FEATURE: Female Icons: Part Fifteen: Patti Smith

FEATURE:

 

 

Female Icons

IN THIS PHOTO: Patti Smith in 1975/PHOTO CREDIT: Robert Mapplethorpe Foundation 

Part Fifteen: Patti Smith

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LAST week…

 IN THIS PHOTO: Patti Smith in 2017/PHOTO CREDIT: Jesse Dittmar

I included PJ Harvey in my Female Icons feature. I have tried to cover as many genres as possible in this feature and, in the coming weeks, I will include some Pop and Jazz. Today, I am sticking with an artist who is a bit rawer and gutsier than a lot of the artists I have covered – that is not a slight but just a difference in terms of the music. When we think of great women in music who have shone and inspired, you have to mention Patti Smith. She is still recording music today and, in 2012, she released Banga. The album gained a lot of critical praise and, in terms of themes and subjects, Smith was drawing from her dreams and observations. Songs talked about history, death; nature, current affairs and so much more – Smith still able to create these profound and moving songs so long after her debut.

PHOTO CREDIT: Sebastien Bozon/Getty Images

I shall collect together some of Smith’s best songs in a playlist at the bottom of this feature but, to start, it is best to mention her debut album: Horses was released in November of 1975. Patti Smith and her band, by that point, had built a reputation as favourites in the New York underground club scene. One can only imagine the scene back then and the sort of sounds that were flying around. Punk was happening then and, whilst it had not peaked and exploded, artists like Patti Smith were starting to experiment and push boundaries.

Smith and her band were spotted by Clive Davis of Arista Records and the band started work on Horses in 1975 and, in all, it was such a quick process between singing and releasing a debut. Some might say that a rushed and quick album recording signals a lack of ideas or experimentation – maybe there is depth missing or a lack of care. I like artists who take time in the studio but, when you listen to Patti Smith’s debut, she captures something urgent and thrilling but also manages to make songs build and grow. Classic tracks like Redondo Beach are relatively short (3:26) whereas Birdland is over nine minutes. If some of her contemporaries like Ramones were releasing album full of sharp and short shocks, Smith was building poetry and different elements into the Punk template. John Cale was enlisted to produce Horses but the relationship was not always smooth. Smith wanted to release an album that spoke to the outsiders; people who were a bit like her – rather than it being commercial and a ‘hit’. The working processes of Smith and Cale were different and it is small wonder there were confrontations. Smith has played down Cale’s role but, actually, maybe that tension led to some great moments. I think Smith has suggested the tension and mania in the studio led to songs like Birdland and Land: these long and emotional songs where it sounds like she is trying to get so much out.

Maybe Cale’s approach to the studio – more professional and studious – was foreign to Smith and her experiences previously. She had come from the club scene and it was like two different world clashing. Despite some negative memories, Horses remains one of the greatest debut albums ever. So many critics rank Horses in their favourite albums ever and it has inspired so many artists. After Horses arrived, Smith was hailed as one of the most important members of the New York Punk-Rock scene and one of the catalysts when it came to the Punk-Rock movement. Unlike so many Punk records of the 1970s, Horses had poetry, art and intelligence mixing alongside spit, fire and raw emotions. Everyone from R.E.M.’s Michael Stipe to Johnny Marr have cited the record as influential. Strong female artists such as Viv Albertine of The Slits claimed the album changed her life; PJ Harvey is another artist who was blown away by Horses. The reviews for Horses are universally positive and, in this AllMusic review, a lot of good points are raised:

“It isn't hard to make the case for Patti Smith as a punk rock progenitor based on her debut album, which anticipated the new wave by a year or so: the simple, crudely played rock & roll, featuring Lenny Kaye's rudimentary guitar work, the anarchic spirit of Smith's vocals, and the emotional and imaginative nature of her lyrics -- all prefigure the coming movement as it evolved on both sides of the Atlantic. 

Smith is a rock critic's dream, a poet as steeped in '60s garage rock as she is in French Symbolism; "Land" carries on from the Doors' "The End," marking her as a successor to Jim Morrison, while the borrowed choruses of "Gloria" and "Land of a Thousand Dances" are more in tune with the era of sampling than they were in the '70s. Producer John Cale respected Smith's primitivism in a way that later producers did not, and the loose, improvisatory song structures worked with her free verse to create something like a new spoken word/musical art form: Horses was a hybrid, the sound of a post-Beat poet, as she put it, "dancing around to the simple rock & roll song”.

I shall not cover all of Smith’s albums in detail but, after Horses, Radio Ethiopia was released. Smith was back on terrific form by her third album but, in some ways, Radio Ethiopia was a way to move away from Horses and release something more commercial. With producer Jack Douglas, Smith recorded an album that can be seen as interesting rather than essential. The ten-minute title track drew a lot of criticism due to its lack of cohesion and, well…appeal. Maybe some of the harsh reviews were unfair but there was a feeling there was more self-indulgence than anything on Radio Ethiopia. Things would get back on track by 1978’s Easter.

 PHOTO CREDIT: Lynn Goldsmith

Much more accessible than its predecessor, Easter had a more diverse and open feel. Rather than sticking with one genre/sound, Smith spliced Rock & Roll together with Folk and Spoken Word. Some of her best tracks to date appear on that record – including Because the Night (co-written by Bruce Springsteen), We Three and High on Rebellion. Easter’s title provokes religious imagery and, elsewhere, there are religious references – Privilege (Set Me Free) has some lyrics adapted from Psalm 23. Whilst it is a different beast to Horses, Easter is a classic in the Smith cannon and one that, again, drew some huge reviews. Pitchfork’s assessment of the album is particularly insightful and passionate:

“So after working with John Cale on Horses and Jack Douglas (Cheap Trick, John Lennon) on Radio Ethiopia, she chose to work with a new producer named Jimmy Iovine, because she liked what he’d done as an engineer working with Bruce Springsteen. It was a deliberate business decision, no matter that she would later insist that the album was “more communicative. I don’t like the words accessible and commercial.” Lenny Kaye would back her up: “There was no conscious drive to sell records, that was our last thought.”

Even the cover concept was Smith’s twist on sex appeal; while it was probably the first major-label album cover to show a woman with unshaved armpits (which Arista tried to airbrush out), it was created with the object of selling records. After that inimitable Robert Mapplethorpe shot on the cover of Horses and the black-on-silver abstract by Judy Linn that graced Radio Ethiopia, for Easter, Smith went with Lynn Goldsmith, who had just founded the first photo agency that focused on celebrity portraiture. Smith would even tell Rolling Stone that she had masturbated to her own album cover: “I thought if I could do it as an experiment, then 15-year-old boys could do it, and that would make me very happy.”

Smith then flips the switch to “25th Floor.” This is when the woman in “Because the Night” takes out a match and lights the whole damn place on fire. “Love in my heart/The night to exploit/Twenty-five stories over Detroit,” she sings, tales of unabashed emotion in the ancient Book Cadillac Hotel in the Motor City, where she and Fred “Sonic” Smith had taken rooms. “25th Floor” then transmutates its closing ecstasy straight into “High on Rebellion,” the title of which is accurate and illustrative. It is about another important relationship, this time a treatise about Smith and her electric guitar: “...I never tire of the solitary E and I trust my guitar…” The band manifests its own chaos effortlessly behind Smith, before the exemplification of that solitary E fades out slowly”.

By Dream Life in 1988, The Patti Smith Group disbanded but Smith was still in inspired form. Moving into the 1990s and we saw Smith’s music changing slightly. Maybe it is not as captivating as Horses and Easter but she was still producing these wonderful and evocative albums. There is a tinge of sadness on Gone Again, considering what was happening around the time. Released in 1996, a few of Smith’s friends and peers died around the time. Her husband Fred ‘Sonic’ Smith, her brother Todd and Kurt Cobain had departed. Gone Again also features the final studio performance of Jeff Buckley – Buckley died in 1997.

 PHOTO CREDIT: Annie Leibovitz

Gone Again, despite some of the bad luck and tragedy that surrounded it, was a revitalisation from Smith. It is one of her best albums and, as this review shows, there is a lot to love and respect:

“After years of silence, Patti Smith returned to music with a series of concerts in late 1995. It had been years since she had performed live -- for most of the '80s and '90s, she concentrated on domestic life. Following the death of her husband, Fred "Sonic" Smith, in early 1995, Smith began playing music in public again and those concerts eventually led to the triumphant comeback Gone Again. Her husband wasn't the only loved one Smith lost between 1988's Dream of Life and 1996's Gone Again -- her brother and her close friend Robert Mapplethorpe both died. Appropriately, grief and loss hang over Gone Again, but the overall effect is not one of indulgent melancholy. Instead, it's a sober but strengthing listen -- this is healing optimistic music. Like most of Smith's best work, the songs on Gone Again aren't proper songs, they're song poems, with cascading music and dense, inspired lyrics. Smith sounds more mature than her earlier records -- there are only a handful of out-and-out rockers, and most of the album is subtle and folky -- which gives the album extra weight. Gone Again is more than a comeback, it's a revitalization -- Patti Smith simply hasn't sound so engaged and provocative since Easter”.

In terms of Patti Smith’s more ‘recent’ albums, I really love 2004’s Trampin’. I will end with a bit about Smith’s legacy and importance – returning to Horses – but, in terms of longevity and relevance, there are not many like her.

Consider the fact she has been making albums for nearly forty-five years and, let’s hope, there is no end in sight! I opened by talking about her 2012 album, Banga. It is a remarkable album and one of her finest since the 1970s. Recorded throughout 2011 at New York’s Electric Lady Studios, the sessions were produced by Smith, Tony Shanahan; Jay Dee Daugherty and Lenny Kaye. It was almost like Smith was returning to her Horses roots – she used a lot of the same personal and a lot of Banga’s best moments can be compared to Horses’ pedigree. One wonders when the next Smith album will arrive but, as the reviews for Banga show, the legendary artist still has plenty of genius and firepower in her heart. This review from The Guardian gets the heart of Banga:

“Patti Smith has returned to the poetic-punk format of 1975's Horses, which the Polar prize committee recently described as "Rimbaud with amps". Four of Horses' personnel – Smith, guitarist Lenny Kaye, drummer Jay Dee Daugherty and Television' Tom Verlaine – are present here. It's a mixture of pop songs and poetic explorations, aided by the instantly resumed chemistry between Kaye's shimmering hooks and Smith's sensual vocals. While she has never sung better, the pop songs hit home first: the dreamy Amerigo, the reflective Maria and sublime April Fool, a headrushing tale of outlaw lovers who "race through alleyways in our tattered coats".

The more esoteric monologues demand – and reward – perseverance, especially the 10-minute Constantine's Dream, a passionate defence of her other great love, art, complete with fantasy sequences set in the Garden of Eden. The collision of sound and language is exhilarating; if it is also occasionally impenetrable, that's down to her death-or-glory manifesto to "let me die on the back of adventure, with a brush".

Patti Smith is still performing and creating music and, I understand, there might be something from her fairly soon – although that cannot be confirmed at this time. Smith transformed Punk and inspired countless artists. She continues to influence and the magnitude and importance of Horses cannot be denied. I will end by sourcing from a couple of interviews when Smith talks about Horses. In this BBC piece, Greg Kot recalls interviewing Smith and why some critics got Horses all wrong:

“I felt that our cultural voice, which was so magnificent through the late '60s and early ‘70s, was faltering,” Smith told me, “and there was the rise of stadium rock and glam rock and all of these different things and I felt like somebody had to save it. I didn’t think that it would be me, butI thought I could play a role. I had a strong sense of myself, and I came to say, ‘Here I am’. I’m speaking to those like me, the disenfranchised, the mavericks. ‘Don’t lose heart, don’t give up’.”

