles piqued at this time so that pressure could have resulted in something hurried and slapdash. The fact the album was recorded during a day-long session meant, technically, there was a need for expeditiousness and ‘efficiency’. With EMI Studios in Abbey Road booked; on Monday, 11th February, 1963; The Beatles began working on the album. The idea was to have a morning and afternoon set – getting everything dusted and captured by the evening. The guys started the recording at 10 A.M. and performed a different number of takes for each song – finishing at 10:45 P.M. (Ten songs were recorded during that session; they had already recorded four tracks - Please Please Me, Love Me Do; P.S. I Love You and Ask Me Why - as sides A and B of the two singles released prior to that point). What is amazing to me, and George Martin back then, is the endurance and discipline the band had. Compare it to a modern-day Pop band and you would not get the same stamina and results. Now, they would record a few songs a day, if that, and enjoy the luxuries of the studio. The urgency and desire to have Beatles material into the world meant there was a pressure to get the material sounding right and pure – whilst ensuring it had a live feel and replicating their sets at The Cavern Club. The fact they managed to perform the songs that fast, and keeping their voices strong and working, is a huge feat in itself!

The fact remains: the longer the day went on, and the more they played, the better they came. After 585 minutes of recording – the most efficient and spectacular in all of music – they had a record finished. To get a sense of why the album is so groundbreaking and important; we need to pick the needle up and reposition it into the groove. There were some double-tracked vocals (McCartney on A Taste of Honey) and overdubbed instruments (piano on Misery; harmonica on There’s a Place) but, for the most part, it was that simple and bare-naked bliss. You listen to the first track from the record: the insistent and joyous, I Saw Her Standing There. McCartney counts it in and launches – with the band – into a captivating and youthful paen to the possibilities of a night out. It has innocence and allure but there is a sexuality and suggestiveness that makes the song both pure and salacious. Boasting, perhaps, the most-noted opening lines from any Beatles song – “She was just seventeen/You know, what I mean…” – it is a delirious, raucous sting that gets the album off to a brilliant start. At this time, given the way albums are promoted and singles drip-fed; it would be tempting to throw their biggest hits into the top-three. They could have put Love Me Do and Please Please Me right after the opener – hooking people in and keeping them invested. Those tracks, transposed, do not appear until tracks seven and eight – right at the half-way marker!

The ordering of the first-half is interesting. After that explosive opening; Misery (another original) is followed by Anna (Arthur Alexander). The guys showed their songwriting variation up-top before unveiling a diverse hattrick of covers – Chains and Boys followed (the latter handed the microphone to Ringo Starr). Ask Me Why, track-six, brings it back to original territory; the closer is the title cut. It is a great move ending the first side with a big hit – it gave the first side a great balance and ended it (and started) with a huge high. The same is true of the second-half. It opens with their debut single, Love Me Do. Whereas the opening side started with fizz and race: the next side opens with something more romantic and Blues-inspired. Lennon’s harmonica playing has been highlighted by critics as a revelation. Most people would have expected bent notes and American-style playing. Lennon’s performance was rawer and truer to Northern England. It has expression and melody and far more honesty than what was floating around Rock and Pop. Again, another original completes a glorious opening duo of songs. P.S. I Love You, more popular with some critics than Love Me Do, builds the mood up and shows, even in 1963, what interesting and perspective songwriters Lennon and McCartney were. Although the writing was simpler than the work they would produce by 1966 (Revolver); the original recordings on Please Please Me reflected where the band were in 1963.

They were in the studio to get down something quick and exciting: labouring over melody, compositional layering and pushing technology wouldn’t have been cost-effective or required. It was not until the band transitioned from Rubber Soul to Revolver (1965-1966) that they transformed from more straightforward songs to the experimental and mind-altering tracks that would take them to a new level. It is the freshness and verve one hears through Please Please Me that strikes the mind. George Martin’s production manages to leave the songs uncomplicated yet professional. He got the best out of the band but did not expect them to record endless takes of the same song – the clock was out and the budget limited. The remaining five songs of the record sprinkled covers and originals: Baby It’s You and A Taste of Honey (tracks three and five of the side) were sandwiched by Do You Want to Know a Secret? and There’s a Place (tracks four and six). Cleverly, and economically; the band closed their debut with a popular and explosive cover – bookending the thrills and rush McCartney provided at the top. Unlike later albums like Abbey Road and Let It Be; Please Please Me saw John Lennon take more of a role in the band. One can chart The Beatles up until 1967’s Sgt. Pepper’s Lonely Hearts Club Band to see when the dynamic shifted.