PHOTO CREDIT: Robert Mapplethorpe Foundation 

In the end, the Smith heard on Horses aimed to transcend language, genre and her limitations as a sickly working-class kid who moved to New York in search of a job. She couldn’t be confined by a single genre, even one as full of possibility as ‘punk’. Though her bandmates weren’t jazz musicians, they flowed with and around Smith’s voice and words with improvisatory zeal and empathy, never more so than on Birdland. Smith and producer John Cale battled every step of the way about the direction of the album, and decades later the singer would credit Cale with bringing out one of her most intense performances on the nine-minute track”.

Here, in this feature from 2017, Smith talked about revisiting Horses. On 9th March, 2017, Smith played her first gig in Milwaukee for thirty-eight years; she played Horses in its entirety and she performed with two musicians who appear on the album: guitarist Lenny Kaye and drummer Jay Dee Daugherty.

“What goes through your mind as you revisit “Horses” at this stage in your career?

For me it is revisiting not just an album and the lyrics within the album, but a period of my life that was pivotal to my evolution as a performer. I wrote (the opening line, for opening track “Gloria: In Excelsis Deo”) “Jesus died for somebody’s sins, but not mine” as a poem in 1970. It was a very long, organic process to get to where “Horses” was, and it really sort of encapsulates my process from writing poetry and performing poetry to evolving within a rock and roll band.

 IN THIS PHOTO: Patti Smith in 2017/PHOTO CREDIT: Jesse Dittmar

What about “Horses” are you most proud of?

That people are still responding. That makes me very happy, that it communicates something, whether it speaks to the disenfranchised, or people respond to a political or poetic element of it.

And I have to say when we perform it, it has a very fresh energy because new people come, a lot of our audiences have been very young people, and it’s such a fantastic thing to be able to connect with new generations with this material. And the nice thing is a couple of the songs have improvisational sections, so every night there’s always a different improvisation which reflects the people, the city we’re in, the political climate and the energy of the night.

What are your perceptions of where are we at now politically, and what role can music play?

We need citizen activism more than ever. Of course having artists and musicians who write inspiring songs that incite and inspire people are important. But I think even more important is when I see a million people on the streets, thousands of people in front of the Trump building, thousands and thousands at the airport, thousands of people that went in the cold to protest the pipeline. The people are really rising across America, and I think that is the most important thing. And I’m not saying artists aren’t helpful and aren’t inspiring, but its really the people united that make change”.

Whilst one cannot distill the legacy and brilliance of Patti Smith to a single album, it is clear Horses paved the way. From its songs to its cover, Horses set the bar and transformed the landscape of music – inspiring, as this article explored, so many pioneering artists:

“The album’s cover is iconic in its own right, featuring an image of Smith shot by acclaimed photographer Robert Mapplethorpe. Dressed and posed in what would be labelled androgynous following the release of the album, Smith wears a white button-up shirt with a black jacket draped over her shoulder. The image was widely considered to be a statement against the sexualisation of women in the music industry, though Smith insists the photograph simply captures her as she is.

Horses, and Smith as a result, went on to inform the work of everyone from The Smiths to Siouxsie and the Banshees and, importantly, carved a space for strong-willed, unconventional female acts for generations to come. The sheer honesty and delivery of the tracks which form Horses and Smith’s refusal to maintain the status quo have shaped her legacy as a punk, a poet and a pioneer”.

Smith’s genius still burns bright and I do not think there will be another artist like her. You can hear her sound in so many modern artists and this will continue for decades to come. I just had to include Patti Smith in my Female Icons feature because she has given so much to music and she continues to fascinate, inspire and move us. There is nobody like the incredible, electric and utterly beguiling…

PATTI Smith.

FEATURE: Popularity Over Purity: Why a New British Rap Talent Show Is a Step Too Far

FEATURE:

 

 

Popularity Over Purity

IN THIS PHOTO: Krept & Konan are fronting a new show, The Rap Game UK, for BBC Three (it is based on the popular U.S. format, The Rap Game) alongside DJ Target/PHOTO CREDIT: Getty Images

Why a New British Rap Talent Show Is a Step Too Far

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I am not sure when the T.V. music talent format will die…

 IN THIS PHOTO: Stefflon Don is one of the most talented and striking rappers on the U.K. scene/PHOTO CREDIT: Getty Images

but every ounce of commercial possibility has been wrung! My feelings are clear regarding long-running shows like The Voice and The X Factor. These shows are not concerned with authenticity and actual talent. In fact, there is no need validity to any music talent show. The design is not to discover an enduring and original artist who can survive for years. Instead, the same sort of generic and manufactured people are seen on the screens. In the history of every music talent show, is there honesty anyone you truly love and has remained in the heart? Even the more successful stars like Olly Murs are not exactly ubiquitous and memorable. The artists that compete on talent shows are defined for the Pop charts; to be as disposable as possible and not really challenge. People who go on talent shows mean well but they are sort of skipping the queue and are playing for celebrity and a record contract rather than any sort of respect and longevity. It has grown very boring and the finest albums artists have not come from talent shows but from other avenues – has there ever been a talent show contestant who has transcended the spectacle and sob stories of the shows and actually stood out as a name to watch? I think the music talent show format needs to die out because we get the same hype and attention that has nothing to do with unique and promising artists and everything to do with T.V. ratings and headlines.

It is thoroughly boring and, in a crowded music scene, we should be encouraging artists to do things the right way: not rely on T.V. shows and that empty lure of big contracts and judges’ approval. Many people do like music talent shows but you cannot say they are the go-to when it comes to unearthing the next generation’s stars. Real and authentic music needs to come from individuals and original thought and not what record labels want and T.V. audiences crave. There is this split between those who want empty and easy Pop music and people who have no time for these pointless shows. Just when you think the format has run its course, a new show is popping up: The Rap Game UK is a show designed to find the next big Rap/Hip-Hop star. Whilst the idea of a British Rap talent show is a lot cooler and less chart-based than the usual fare, it remains the same: it is a talent show that doesn’t need to exist. We no longer live in a time when artists need recording contracts and cannot release music without a big deal – that would not even be an excuse to have a talent show. The idea is to find this sort of diamond in the rough artist who will then be mentored by rappers Krept & Konan – they will be signed to their Dirty label.

 IN THIS PHOTO: Queen Latifah front theThe Rap Game alongside Jermaine Dupri/PHOTO CREDIT: Getty Images

This article from The Guardian explains more:

“BBC Three is, this week, launching its own version of The Rap Game, the US version of which has now been running for five seasons, fronted by rap svengali Jermaine Dupri alongside Queen Latifah. The Rap Game UK is a somewhat more low-key take. South London rappers Krept & Konan and BBC 1Xtra’s head of music and grime OG DJ Target will mentor seven unsigned MCs, who have been flung together in a soulless-looking penthouse in Birmingham for a) the purposes of our entertainment and b) the chance to win a recording contact with Krept & Konan’s Play Dirty label. The show is the latest series to prove that the appetite for rap-themed talent telly is still growing.

Maybe a Rap-themed show provides distraction and an alternative from the tacky and formulaic talent shows that want to uncover the next big Pop thing but I wonder what the point of The Rap Game UK is. Rap, to me, is about these underground artists working their way through the ranks and getting the word out; starting small but building up respectfully; never yearning for big-money deals: they are trying to get something pure and real out into the world. Whilst Rap has not penetrated the mainstream as you’d hope, there are a lot of great British Rap artists out there. From Stromzy and Skepta to Lady Leshurr and Stefflon Don; they are fusing Rap and Grime to wonderful effect.

I think the U.S. has a stronger Rap scene but there are some potent British artists – such as Dave and Little Simz – who should be leading the way. Look at someone like Dave the fact that he has built this career from grinding and working tirelessly to get his music out there. He recently played Glastonbury and it would have given inspiration to those out there who want to follow in his footsteps. What about the artists who cannot get on the new show? When the winner does get announced, they will be made to sound like Krept & Konan; something their label can mould and put out into the world. On the surface, it might sound different to all the other talent shows but it really is not. How about the people who will compete for a recording contract? Where will they come from?

“When it came to casting, a shout-out for applications was placed on social media; artists were also flagged by the BBC’s own in-house new music launchpad BBC Introducing. One of them was former admin assistant Lady Ice, an MC from Manchester, whose super-fast flow is peppered with patois. She has already freestyled for Toddla T on 1Xtra and isn’t new to the televised talent show hustle, either. As a teenager, she got through to The X Factor’s bootcamp stage as part of a grime duo with her cousin, but they left the show after he had a change of heart. Back then she was gutted, but she has since realised it might not have been the best way to forge a career”.

IN THIS PHOTO: Stormzy/PHOTO CREDIT: Getty Images 

I can understand why broadcasters would want to capitalise on the rise of rappers like Stormzy and uncover someone similar. I do not recall any of these big artists going through the talent show route. Maybe they had local contests and got to flex their muscles in small venues but they did not need to go through T.V. and seek the approval of judges. I have a lot of respect for British Rap but a talent show cheapens the genre and seems like a pointless exercise. Krept & Konan are hardly household names and are far weaker than peers that I have just mentioned. Maybe they will find a talent artist but that particular person already has that ability and they could put their music online and find a fanbase doing things that way. T.V. shows are just fast-tracking artists and, again, it is not about discovering the best out there and…well, I am not sure what the point is. If one wants to showcase the great Rap potential out there, we are all in favour of that. Make a documentary or put playlists together; have festivals dedicated to these great artists. Having a T.V. show controlled by individuals looking for artists that fit their bill lacks a sense of ubiquity and popular consensus – will there be voting on this show? I think talent shows are innately cruel because they rely on sob stories and there is that rejection of not making it.

Rather than search for a single artist who can go all the way, I think we should be doing a lot more to promote Rap as a whole and showcase schemes and courses that helps young artists hone their craft and get the industry support they need. The Rap Game UK is just a T.V. show that is a step too far. As I said earlier: how many winners from The Voice and The X Factor do you listen to and are blown away by?! I think the same will be true of whoever wins The Rap Game UK. Where does this cycle end? Will we have a talent contest for Jazz artists or D.J.s? Do we then move into band territories or hunt for the next big producer?! I am all in favour of supporting great genres and throwing some love the way of those who deserve it. Modern Pop is okay but I do worry that it has declined over the decades. Are we looking to T.V. shows to find the next generation rather than urging Pop artists to write for themselves or find a sound that steps away from the commercial and thruway? The most interesting Pop artists of the moment are deeper, more intelligent and intriguing than the carbon copy artists we see on talent shows. I worry the same will happen with U.K. Rap if we encourage talent formats to thrive. The Guardian’s article continues:

We will have to wait to see if the show can uncover new talent and make them ubiquitous, Olly Murs-style. But maybe that’s not really the point. Maybe it’s about finally making space for a credible British hip-hop show that truly understands that world, as well as its audience. “There hasn’t been much for me to scream and shout about on UK talent shows in the past, especially when it comes to rappers; that’s why this programme is so necessary and relevant,” says DJ Target. “We’ve been working very hard to deliver something that’s real.” It looks like they’re not too far off”.

I question the motive of a U.K. Rap show and whether it is more about cashing in on the talent show movement or genuinely trying to find a diamond. The U.K. Rap scene is growing and busy and I think judges will be looking to mould the ‘next Stormzy/Skepta’ rather than allow an artist to be themselves and utilise their own voice. I can applaud anyone who wants to promote and augment British Rap music but The Rap Game UK is really…

PHOTO CREDIT: Getty Images

NOT the right way to do things.

FEATURE: Eternal Life: The Ever-Inspiring Grace at Twenty-Five

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Eternal Life

The Ever-Inspiring Grace at Twenty-Five

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IT is a shame Jeff Buckley…

IN THIS PHOTO: Jeff Buckley in 1994/PHOTO CREDIT: Dave Tonge/Hulton Archive

only lived to finish one studio album because, on 1994’s Grace, he created something truly transcendent and memorable. In fact, I think Grace is one of the most influential albums ever. So many modern artists are inspired by Grace and, when speaking with musicians, so many nod to that album. Even though Buckley died in 1997, there are new videos surfacing and exciting news. Grace turns twenty-five on 23rd August and I think it warrants celebration. I will bring in other reviews of Grace but, recently, Consequence of Sound highlighted it as a classic album:

“Buckley had only one album to his name when he died, but my word, what an album it was. Grace hit shelves in 1994, arguably alternative rock’s single greatest year; its contemporaries included Soundgarden’s Superunknown, Beck’s Mellow Gold, Nine Inch Nails’ The Downward Spiral, Hole’s Live Through This, Green Day’s Dookie, and Weezer’s (first) self-titled album, to name just a few. The question isn’t whether or not Grace was superior to them — you can decide that one for yourself — but it sounded so fundamentally unlike those other albums that it might as well have come from another era. American alternative rock (as opposed to Britpop) was iconoclastic, disdainful of the hubris and hedonism of classic rock; moreover, it sounded ugly, and it dealt with ugly emotions.

…Instead, Buckley drew from a vast range of other influences, and they manifest on Gracein creative, inexact ways. The title track, with its fleet guitar and mystic lyrics, sounds as if Van Morrison attempted to write a full-on rock song; at the same time, I can’t name a Morrison song that it reminds me of. Ditto for “Eternal Life”, which openly (but not obviously) reflects Buckley’s love of Led Zeppelin with their overdriven guitar riffs and thundering drums. (It’s the closest Buckley came to grunge, sounding similar to Soundgarden or early Pearl Jam.) Even his take on “Lilac Wine”, which is clearly indebted to Nina Simone’s version three decades prior, comes across less like mere mimicry and more like a genuine attempt to recreate the song’s magic for himself — which he succeeds at, replacing the stark piano of Simone’s cover with guitar reverb and cymbal rolls that enhance the song’s midnight glow”.

On 23rd August, there are going to be Grace anniversary releases and it will be a rare chance to hear live recordings and demos that many will be unaware of. There is debate as to whether the archives should be closed and whether it is right to keep mining Buckley’s work – from the rough sketches through to studio recordings. I would usually object to the vaults being cleaned out but, as Grace is such a pivotal album, it is a good move.

Referring to the review above, one thing stands out: the originality and surprise of a Grace-like album arriving in 1994; at a time when Soundgarden and Grunge was still popular. I discovered Buckley’s music when I was in high-school and I recall Grace coming along in 1994. At the time, I was listening to a lot of Britpop and bands like Blur; Oasis were coming through and it was a wonderful time for music. I think 1994 is the strongest year for music and, aside from a few years in the 1970s, it is hard to think of a time where there was so much magic and wonder in the air. Grace is an album that received some caution and underwhelming reviews at the time. There were very few artists like Buckley and, at a time when a more sensitive tone was not familiar in the mainstream, was Buckley ahead of his time? Apart from Tori Amos’ Under the Pink, few of the most popular albums of 1994 displayed the same beauty, sense of emotion and…grace. In fact, Amos’ album is a lot rawer than Grace so, in many ways, there was nothing for critics to compare Buckley with. Retrospective reviews have been a lot more fevered and positive. I think Buckley stood out on his own in 1994 so it was hard to know what to make of the album. As so many songwriters have been influenced by Buckley, Grace has continued to rise in popularity, mystique and importance. From Anna Calvi and Thom Yorke to Matt Bellamy and PJ Harvey, you can hear elements of Buckley in them.

 IN THIS PHOTO: Jeff Buckley in 1994/PHOTO CREDIT: Anton Corbijn

In fact, Radiohead’s career took an important and dramatic turn when they watched Buckley perform in London. This was when the band were making The Bends and, after a particularly charged gig, Thom Yorke rushed to the studio to record Fake Plastic Trees. Overcome by the emotion and purity of the moment, he burst into tears and, as such, the album mixed tender and more sensitive songs with heavier numbers – one wonders whether the album would have been as celebrated were it not for the influence of Jeff Buckley. I shall come back to my experiences of Buckley’s music but, in another review of Grace, Drowned in Sound talk about the way the album pares the familiar and strikingly original so well:

“Few albums have displayed so many influences and yet sounded so wholly original. Jeff included three covers – ‘Lilac Wine’, ‘Hallelujah’ and ‘Corpus Christi Carol’ – all of which will surely come to be embedded in the popular consciousness as Jeff’s own. The fact that Benjamin Britten and Leonard Cohen share album space is testament to Jeff’s virtuosity. You can also hear shades of the Cure in the swirling guitars of ‘Dream Brother’ and Jimmy Page-style riffing as ‘Lover, You Should Have Come Over’ reaches its zenith.

Some may hold this album responsible for spawning various falsetto singing clones but they will never hit upon the heart of Jeff Buckley. How many lovelorn troubadours have succeeded in writing a lyric as vivid but simple as "My kingdom for a kiss upon her shoulder"? How many acoustic bands have matched that perfect triumphant climax in ‘Last Goodbye’? The answer, to my ears, is not many.

The fact that some of the material on the posthumous album ‘Sketches For My Sweetheart The Drunk’ could have been even better than ‘Grace’ only serves to magnify the tragedy of Jeff’s death. However, let’s be glad that we still have some of Jeff’s music to cherish. ‘Grace’ is not a depressing album for me. In fact, there are moments when I can almost ‘hear’ Jeff smile as he realises that he has created something truly glorious”.

Grace is that combination of the more reflective and sadder but, in every moment, there is yearning, hope and light. Just listen to his iconic rendition of Jeff Buckley’s Hallelujah and you hear so much intimacy and beauty. It is a magnificent song and, rightly, is considered one of the finest covers ever. As an artist, I feel Buckley’s lyrics are underrated. From the visions of rain falling on funeral mourners in Lover, You Should’ve Come Over to the urgency of love on Grace, he is a fantastic and thought-provoking writer. He can write in a very personal way but ensure his songs resonate with people around the world. Rather than discuss love and longing in a very cliched way, Buckley manages to frame these feelings in a fresh and intriguing way. Maybe it is Buckley’s musical upbringing – artists like Led Zeppelin and Joni Mitchell playing a big role – that contributes to that fantastic sound.

I think a lot of Grace’s brilliance can be traced back to the year or two before (1994) when he was cutting his teeth and gigging around New York. If you have not heard Buckley in full flight at Sin-é (in 1993) then you really need to check it out! I think smaller and more personal spaces like this allowed Buckley to experiment and, I don’t know, see how his songs connected with a small audience. A few of Grace’s tracks are quite dramatic but I feel he designed the album for the individual; music that gets into the soul rather than songs that are meant for stadiums and huge crowds. As the more sensitive singer-songwriter has become more commonplace, Grace is a guide and huge source of inspiration. Some albums from 1994 sound dated or not so familiar today but Grace seems more relevant – again, it was well ahead of its time! I have been following Buckley’s music since 1994 and it still creates shivers when I listen. Grace is his sole studio album but, just before his death, he was working on a second album: My Sweetheart the Drunk was, from the material available, a more eclectic and slightly edgier album than Grace. It’s a tragedy Buckley was taken at the age of thirty and I do wonder what sort of music he would be making if he was alive today.

On 23rd August, I hope there are celebrations of a truly remarkable album. It is considered one of the best albums of the 1990s and, looking back at 1994, how could so many people have overlooked Grace, even if the scene was embracing other sounds and artists?! It is a strange thing, but I am glad this classic album has grown and grown through the years and continues to inspire artists. As I said, so many people I have spoken to have Buckley to thank for helping realise their sound and path. If you have not heard Grace then go and buy it and experience the magic. It is such a varied, touching and powerful album that grabs the senses and pulls you in. Twenty-five years after its release, this sensational work is still revealing its secrets and moving musicians. To be fair, the legacy and essence of Jeff Buckley will never die – he is ingrained into so many musicians brand-new and established alike. The new releases and the anniversary edition of Grace will be a treat for fans and, just a couple of days ago, I asked whether more classic albums should get special editions where we can experience demos and alternate takes. Who knows what modern music would be without the fantastic Grace?! As this titanic album turns twenty-five, put it on, close eyes and surrender. From the potency of Grace to the heartache of Last Goodbye; the angelic vocal on Corpus Christi Carol to the hard-hitting Eternal Life, Grace is a …

SPELLBINDING work.

FEATURE: Lost in the Machine: Do Album and Single Campaigns Need to Look to the Past in Order to Move Forward?

FEATURE:

 

 

Lost in the Machine

PHOTO CREDIT: @dmitrybayer/Unsplash 

Do Album and Single Campaigns Need to Look to the Past in Order to Move Forward?

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I have been inspired by a tweet…

 PHOTO CREDIT: @kmuza/Unsplash

that asks whether modern albums and singles are marketed to death. Essentially – and what the tweet was getting at -, is that we hear so much about certain records months in advance of release. Look at social media feeds and artists are promoting their songs and albums with teaser videos and a few singles; by the time the actual album comes along, you have been exposed to onslaught of marketing, timed posts and teasers. Radio is the same when it comes to acts: they will hammer a single to death and, as often artists release another single or album in the meantime, you have this one song playing endlessly. It means that, when the album comes out with that track on, you are avoiding that over-exposed track; you wonder why stations do not play more album tracks. I do feel that, even for big artists, the modern album promotional campaign is too much. Maybe I am repeating myself but think about artists and the fact we hear so much about an album before it comes out. I like Lana Del Rey’s music but, today, there are two more singles out from her new album, Noman Fuckling Rockwell – it means we have had a load of build and a few songs but, I wonder, does that take the momentum and album away? Streaming services are so keen to ramp up a sense of anticipation long before an album has come out and, when the thing arrives in the world, they sort of mute and retreat – wouldn’t it make sense to be heavier on the promotional side when an album is actually available?! 

I might be showing my age, but I do feel like thing are excessive these days. Once was the time we’d get a single before an album came out and, once it was released, there would be a healthy smattering of singles and spins. It was more balanced and top-heavy; we did not have things shoved down our throats long in advance and, because of the lack of hype and social media attack, the listening experience was richer. I can understand why labels and artists adopt a certain approach: they have a lot of competition and people need to be informed and kept in the loop. There have been ‘surprise’ album releases – from the likes of Beyoncé – but, unless you are a huge artist, that gamble does not often pay off. People might miss the album coming out and, as it is so unexpected, you risk losing a lot of money and attention. It is a hard balance these days because of how much is naturally promoted. It is hard for newer artists to get a footing so they need to utilise social media as much as they can: teaser posts, regular updates and videos brings more people in and ensure that, when a single/album is release, as many people as possible are listening – do they keep that pressure on for a few weeks after release to make sure people are still invested/buying?