The fall-out from that world-changing, paradigm-shifting album was the vast and compartmentalised, The Beatles (‘The White Album’). From 1968-1970; McCartney took more of the ‘band leader’ role – he exerted that sort of command during Sgt. Pepper’s Lonely Hearts Club Band – until the end. The debut, to me, is defined by Lennon’s role. Although the two songwriters showed their skill and variation: the entire band was present and featured in vocal roles. Starr took the lead for Boys; George Harrison took the mantle for Do You Want to Know a Secret? Although Harrison’s vocals were criticised by journalists (and seen as a bit weak by the band) it was good to see a democracy and four different voices through the record. Please Please Me has that balance of meticulous construction and planning with live-sounding music and simplicity. If the spread of covers and originals was a savvy move and balance – alongside the bookended choices – the finale was always going to be Twist and Shout. The song was the last to be recorded and one could argue, was John Lennon’s voice in better shape, it would be higher up the pecking order. It is conceivable the album, and The Beatles’ careers, could have changed and been different if another song ended their debut album. The reason Twist and Shout ends things is because Lennon, during recording, was suffering a bad cold. Whilst the rest of the studio was drinking coffee and smoking: Lennon was drinking milk and preserving his voice.

An all-day recording session could bust a healthy and perfect voice: one that was already damaged and vulnerable should not have lasted as long as it did! With little time left, and little voice left in Lennon, the band knew they had to master Twist and Shout on the first take. If the take had gone wrong (the voice breaking or the band fluffing) they would have stopped tape to regroup. Lennon might not have had the capacity to complete the recording and, as such, the record would have entered its second day. To consider how disruptive and inorganic that would sound makes the actual recording of Twist and Shout a marvel. Lennon gives it his all and, with that sore throat, created one of the most rebellious, electric and impressive vocals of the 1960s. It harked back to Rock ‘n’ Roll icons like Elvis Presley. Such power and raw sexuality was not expected, or promoted, in 1963’s music scene. It changed the game and excited the bored youth – with it, sparking a revolution and launching The Beatles onto the world stage. Please Please Me was recorded for £400 (just under £8,000 in today’s money) and, given the fact Parlophone had a yearly budget of £55,000 to cover all musicians on their roster – it was a fair chunk of change but, compared with the impact the album made; I figure it is money well spent! Please Please Me went to number-one on the U.K. album charts and was made platinum in the U.S. (it has sold in excess of 1,000,000 copies!).

IN THIS PHOTO: The Beatles at The Cavern Club (circa 1961/1962)

To me, the album represents the first (literally) flourishes of The Beatles and discovering music in a different way. I remember gearing the songs, on tape and radio, when driving to my grandparents’ house in the late-1980s/early-1990s. I was used to a different sound and type of music when I was that young. The simplicity and excitement of Please Please Me opened my eyes and seeped into my imagination. Every time I hear the opening harmonica notes of Love Me Do or that ready-to-rock-and-roll clarion from McCartney on the opening track – I am transported to my early life and discovering The Beatles. There are, yeah, some rougher patches on the record – Harrison’s sole vocal lead; covers like Anna and Baby It’s You – but, on balance, it is an exceptional and revelatory album. Those looser edges and weaknesses make the album such a treasure. It represented and mirrored the type of performance one would expect from The Beatles at that time. They would, as I mentioned, go on to grow as innovators by the middle/end part of the 1960s. Even from the debut album; people knew what The Beatles could achieve and how talented they were. The closeness and brotherly spirit of the band is evident in every track. To be a fly on the studio wall when they were putting the songs together would be a dream come true. I can only imagine what sort of conversations happened when the album’s last note was captured – you can hear McCartney let out a jubilant cheer at the very end of Twist and Shout! All said and done; Please Please Me is one of the most important and underrated albums of all-time – and one we should all have as part of our collection. It is perfect on vinyl and, if you have a spare thirty-three minutes; stick it on the turntable, drop the needle; let that evocative and genius music…

IN THIS PHOTO: John Lennon and Paul McCartney at EMI Studios; 4th September, 1962 

TAKE you to another place.