 PHOTO CREDIT: @florenciaviadana/Unsplash

If an album or song is not played for a while before release then stations are not aware; record stockers need that warning and artists suffer because reviews are not going to be as forthcoming. Maybe the sheer size of the market now means we cannot simply have albums announced and then, after one single, released into the world. I do think there is a line we can draw between overly-excessive tweets and posts – designed, I feel, with popularity and likes in mind rather than doing what’s best for the music – and making sure people are not being bombarded with information and little clips from an album that is a long way away. Also, returning to what I was saying about albums when they come out. So few tracks are played after the fact and the promotional machine sort of dies. To me, you need to keep some focus on an album for a few weeks after release so that stations/fans and the press know what is happening and can be ready. I also think so many singles are released before an album comes out. You do not need to hear four or five songs before release date. Artists rarely release tracks after an album has arrived and it seems there is this plan to make an impact right to the day of release and, when it is out in the world, take your foot off the gas. Surely having a couple of singles held back for a few weeks/months after an album comes out means it remains longer and gets more coverage? Are we living in a time when artists are already moving on to the next new thing after an album/single comes out?!

 PHOTO CREDIT: @dmjdenise/Unsplash

There are industries – such as film and literature – where we are told about a work a year before it arrives. I guess, unlike music, we do not have so many reminders…and I suppose these industries are more money-driven – trying to maximise profits by letting people know about a film that far ahead. Money does limit music marketing, too. Labels and artists have a set budget so they cannot necessarily afford to promote an album a few months before its release and then do another round of promotion a few months after. I do think a lot of artists underestimate how attentive will be. I find that some of these exciting albums that are put out there months before release lose some of their potency on release date. One has had to ensure all these adverts and reminders; maybe we have heard the same singles over and over that, by the time the album does actually get here, we are less curious. Also, if artists are giving so much away ahead of time, what is left of the finished product upon release? Are factors such as metrics and streaming figures dictating when artists should start promoting and how relevant streaming success is? I posed a few different questions on Twitter regarding album campaigns and the fact we have this excess. If an album has an inventive and fun marketing concept and niche then it can stand out and become interesting but I am curious whether artists need to step back a bit.

 PHOTO CREDIT: @lensinkmitchel/Unsplash

I am not sure whether we need such a long gap between a first teaser and an album release. I do think artists can release a couple of singles and still have people hooked when the album comes out – this stream of songs and posts does seem a bit too much. Maybe we cannot fully return to older days when there was a shorter wait for albums and we were exposed to less material from it ahead of time. I do feel like streaming numbers and statistics rule too much. I do think most listeners would appreciate an album or single more with a bit less build-up; a degree of mystery perhaps: now, I do feel like a lot of potentially great albums are being affected by rigorous and relentless campaigns. From current artists such as Bon Iver and Lana Del Rey to some of the older guard, there does seem to be a bit too much emphasis on campaigns and targets rather than considering the album as a whole and maximising its impact. I would like to see some of these hotly-tipped records getting some promotion after release and hearing new material then. It is difficult to get a balance so that artists gain maximum attention and do not overdo things. It would be interesting to know what people think and whether a look at the past is the way to move forward. Maybe we cannot entirely step back in time, but I do recall the days when albums were so exciting because we had to wait but were not sure exactly what we’d get. Having only heard a single or two, there were all these questions we wanted answers. Now, I never feel quite the same rush when an album is released. There are so many great albums out there, don’t get me wrong, but there is this pressure to promote and highlight them a long time before release – giving little thought to the days and weeks after release. It is going to be hard changing the system so that it is more effective and less intense and, for those who are a bit cold on the album, maybe a rethink would help people…

PHOTO CREDIT: @danimota/Unsplash

REKINDLE their passion.

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: RAY BLK 

An All-Female, Summer-Ready Playlist (Vol. IX)

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THE weather is greatly improved…

 IN THIS PHOTO: FLETCHER/PHOTO CREDIT: 1883 Magazine

from last week and the sun is out today. Although the temperature is not as high as it has been, things are better and it seems like summer is holding on! To celebrate that, here is another collection of female-led sounds that is guaranteed to lift the senses. There is a variation of genres and styles that should please the most picky; a wonderful blend that is a great way to start the weekend off. Have a listen to these fantastic songs and I know there will be something in there that takes your imagination. Some of the boldest and most exciting music of the moment is being made by women and this playlist…

 IN THIS PHOTO: Lily Moore

PROVES that.

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

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Los Bitchos – Frozen Margarita

Anna of the North – Playing Games

PHOTO CREDIT: Alexander Aitken

Chela – Heart O’ Hearts

PHOTO CREDIT: Loroto Productions

Frankie Cosmos - Wannago

Lydia Evangeline – Still Loves You

Miranda Lambert – Bluebird

Gabrielle Aplin (ft. JP Cooper) - Losing Me

Chelsea Cutler – How to Be Human

PHOTO CREDIT: Wonderland Magazine

FLECTHER – Strangers

PHOTO CREDIT: Burak Cingi

Shura – tommy

Ingrid Andress – We’re Not Friends

Lily Moore – Nothing on You

RAY BLK – In My Bed

PHOTO CREDIT: Douglas Hill Photography

st. martiins – My Girl

WESLEE – Something Bout You

PHOTO CREDIT: Conner Edward Dixon Photography

Calva Louise – Belicoso

PHOTO CREDIT: Lola Lafia

Maude Latour – Ride My Bike

Bree Runway – X2C

Snoh Aalegra – Toronto

Liz Lawrence – USP

Julie Bergan – Crazy Enough

PVRIS – Hallucinations

Josie Dunne – Ooh La La

Annabel Allum – Altar to Alter

PHOTO CREDIT: Joshua Tate

Asha Jefferies – Bad Kisser

FEATURE: The August Playlist: Vol. 3: RUINS When the Center Won’t Hold

FEATURE:

 

The August Playlist

PHOTO CREDIT: Carrie Brownstein and Corin Tucker of Sleater-Kinney/PHOTO CREDIT: Nikko LaMere 

Vol. 3: RUINS When the Center Won’t Hold

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THIS is a week…

IN THIS PHOTO: Miley Cyrus

where there are so many great songs that it is sort of hard to keep track of them all. Not only do we have new music from Sleater-Kinney, Michael Kiwanuka; Taylor Swift and Ride alongside Miley Cyrus…there is also music from Tegan & Sara and The Murder Capital. It is a fantastic week and one where some of the biggest stars of today are out there and proud. I keep saying how we get contrasts regarding quality but one cannot accuse the music on display here of lacking in any depth and quality. It is a collection of absolute gems that should get your weekend off to a flyer. Have a look at the incredible cuts here and I am sure you will agree they are top-quality. Sit back and let these incredible songs…

 IN THIS PHOTO: The Murder Capital

GET into the head.  

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

_________

 PHOTO CREDIT: The New York Times

Sleater-Kinney – RUINS

PHOTO CREDIT: Olivia Rose

Michael Kiwanuka – You Ain’t the Problem

Miley Cyrus – Slide Away

Taylor Swift – Lover

(Sandy) Alex G – Southern Sky 

PHOTO CREDIT: Loroto Productions

Frankie Cosmos – Wannago

Ride – Future Love

Anna of the North – Playing Games

Whitney – Used to Be Lonely

The Murder Capital – Feeling Fades

Shura – flyin’

PHOTO CREDIT: Shervin Lainez

Tegan & Sara – I’ll Be Back Someday

Liam Gallagher – One of Us

PHOTO CREDIT: Rob Baker Ashton

Iggy Pop – James Bond

PHOTO CREDIT: Mikey Buishas

Big Thief – Not

Charli XCX (ft. Sky Ferreira) - Cross You Out

Blanck Mass – No Dice

PHOTO CREDIT: Pedro Mkk

Jorja Smith (ft. Burna Boy) - Be Honest

Ross from Friends - Epiphany

Mystery Jets – Screwdriver

You Me At Six – What’s It Like

BROCKHAMPTON – Boy Bye

Frank Turner – Eye of the Day

ROSALÍA, Ozuna - Yo x Ti, Tu x Mi

Normani – Motivation

PHOTO CREDIT: Alexander Aitken

Chela - Heart O' Hearts

Young Thug – Bad Bad Bad 

Call Me Loop – Self Love

Death Cab for Cutie - To the Ground 

PHOTO CREDIT: WDZIEKONSKI

King Gizzard & The Lizard Wizard – Superbug

grandson – Rock Bottom

Stereophonics – Fly Like an Eagle

FEATURE: Spotlight: The Murder Capital

FEATURE:

 

 

Spotlight

PHOTO CREDIT: CLASH/Getty Images 

The Murder Capital

_________

ALTHOUGH one should not lump bands together…

 IMAGE CREDIT: The Murder Capital

into a particular ‘scene’, it is clear the city of Dublin is producing some of music’s most interesting and appealing bands. It is thrilling seeing these fantastic artists emerge from a part of the world that is not always at the forefront of the media ‘a gaze. With an album, When I Have Fears, out today (make sure you grab a copy), it is the perfect time to throw some light on The Murder Capital. I am not the first (by any means!) to notice these Dublin boys: they have been lauded all over the place and I discovered them whilst listening to Steve Lamacq on BBC Radio 6 Music. The band’s new album is terrific and, loathed as I am to match them to city-mates, I do think The Murder Capital and Fontaines D.C. are the finest new bands of the moment. Whilst one wants to distinguish Dublin bands on their own merits, there are some common patches: an honesty and distinct accent that gives the music edge and authenticity; an awareness of their changing city and important issues; a distinct drive and determination that is pleasing indeed. The Murder Capital are aware of how Dublin is shaping up and the fact a lot of older spaces are being replaced by new buildings and hotels. Whilst this does not form the core of their lyrical bent, the band are conscious of the changing skyline and how it is not always a good move – rather than evolution, perhaps it is more about money and attracting as many people to the city as possible.

In essence, I think The Murder Capital are fearful a beautiful city is losing some of its face, distinction and history. Before I continue, I want to bring in a few features about the band; those tipping them for big things. This article in The Guardian from a few months back goers into detail regarding The Murder Capital’s sound and dynamic:      

 “The band’s mix of businesslike dress and improvised choreography on stage is echoed in their music. Visually and sonically, it’s a thug’s pantomime, delivered with delicacy. It’s never just pure punk noise. Some songs reach back to Joy Division’s drum tattoos, interlocking with surging, wave-break bass. Pixies’ quiet-loud-quiet trick is in there, as are Shame and Savages, while PJ Harvey and the Bad Seeds infest tracks such as Green and Blue. But these are just reference points on a map of their own making. Mostly they thrust forward into the darkness”.

DIY spoke with the bad in the spring and noted how, here, we have a band who want to stick around for a long time to come:

 “Despite their fast trajectory, longevity is undoubtedly at the heart of The Murder Capital’s plan. “We knew [‘More Is Less’] was our opening statement, so we did think about what we wanted to say first,” James adds, “but if you’re doing it for any other reason than because you love it, and you’re trying to say something [forced] and connect with people in a certain kind of way, you’ll only get so far.”

Sharing a practice space with Fontaines DC and also taking encouragement from neighbours Girl Band, it’d be easy to lump The Murder Capital into a Dublin ‘scene’. But rather than producing a factory line of carbon copies, the city is instead fostering an inclusive, supportive network that’s spawning fantastic new bands from every corner of the guitar music spectrum. “I remember when Fontaines signed to Partisan,” states James. “I remember feeling a sense of pride for them, and then also it made [the idea of success] so close to home, and a realistic prospect. That’s what the scene is: it’s watching and pushing each other, with a fire under our arse at all times.”

“It’s trying to reach that fucked-up 15 year-old kid at home, alone, and change their perspective on something,” Damien sums up. Bolstered by grit, determination and passion, The Murder Capital’s reach to affect such change is growing by the minute”.

If you can catch them touring later in the year then make sure you grab a ticket as they are a hefty and memorable live proposition. There are a lot of real and gritty bands out at the moment who can match urgency with reflectiveness and tenderness. Maybe it is too early to call the best albums of 2019 but, with every week, something new rocks up that changes my rankings – it is quite a nightmare having to predict but maybe one needs to wait until the end of the year and take it all in.

Reviews are coming in for When I Have Fears. Back Seat Mafia were one of the first to review The Murder Capital’s album and had this to say:

 “This album is a deeply emotional expression of hurt and pain: sometimes delivered through an anarchic punk blast such as opening track ‘For Everything’, and sometimes through a layered slowly burning fuse of a track such as ‘On Twisted Ground’. The Murder Capital are as fresh and as creative as any of their peers, up there with fellow compatriots, the stupendous Fontaines DC. Perhaps both bands would get annoyed at constantly being mentioned in the same breath, but the beauty for the audience is that two such talented bands can co-exist at the same time from the same city and ignite the global music scene.

And when the band dials it down, such as on ‘On Twisted Ground’, it shows quite clearly it can dial it down. This is a gorgeous reflective song resting on a chorded bass and the hint of synths and back-tracked guitars and achingly beautiful vocals.

This album is ferocious and beautiful: it has the passion and the energy of classic post punk rock, yet is leavened by a poetic and delicate beauty. Guitars with the architectural build of a city skyscape, a spine of pure thunder and the emotional strength of the vocals that spits out veracity and passion. There is detectable an authenticity that very few bands can muster. The band recounts that the lyrics and even the band’s very name reference the suicide of a close friend: every single one of those lyrics relates back in some way to his death”.

IN THIS PHOTO: The Murder Capital with BBC Radio 6 Music’s Steve Lamacq/PHOTO CREDIT: @BBC6Music 

I am seeing so many interesting bands come through now. The scene has been heavy with solo artists the past few years and I think the band market is transforming. Once was the time when there were a lot of generic Indie and Rock bands that sounded alike but, now, we have a much more eclectic and inspiring wave; those who have some real messages (rather than generic hooks and lines) and a real sense of future-potential. The Murder Capital are making a great sound and look set to have a very long and busy career. Given the fact there are so many interesting bands emerging – and quite a fair few from Dublin – how does one sort the wheat from the chaff? The Murder Capital are brimming with personality and wisdom; they are funny and straight-talking and have the tunes to back up the hype. I will end with an interview they gave to Fred Perry where they were asked some very interesting questions:

“Describe your style in three words?

Hungover Cillian Murphy.

If you could spend an hour with anyone from history?

Francesca Woodman. Her photography has been of great inspiration to both us as individuals and to our writing.

Of all the venues you’ve played, which is your favourite?

Brudenell Social Club, Leeds - The decor felt like it had been the same since before Italia ’90. We didn’t know whether the lads in the games room were gonna hug us or cave our heads in with a pool cue.
The Workman’s Club, Dublin - It’s where we cut our teeth. Where discussions and ideas are formed. Where we go to dance to LCD”.

If you have not followed The Murder Capital then do so (links are at the bottom). Here are a Dublin clan who are going to be around for a while and, if you want to discover a band who are striking all the right notes right now, throw your weight behind…

THESE top chaps.

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Follow The Murder Capital

 PHOTO CREDIT: Emma Swann for DIY

Official:

https://themurdercapital.com/

Facebook:

https://www.facebook.com/MurdrCapitalBand/

Twitter:

https://twitter.com/MurderCapital_

Instagram:

https://www.instagram.com/themurdercapital/

YouTube:

https://www.youtube.com/channel/UCzsDQCpESeyzs6vLW8vCOww

Spotify:

https://open.spotify.com/artist/18M7pJRsgFVjEBZ5ufmJAp?si=m9rWIIW8Qa6vDk5CmeyyZA

FEATURE: The Beatles’ Abbey Road at Fifty: Cuttings from the Studio Archives: The Beauty of the Anniversary Releases

FEATURE:

 

The Beatles’ Abbey Road at Fifty

 IN THIS PHOTO: The Beatles crossing Abbey Road during the iconic photoshoot for their 1969 album/PHOTO CREDIT: Ian Macmillan 

Cuttings from the Studio Archives: The Beauty of the Anniversary Releases

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WHILST this feature is mostly looking ahead...

IMAGE CREDIT: The Beatles/Apple

to the special releases of The Beatles’ Abbey Road on 27th September, it is a chance to look at albums and those classics where we get to uncover and discover some rare gems, outtakes and demos. I think I have written about this before…but I do wonder why more artists are holding material back. Whether you bought the anniversary editions of The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band and The Beatles or not, one cannot deny the thrill of getting all this fresh material. Not only were these releases a treasure trove for Beatles fans but it showed how an album can sound different when we have these new offerings. By that, you listen to the Esher Demos from The Beatles and we get to witness these classic songs in their early stages. It is wonderful hearing the bare bones and sketches taking shape. Not only do we get to see the evolution and growth of songs but, on some recordings, you can hear intimate conversations between the band members and the spontaneity of the recording process. Before carrying on, here is what’s planned to mark Abbey Road’s fiftieth anniversary:

“The Beatles Abbey Road gets the expected 50th anniversary treatment on September 27th UMe announced today, which coincidentally is the 50th anniversary of the famous walk across the street photo shoot that became the iconic album cover.

There will be new stereo, 5.1 Surround and Dolby Atmos mixes presented on multiple formats including a "Super Deluxe" 4-disc box set, 3LP box set and 1LP picture disc. 17 tracks have been newly mixed by producer Giles Martin and mix engineer Sam Okell, accompanied by 23 session recordings and demos, most of them previously unreleased. These are presented on the Super Deluxe and Deluxe vinyl box sets in chronological order of their first recording dates. The three-track ‘Something’ EP, featuring the 2019 Stereo Mix, the Studio Demo and Take 39 – Instrumental – Strings Only, can be streamed here now.

From the press release: "The Super Deluxe box set of Abbey Road contains 40 tracks —including “’The Long One’ Trial Edit & Mix for the epic medley on side two — on three CDs (stereo) and one Blu-ray disc (Dolby Atmos, 96kHz/24 bit high resolution stereo, and 96 kHz/24 bit DTS-HD Master Audio 5.1). The four discs are housed in a slip-sleeved 12” x 12” 100-page hardbound book. Elements include McCartney’s foreword, Martin’s introduction and in-depth insights by Beatles historian, author and radio producer Kevin Howlett.

"These cover the months preceding The Beatles’ Abbey Road sessions, track-by-track details and session notes, the cover art and photo shoot, and the album’s reception upon its release. The hardbound book also has an essay by music journalist and author David Hepworth, examining the album’s influence over 50 years. The volume is illustrated with rare and previously unpublished photographs, including many by Linda McCartney; never before published images of handwritten lyrics, sketches, and a score by George Martin; Beatles correspondence, recording sheets, and tape boxes; and reproduced original print ads. The Super Deluxe digital audio collection presents all 40 tracks for download purchase and streaming in standard and MFiT formats, and in high resolution audio (96kHz/24 bit) for download.

"The limited edition Deluxe vinyl box set features all 40 tracks from the Super Deluxe collection on three 180-gram vinyl LPs. The new stereo mix LP is packaged in a faithfully-replicated sleeve, with the two Sessions LPs paired in their own jacket, presented with a four-page insert in a lift-top box. The Deluxe 2CD set pairs the new stereo mix with versions from the session takes and demo recordings of its 17 songs. These are sequenced to match the album’s running order. "These two discs are presented in a digipak with a 40-page booklet, abridged from the Super Deluxe book…

The new stereo mix of Abbey Road is also available in 1CD and 180-gram 1LP vinyl packages, for digital download in standard and MFiT audio, and on a limited edition picture disc vinyl LP illustrated by the album’s front and back cover art images. "Martin and Ozell worked on the new Abbey Road mixes with Abbey Road’s expert team of engineers and audio restoration specialists. All of the editions feature the new stereo album mix, sourced from the original eight-track session tapes. Giles Martin used the original stereo mix by his father George Martin as his guide. "Says Giles Martin in his written introduction: “The magic comes from the hands playing the instruments, the blend of The Beatles’ voices, the beauty of the arrangements. Our quest is simply to ensure everything sounds as fresh and hits you as hard as it would have on the day it was recorded”.

I do wonder whether Giles Martin (the son of The Beatles’ producer Sir George Martin) has plans to remaster and release new editions of albums like Rubber Soul and Please Please Me. I know there is a remastered version of Rubber Soul but not one that has extensive extras and alternate studio versions of songs. I am excited to see what we will get from the Abbey Road releases and how the various takes will sound. There are a few versions of Something online but there is so much more coming. There will be a different vinyl and C.D. release but the C.D. version provides an extensive book/booklets with unseen photos and information.

Thinking about The Beatles’ albums getting special releases makes me wonder whether other albums will get the same treatment. Jeff Buckley’s Grace turns twenty-five in a few weeks and this is the sort of album where fans would love to hear some of the early takes and see some unpublished photos. In fact, most of us will have a top-ten of iconic albums where anniversary releases would be the cherry on top. There are a lot of Kate Bush albums where I would welcome some expanded editions and I would also love to hear albums such as Rumours (Fleetwood Mac) and Bringing It All Back Home (Bob Dylan) get new releases where the archives are mined and we get to hear all this new stuff.

Some might say this is a bit excessive and exploitative but I do think, as I said, these great albums can be seen in a new light if we are treated to demos and alternate takes. Given the fact huge albums from Oasis (Definitely Maybe, twenty-five on 29th August) and The Clash (London Calling, forty on 14th December) have anniversaries approaching, I do wonder if there are plans for expanded anniversary editions. Not only would it gives fans a chance to see their favourite albums in a new light but I also think it would draw others in – maybe some who feel the final studio versions lack a certain magic. Some feel the extra money needed to buy these albums is a bit steep given the fact that the originals have already been bought – and is it worth shelling out so much for a little bit extra?! I have Abbey Road on vinyl and C.D. but I will be buying the new C.D. release and, even though it is almost ninety-pounds, I cannot wait to hear the various different takes and extras. When one considers the excitement around these classic albums’ anniversary releases, it makes me curious whether new artists will offer similar releases for their fans. I know we are in a digital age and many artists are unwilling to give too much away for nothing but I think, for vinyl releases and C.D. editions, it would be really interesting hearing embryonic versions of tracks. Maybe there are compelling arguments as to why this would be impractical and unpopular but I am a big fan of the anniversary releases. I cannot wait for Abbey Road’s new C.D. and vinyl releases because, not only is it a great way to mark fifty years of a truly iconic album but fans and new generations get to hear new material – such a joy and rare treat for music fans! Whilst I am many others have our wishlists of albums we’d like to see get new, expanded editions (you just know Kate Bush has a lot in the vaults!) go and pre-order The Beatles’ Abbey Road anniversary editions because they are truly…

 IN THIS PHOTO: The Beatles in 1969/PHOTO CREDIT: Everett Collection

ESSENTIAL purchases.

FEATURE: A Brighter Future… The Desire for Balance and the Extraordinary Women Who Have Paved the Way

FEATURE:

 

 

A Brighter Future…

IN THIS PHOTO: BBC Radio 1 D.J. Annie Mac is a huge advocate for gender equality in music/PHOTO CREDIT: Getty Images 

The Desire for Balance and the Extraordinary Women Who Have Paved the Way

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THIS feature is not prompted by one event…

  IN THIS PHOTO: Lauren Laverne on BBC Radio 4’s Desert Island Discs/PHOTO CREDIT: @BBCRadio4

but is more a culmination of concerns and situations. I guess everything comes back to gender parity and the fact that, whilst there are steps being made and things are happening, I am still seeing too many holdbacks, cheap shots and problems. I wanted to start with an article that definitely inflamed social media and received a lot of backlash. There has been a lot of talk regarding an article that appeared on The Spectator’s website that needlessly attacked Desert Island Discs presenter Lauren Laverne. It was obviously written from a very snobbish and privilege viewpoint and was incredibly short-sighted and offensive. Here is one particular extract that caught my eye: 

“There’s no getting away from it: Lauren is lightweight and uncerebral. Her capacity to come up with the forgettable phrase is quite something. When I asked a former radio critic what he thought of her he answered instantly: ‘Awful. I heard her with [poet] John Cooper Clarke and it was sucking up to PC idiocy and brandished plebbiness. But that’s what the programme is for now… Guests can be nearly anonymous provided they are vibrant and diverse.’ A BBC journalist observed: ‘The latest run of programmes have been really flat — is that her or is that the selection of guests? Nobody chooses anything or says anything that is surprising — perhaps her lack of big interview experience tells’”.

The condemnation and wave of love towards Laverne was swift. I watched her social media feed as she posted a brave message thanking people for being in her corner.

Today has been an entirely unexpected inventory of who is in my corner. I have to say I couldn’t be happier. In fact it’s been the best day in ages. Isn’t it funny how it goes that way sometimes? Thanks very much to everyone who has been so kind.

— Lauren Laverne (@laurenlaverne) August 9, 2019

It was an ugly affair, but I think one that spoke volumes about how women in music are treated. I will look at gender parity in a wider sense. Not only was The Spectator’s article offensive regarding Laverne’s origins and northern background but it had this sort of noxious attitude that is hard to shift. In truth, women like Laverne are inspiration to many and paving the way for others coming through. Rather than degrade and put down brilliant women in music, we should elevate them. Look across the music landscape and it is true some progress is happening. Primavera Sound easily achieved gender parity on its bill this year and 42% of the acts on Glastonbury’s line-up this year was female. I shall get to festivals soon but, regarding radio and gender, how long until we get a fifty-fifty balance? The Stylist wrote this in response to the hatchet piece The Spectator wrote about Lauren Laverne:

“It’s true that the BBC has pledged that gender parity on-air will reach 50/50 across its radio stations by 2020. Just last week, we reported how the reaction to Zoe Ball’s recent ratings drop spoke volumes about the sexism against female radio DJs. But we only need to look at huge talents such as Annie Mac, Sara Cox and Annie Nightingale to understand the power of female voices on radio. And Laverne is no exception, as the strong support she has received proves”.

IN THIS PHOTO: Pioneering D.J. Annie Nightingale in the 1970s/PHOTO CREDIT: Getty Images 

Not only do we need to eradicate sexism against D.J.s like Zoe Ball – the drop in her ratings does not reflect a lack of popularity: a lot of Chris Evans’ listeners (Ball replaced Evans as BBC Radio 2 breakfast host) followed him and Ball will see her listener figures increase soon) – but we need to encourage more women in radio. I have covered this subject before but I do feel that there are so many media outlets that have this sexist approach. I do hope there is a fifty-fifty split very soon because there are some brilliant female broadcasters coming through. Look at pioneers like Annie Nightingale and how they paved the way for change. Nightingale was the first female D.J. on BBC Radio 1 – she started on 8th February, 1970 – and is their longest-serving D.J. Although Nightingale is not especially keen on a fifty-fifty split – she is more in favour of being judged on talent and not quotas – she recognises that there is still sexism and there are amazing women who are not getting the respect they warrant. In this article from 2017, Nightingale revealed how shocked she was by the lack of progress and how few women followed her into radio:

“I was staggered that it took twelve years before Radio 1 had another female DJ when Janice Long came along. I asked myself ‘do women just not want to do this’? The women getting attention at that time were the newsreaders.”

Inspired by pirate station Radio Caroline, Nightingale was determined to make her mark on the new, legal, nationwide pop service.

She finally wore down the BBC’s male hierarchy, who granted her a Sunday evening show.

“I said ‘Let me have a go. If I’m no good I will go away forever.’ It takes three years to change anything at the BBC. I don’t think they really wanted Radio 1 at the time.”

“They didn’t like the term ‘DJ’. They hadn’t caught up with the changing world of working women”.

The major event companies need to promote female acts through at all stages & the onus is on them now to balance line-ups. There's no shortage of female acts we need to build up the female headliners of the future through nurture and opportunities. https://t.co/CMWeEEuXqY

— Georgie Rogers (@GeorgieRogers) August 12, 2019

Maybe a blind fifty-fifty divide on radio could be seen as quota-filling but I feel a lot of the finest broadcasters are women and they are not getting their dues; there are many rising talents that are being overlooked in favour of men.  Not only is there an issue regarding radio and the respect we show to female broadcasters but, still, we must talk about festivals and inequality. To wrap up this article, I will discuss women in other areas of music - but we are still living in a time when festivals are struggling to react to the immense quality of female artists. This year has been dominated by women in all areas of music and, apart from one or two festivals, not enough is being done to represent them at festivals. Think back to this year’s Glastonbury and commanding performances from Lizzo, Billie Eilish, Kylie Minogue and Christine and the Queens (among many others) and you would think that, given this, next year’s festivals will react – seeing why we need more women on bills. Whilst we are (slowly) moving towards equality at festivals, Hear Her is a new event that is all-female. This article explains more:  

“Amid controversy over male-dominated line-ups, an all-female music festival has been announced.

HearHer, which is set to take place from October 11-13 in Poole, Dorset, will feature a programme comprised entirely of either female solo artists or women-fronted bands, with all behind-the-scenes production organised by women, too.

IN THIS PHOTO: SOAK/PHOTO CREDIT: Joey Wharton 

Organisers claim that 70 per cent of UK festival line-ups in 2018 were all-male bands, and added that HearHer will be the only festival in this country “to boast a 100 per cent female bill”.

KT Tunstall will curate the Friday line-up, headlined by British pop artist Shura. The Saturday bill will be led by Northern Irish musician SOAK.

Elsewhere, there will be performances from the likes of Bang Bang Romeo, Cat Burns and Hannah Trigwell, spread across three stages.

The event, which trialled last year as the majority-female Diva Music Festival, will be supported by Keychange, a foundation which encourages festivals to deliver gender-balanced line-ups, and has named domestic abuse charity Refuge as its charity partner.

Various high-profile musicians, including Lily Allen and Annie Mac, have bemoaned the lack of female performers at festivals both in the UK and abroad.

HearHer festival 2019 line-up

·         Shura

·         Soak

·         Ariana and the Rose

·         Bang Bang Romeo

·         Betty

·         Caitlyn Scarlett

·         Cat Burns

·         Charlotte

·         Carpenter

·         Grace Savage

·         Hannah Trigwell

·         Heather Peace

·         Kal Lavelle

·         Katey Brooks

·         Laky

·         Lanta

·         Lots Holloway

·         Lucy Whittaker

·         Saara Aalto

·         Toya Delazy

·         The Coaltown Daisies

·         Xylaroo”.

Articles like this highlight the fact that, although some of the biggest acts of today are women, that is not being reflected in festival line-ups. Perhaps, as Vox discussed in the article, the fact there has been such slow progress is the fact that, in the backrooms, a lot of men are calling the shots:

“You can only create diversity onstage or on the screen if there is diversity behind the stage and behind the screen as well,” Andreea Magdalina of SheSaid.so, an international organization that advocates for women in music, told me. “If you have a bunch of men in the boardroom deciding who gets booked for what, of course they’re not going to be mindful of representation diversity and inclusion.”

Keychange’s Partridge echoed this sentiment. “It’s really important for everyone to recognize we have a responsibility — we all have a responsibility — to make sure this is an inclusive industry. ... It’s down to us each individually to look at our fields of information and see who we work with, who we hire, and really examine if we are being equal in these things.”

Both SheSaid.so and Keychange were founded to support female musicians. SheSaid.so offers professional mentoring and networking events for women in the music industry; Keychange encourages international festival promoters to sign its pledge to have a 50-50 gender split between male and female musicians by the year 2022. Today, Keychange has more than 165 festivals on board to work toward gender parity — more than three times the number it had when it launched just one year ago, in February 2018”.

From iconic broadcasters like Annie Nightingale to the new wave of powerful female artists, it is clear more still needs to be done in order to achieve equality. Festivals and radio stations have pledged parity by 2022 but I wonder if we need to start in the studios and boardrooms. Male producers and songwriters still dominate - and inequality is a big issue. I can see change happening in all areas of music and I do feel the future looks a lot brighter now than it did, say, a few years back.

 PHOTO CREDIT: @akeenster/Unsplash

One of the biggest problems is the fact so many festival organisers, radio bosses and figures in the boardrooms are men. I know there are so many fantastic female producers and engineers; brilliant businesswomen and radio chiefs who are in the minority. With so much control in the hands of men, it is small wonder we still have not seen true equality. I do feel more needs to be done to overturn the dominance of men in these areas and ensure there is activism occurring. It is all well and good asking for gender parity at festivals and on the radio…but we also need to look at areas that are male-heavy and aim to create diversity. With so many inspiring, ambitious and passionate women ready to lead, guide and formulate change, I do hope something is done to redress the imbalance we have right now. Maybe it all comes back to The Spectator and their article about Lauren Laverne; how there is sexism and disrespect in so many places. I hope there will be some big changes but, as we are seeing so many  incredible women striking hard in music, studios and at festivals, we cannot ignore the need for equality. Festivals will get to fifty-fifty soon, but one wonders why most have not already; radio stations, in terms of their playlists and personnel, still have some work to do – and there are glaring gulfs when it comes to the number of male and female producers/engineers. With such a wave of wonderfully talented women in all corners of the music industry, let’s hope those with the power recognise this and it…

 IN THIS PHOTO: Award-winning producer Catherine Marks is one of the best in the industry/PHOTO CREDIT: Catherine Marks

LEADS to growth and balance.

FEATURE: Spotlight: Flohio

FEATURE:

 

 

Spotlight

PHOTO CREDIT: Hanna Moon 

Flohio

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ALTHOUGH she is not brand-new on the block…

 PHOTO CREDIT: Lol Pani

there is a lot of talk regarding Flohio right now. I have been watching her moves this year and it is clear that the South London artist is primed for big things. If you haven’t heard her perform How Long’s It Been with The Streets from Abbey Road Studios then make sure you do – it is quite a moment, I can tell you! With the incredible single, Hell Bent, out in the ether, it seems Flohio is gearing up for a new E.P. or album. Hell Bent has the same sort of intrigue and exciting undertones of Dizzee Rascal’s debut album, Boy in da Corner, but it is distinctly the work of Flohio. The sheer confidence and rawness of the track is incredible and, whilst it is hard to put the song on a lot of radio playlists (owing to the explicit language), it is a fantastic song that deserves to be heard. Ever since last year’s Wild Yout EP last year, there has been a lot of talk and focus put the way of Flohio. Publications such as The Guardian have already tipped her as one to watch:

“There is an urgent yet seemingly effortless vitality to south London MC Flohio’s output. The 25-year-old rapper, AKA Funmi Ohiosumah, is attracting attention with her exquisitely fiery, fast-paced delivery, intelligent lyricism and tantalising choice of genre-blending production: thumping industrial techno meets metallic grime with the occasional trill of more traditional, clubby hip-hop. 

Bands, the first single from the British-Nigerian artist’s forthcoming second EP, quakes and squelches with experimental beats (courtesy of producer HLMNSRA), while she spits lines such as: “Grenfell Tower couldn’t burn me out/ and I send mad love to who’s mourning now”.

Speaking poetic, emotional truths is something that is key to Flohio’s sound – her appearance on production duo God Colony’s My World in 2016, for example, saw her addressing a close friend who had passed away: “And then hope we never have to bury our friends”.

It is a great time for British Rap and, whilst most people think it is male-dominated, that is not the case. Artists like Flohio and Little Simz are truly electric and thrilling and mark changes in Rap. I am not saying that the genre will be truly gender-balanced in the next couple of years but there are powerful and inspiring artists like Flohio who are tipping the tables and providing incredible firepower. The punch and rawness coming from SE16’s Flohio is turning heads and paving the way for a wave of new female artists. She is one of the smartest and most original lyricists around and is pairing her incredible words with epic spit and flow! I am not sure what comes next for Flohio but think about where she has come from and the incredible songs she has created. There is a determination and focus that is deeply impressive. It has not been an easy path for Flohio.

In this interview with CRACK we learn about Flohio’s (Funmi Ohio) early life and when music came into her life:

“Her childhood memories are of her family settling in Bermondsey, south east London, after migrating from Nigeria. With her pilot father rarely around, her mother always working and her older sister in boarding school, the then nine-year-old Flohio was left to her own devices. She developed a passion for watching music videos from the golden era of Channel U and her idol, Lil Wayne. “When I came here I was in the background adjusting, and I just wanted to fit in,” she reflects. “So, it was a phase of me trying to figure out what my life was at the time, when I was 10-12.”

Music was the perfect escape from the daily toils of this transition period, and she began writing lyrics at the age of 13. Until recently, she had a job as a graphic designer at record label Ninja Tune, which she left last year. “I just wanted to be happy making music, it allows me to be so free,” she says. “Plus, I hate waking up early; after performing abroad one night, I can’t be going back to work the next morning!”

Having found her happiness through her music, Flohio is ready for what the future holds, with clear definitions of what the word ‘achievement’ means to her. “I want my music to take me all around the world – end of,” she concludes. “I want to get paid to make people happy and love each other. I want to be a promoter of peace and love, that’s the only thing we can give, man. I don’t want my nephew to grow up in a messed-up world where it’s all hate. I get a big buzz off making people happy and giving. That’s the shit I live for”.

 

Before rapping things up, I want to bring in an interview Flohio gave to The Guardian earlier in the year. It is an illuminating piece that charts her progression from a promising MC to where she is now; the fact that she had to balance music and an office job and, happily, is earning enough money so she can fully dedicate herself to music:

“Heavy, bleak electronics form the foundations of her brutalist sound, which is confrontational in a way that female MCs rarely dare to be. Last year’s Wealth highlights her doomy bars, as she spits: “Put my life on the line ’cos I told myself I’ma do this shit ’til I’m dead,” over glitchy beats provided by Berlin’s Modeselektor.

“Rap isn’t meant to be too happy; there’s meant to be grit in there,” she explains. “It’s not about weed and lipstick. You’ve got to have that punk in there. It’s got to be radical. You’re here to make a statement.”

PHOTO CREDIT: Lillie Eiger for CRACK

As driven as she is skilled, all that Flohio has achieved so far has been under her own steam, including releasing everything on her own label, Alpha. “My friend says this thing: ‘DIY or DIE,’” Flo says of her work philosophy. “There’s so much joy in getting your hands dirty, messing up and then succeeding. You gain knowledge that way.” Her reasons for not signing to a major label (yet) are wrapped up in this idea. “What I have is quite delicate. I can’t just place it in random hands because I don’t know how they’ll handle it. It scares me. I’m standing firm until I have all my foundations set, then they can come back and have that conversation.” 

It’s a sensible decision, especially considering how the majors have treated British female rappers in the past. Take Birmingham MC Lady Leshurr, who revealed one offered her $250,000 to start a spurious beef with Nicki Minaj. Or Stefflon Don, whose first big single, Hurtin’ Me, made more of her singing than it did her furious wordplay. Likewise, Flo is still having to define and explain her sound. She is regularly – and wrongly – pigeonholed with grime artists whom she respects but certainly doesn’t consider herself one of. “I got frustrated with it – but you know what it is, I hear it, I’m influenced by it a lot,” she says, genially”.

This year has been dominated by female artists and I am excited to see how that translates next year in terms of festival bookings. This year’s Glastonbury saw strong artists like Little Simz and Lizzo rule and slay the crowds! I think Flohio has the same sort of energy and panache as contemporaries such as Little Simz and Stefflon Don but I think Flohio digs deeper and is even rawer – taking Rap to new levels and places; showing what variety there is in the genre. In a year when many people are gravitating towards urgent sounds and socially aware songs, Flohio has a vital role to play. As she says in her track, Bands: “Realistic goals/Man I hate that word!/No limit I...mastered it/Smash glass ceilings and I'll take my cut”. Flohio is riding high and I do think there are big things coming very soon. Many people will be hankering for a mixtape or album and, with some great tracks already out there, her fans will wait with baited breath. There are a lot of promising Rap and Hip-Hop artists coming through in the U.K. right now but, when it comes to the immense Flohio, she is very much…

 

A cut above. 

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Follow Flohio

PHOTO CREDIT: Lillie Eiger for CRACK 

Facebook:

https://www.facebook.com/flohio/

Twitter:

https://twitter.com/flohio16

Instagram:

https://www.instagram.com/flohio_/

YouTube:

https://www.youtube.com/channel/UCw2eoqGZ9_RbPDa36xF5R8A

Spotify:

https://open.spotify.com/artist/7qffELscxpltKCso3ByH67?si=9P_SUOk0RgeU_v9U4ljzEg

FEATURE: Vinyl Corner: Portishead - Dummy

FEATURE:

 

 

Vinyl Corner

Portishead - Dummy

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THERE are many reasons to love…

 IN THIS PHOTO: Portishead/PHOTO CREDIT: Andy Whitton/NME

the fantastic Dummy by Portishead. The album turns twenty-five later in the month and it is a perfect opportunity to revisit this masterpiece – or discover it for the first time if you are new to Portishead. The songs on the record are brilliant and, depending on which you favour, you cannot deny the entire body of work is sublime. I would urge people to buy Dummy on vinyl because it sounds so good on that format. The album is the debut from Bristol’s Portishead and followed from their E.P., Numb. Many might trace the roots of Trip-Hop to other parts of the world but, by 1994, it was clear that the epicentre and focus of Trip-Hop was in Bristol. Portishead were well-known and building a local reputation before they unveiled their debut album but few could have predicted the sheer brilliance and invention of Dummy. From the opening of Mysterons, you are in this other world. The beats scuffle and shift whilst Beth Gibbons’ voice creates this intoxicating allure. There are theremin-like notes and a beguiling mood that draws you in. Geoff Barrow, Beth Gibbons and Adrian Utley have only released three albums as Portishead but, to many, their golden moment happened right at the start. To be fair, each of their three albums are world-class but I would agree with that sentiment. Maybe it’s because 1994 was such a busy, productive and eclectic year; perhaps there was something in the air back then!

Although 1994 did bring us so many iconic albums, Portishead sort of stood on their own. It was playing away from the Britpop scene and, to me, was a lot cooler than what was being produced by Oasis and Blur. It is amazing looking back at that year and realising just how many phenomenal records were released! Whilst other British Trip-Hop pioneers like Tricky would go on to release staggering albums – 1995’s Maxinquaye is one of the best of the decade – Portishead sort of led the way. It is the stunning vocals of Gibbons and the incredible sounds/invention from Utley and Barrow that makes the musical blend so arresting and wondrous. Numb, Sour Times and Glory Box were released as singles and each of them sounds completely overwhelming and unique today! It is hard to say just how influential Dummy is but I can hear strands in a lot of music today. It is clear Portishead have been influential but Dummy was such an earthquake. I listen to it now and am still taken aback when I hear the songs. Of course, reviews for Dummy in 1994 were positive but there has been a lot of retrospective passion. In this Pitchfork review, they talked about the originality of Dummy and how the combination of cinematic sounds and Beth Gibbons’ voice led to this rich and astonishing album:  

“But Dummy is too idiosyncratic to feel like a calculated response to its predecessors. Its obsessions are too specific, and too doggedly pursued: the spy-movie twang of the guitars, the ripple of the Hammond organs and Leslie cabinets—if anything, its vintage signifiers feel out of step with that era’s rush of pre-millennium tension. Bristol’s junglists were carving new routes to the future in every chopped-up breakbeat, while Portishead were drizzling on muted trumpet solos like so much curdled milk. Where most of the decade’s cutting-edge electronic music was zealous about its agenda, Dummy pledged allegiance only to a mood”.

“They favor sounds imprinted with a host of associations, many of them filmic. Utley’s riffs come straight from John Barry’s James Bond theme; the woozy sine waves of “Mysterons” echo sci-fi soundtracks like The Day the Earth Stood Still; and “Sour Times” loops an extended sample of Lalo Schifrin’s music for Mission: Impossible. Their cinematic inclinations are borne out in the fact that they made an actual short film, To Kill a Dead Man, before the album itself. The 10-minute, black-and-white film is not particularly consequential, but it is notable for the way it visually remixes many of the same influences that make the album feel so instantly familiar. Fortunately, they proved to be far more adept at translating those moods and devices into music.

This air was the medium through which Gibbons’ voice soared. Would Portishead have been one-tenth the band they turned out to be had Barrow and Utley contented themselves with instrumentals, or hired session singers to lend a soulful patina at freelance rates? Not on your life. Gibbons’ voice is the center of the music; she elevates the recordings from tracks to songs, from mere head-nodders to forlorn lullabies”.

This BBC review was also full of praise for Dummy and talked about how similar-sounding acts (to Portishead) came and went but none could match the band’s template:

“Imitators have come and gone, but no act has reproduced the disquieting magnificence conjured here except Portishead themselves. The band’s next album, an eponymous effort of 1997, distanced them from the coffee tables that (wholly unexpectedly) had made room for Dummy; to some it’s a superior listen, though a lot colder and harder than its predecessor. And their overdue comeback of 2008, Third, embraced krautrock motifs to take an established sound into a new dimension. But to many, Dummy is the group’s defining work – and even if you disagree with that, what can’t be doubted is that this is one of the greatest debuts of the 1990s”.

There are some really great articles that talk about the influence of Dummy but, from some of the new Electronic acts to artists like Kanye West, it is obvious Portishead’s debut has resonated. Whilst new Electronic genres have formed and artists are mixing all sorts of sounds, there is nothing in the world right now like Dummy. Third arrived in 2008 and I wonder whether we will get a fourth album from the group. I definitely think there is a gap and so many people would welcome their return. I do think the world needs the magic only Portishead can provide. Some ask whether Portishead’s popularity killed Trip-Hop or took it in strange directions. It is clear that Portishead transformed the scene and brought Trip-Hop the masses. They were so much more than that. Listen to Dummy closely and it bursts with life and visions. It sounds so accomplished and detailed yet there is a sense of freedom and openness. Maybe that is just my interpretation but, unlike some albums from 1994, Dummy is not necessarily reserved to a particular time and place. If you need more convincing regarding Dummy’s genius and legacy, this AllMusic review states how Portishead managed to crack into America – uniting audiences and breaking barriers:

“The chilling atmospheres conjured by Adrian Utley's excellent guitar work and Barrow's turntables and keyboards prove the perfect foil for Gibbons, who balances sultriness and melancholia in equal measure. Occasionally reminiscent of a torchier version of Sade, Gibbons provides a clear focus for these songs, with Barrow and company behind her laying down one of the best full-length productions ever heard in the dance world.

Where previous acts like Massive Attack had attracted dance heads in the main, Portishead crossed over to an American, alternative audience, connecting with the legion of angst-ridden indie fans as well. Better than any album before it, Dummy merged the pinpoint-precise productions of the dance world with pop hallmarks like great songwriting and excellent vocal performances”.

When Dummy turns twenty-five on 22nd August, I think a lot of new people will discover this gem. I mentioned how Dummy still sounds fresh but, also, it reveals new layers and things that you might have missed. It is a true masterpiece and one of the finest albums of the 1990s. If you can get a copy on vinyl then do because it sounds utterly incredible and immersive. It may be twenty-five years old but, from the very first note to the last, Dummy sounds alive, timeless and…  

PHOTO CREDIT: Getty Images 

UTTERLY wonderful.

FEATURE: Female Icons: Part Fourteen: PJ Harvey

FEATURE:

 

 

Female Icons

IN THIS PHOTO: PJ Harvey in 2015/PHOTO CREDIT: Maria Mochnacz 

Part Fourteen: PJ Harvey

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THERE are many reasons why…

 PHOTO CREDIT: Getty Images

an artist can be considered iconic or influential. In this feature, I have covered a whole range of inspiring female artists who have helped shift music and left a huge mark – and continue to compel generations of new artists. When thinking of the most important female artists of the past couple of decades PJ Harvey springs to mind. It is hard to bring too much personal input from Harvey into this feature because she gives very few interviews. It is not that she is opposed to the press and talking about herself but she is not one of these artists who gives multiple interviews with every release. As such, some of the quotes and exerts I am going to put into this piece are from a few years ago. That will come soon but, for now, we need to go right back to the beginnings. Unlike a lot of the female icons I have included in this feature – from Aretha Franklin to Kate Bush –, I was alive and conscious of music when PJ Harvey arrived. In a way, she is more of a modern icon rather than a classic legend – that will change in years to come but, trust me, PJ Harvey is a colossus! Not only does every album seem to reveal a new persona or character but she is an artist who is not guided by labels and the pack: she is someone who lets the music speak and is keen not to reveal too much.

 ILLUSTRATION CREDIT: Megan Ferguson-Smyth

Actually, before I continue, I have discovered a fascinating article that talks about the ‘lessons’ PJ Harvey has taught us all:

“Harvey is a fearless experimenter and frequent collaborator – in addition to old friend John Parish, with whom she has co-written two albums, she has worked with Nick Cave (their relationship is believed to have inspired a clutch of songs on his lush record The Boatman's Call), Marianne Faithfull, Tricky, and the producers Flood and Steve Albini, to name a few. But right from the beginning, she has kept control of her output, hollowing out her own niche within the recording industry, and working only with the people who inspire her. Her first ever contract was reportedly written to allow her full artistic control and her fiercely individual discography proves that she has maintained it ever since.

Almost every article about PJ Harvey, even the rare interviews, mentions her reticence and lack of interest in the fame game. After suffering some form of breakdown early on in her career, Harvey took herself home to Dorset to recuperate and her interviews from then on have been guarded affairs. But she has always seemed an old soul, never one to bare all, even when appearing on the front cover of the NME topless with her back to the camera, or recording her last album publicly as part of an installation at Somerset House. "I want to give, but I have to remember that I must keep what's private to me intact," she once said. She lets the work speak, and the rest of us fall about trying to decipher it.

Just as she knows when to retire from the media, she has a keen sense of when and how to speak about issues which matter to her, without coming across as preachy. As Britain reeled from the Brexit result, she punctuated her Glastonbury set by reading aloud John Donne's poem No Man Is An Island. When she guest-edited the Today Programme in 2014, her curation spoke volumes – guests included an unedited Julian Assange, and featured a poem by ex-Guantanamo detainee Shaker Aamer. Her work is a collage of voices, invented and real, that burrow away in the mind – protest songs without any posturing, and more powerful for it”.

Born in Bridport, Dorset in 1969, the young PJ Harvey was exposed to all kinds of music by her parents. Included was Blues music, artists such as Captain Beefheart and Bob Dylan – artists who would influence her own work. Everybody’s parents inspire their children’s musical tastes but Harvey’s parents regularly attended gigs; there was this definite artistic spirit and sense of discovery. It is unsurprising Harvey was a curious and eclectic music-lover from a young. Having learned the saxophone as a teenager, Harvey joined an instrumental group, Bologne, who were based out of Dorset. By 1991, Harvey formed her own band with Rob Ellis and Ian Oliver. Like many legendary artists, the earliest gigs were not exactly successful. The trio – Oliver left and was replaced by Steve Vaughan – had a disastrous debut gig at a skittle alley (like you do!) in April 1991 and it was not long until the group relocated to London – perhaps sensing there was more opportunity and bigger venues.

Harvey was studying at Central Saint Martins College of Art & Design (at this moment, Pulp’s Common People spring to mind!) and things started to happen. The new band recorded some demos and they started to turn the heads of industry influencers and tastemakers. The debut single, Dress, proved hugely popular and caught the ear of a certain John Peel – who said the track was admirable if not always enjoyable. Harvey has released some truly sensational works but you can hear her everything in Dry – the 1992 debut that stunned critics and announced a very exciting talent. Harvey felt that her debut might be her only record so, as such, she put her all into it. Dry is quite an extreme album but there is no a wasted moment! The eleven-track debut is crammed with wonderful moments but it is the two singles, Dress and Sheela-Na-Gig, that drew the most attention. The latter’s title comes from the Sheela na gig statues; carvings of naked women displaying an exaggerated vulva which were found throughout Britain and Ireland. In terms of the lyrics scope, bravery and originality, I am reminded of the debut albums from Kate Bush and Tori Amos: The Kick Inside (1978) and Little Earthquakes (1992). Unsurprisingly, the reviews for Dry are hugely positive. Here, in this retrospective review from AllMusic, the raw and powerful delivery from Harvey is highlighted:

“Her voice makes each song sound like it was an exposed nerve, but her lyrics aren't quite that simple. Shaded with metaphors and the occasional biblical allusion, Dry is essentially an assault on feminine conventions and expectations, and while there are layers of dark humor, they aren't particularly evident, since Harvey's singing is shockingly raw.

Her vocals are perfectly complemented by the trio's ferocious pounding, which makes even the slow ballads sound like exercises in controlled fury. And that's the key to Dry: the songs, which are often surprisingly catchy -- "Dress" and "Sheela-Na-Gig" both have strong hooks -- are as muscular and forceful as the band's delivery, making the album a vibrant and fully realized debut”.

A lot of artists who release huge and unexpected debuts take a few years to regroup and plan their next move. Another reason why I feel PJ Harvey is iconic and inspiring is the fact she was back in 1993 with her sophomore album, Rid of Me. After Dry’s release, the band toured widely and played Reading Festival in 1992. Although Harvey’s music was reaching new ears and lands, her place at Central Saint Martins College was not kept open. She was suffering from exhaustion due to extensive touring, poor eating habits and stress. Because of this, Harvey moved back to Dorset. Whilst settling back to a quieter life in Dorset, the songs on Rid of Me took shape. Many have interpreted the album as feminist in nature. Harvey denied the album was overly-feminist and stated that, when writing songs, she did not consider gender – she just wrote what came naturally. Some of the songs were inspired by personal heartache (especially the title track) and the introduction of Steve Albini as producer gave Harvey’s music a new diversity. There are quiet breaks and feedback; a greater depth that, whilst pleasing to Harvey, did divide some critics.

Some felt Rid of Me was a bit too heavy and uncomfortable to listen to considering the rawness of the lyrics and the production style. Songs like Rid of Me and 50ft Queenie, again, showed what an extraordinary and unique songwriter PJ Harvey was. If the record was a tougher and more challenging listen than Dry, it is a more nuanced work – you are taken aback at first but then keep coming back to experience this sensational and completely engrossing voice. I will not look at all of her albums chronologically, but there are a few that I want to pay special attention to. 1995’s To Bring You My Love was another huge success and was a little less raw than her previous work. Biblical imagery is employed more and the influence of Captain Beefheart is clear. The first big album that I want to draw attention to is Harvey’s 2000 wonderwork, Stories from the City, Stories from the Sea.  Stories from the City, Stories from the Sea earned Harvey a Mercury Prize nomination and was certified Platinum in the U.K. and Australia. Unlike her earlier work, Stories from the City, Stories from the Sea is a more direct record. It is more melodic and rounder; more sophisticated, according to Harvey, with more colour and variation. Stories from the City, Stories from the Sea is a beautiful and warmer album against the darker and more intense sounds of her first few albums.

Critics fell for Harvey from her 1992 debut and that love was not letting off. This is what NME had to say:

“More pertinently, ‘Stories…’ is PJ Harvey’s best album since 1991’s ‘Dry’, a return to the feral intensity of that remarkable debut. For while it’s a cliché any frank woman singer-songwriter is ‘disturbed’ in some way, there’s no avoiding the fact Harvey’s last album, ‘Is This Desire?’, was unhappy; painfully-constructed third-person narratives buffeted by electro-industrial static.

‘Stories…’, however, is suffused with vitality. The clarity of the electric guitars played by Harvey, Rob Ellis and Mick Harvey is enough to make you fall in love with elemental rock all over again. When Thom Yorke adds his blustery yowl to ‘This Mess We’re In’, you wonder if it was the realisation he’d never write something as stark that prompted the itchy ambience of ‘Kid A’”.

Whilst I love This Is Love and Good Fortune, I especially love the duet with Thom Yorke, This Mess We’re In. There is something about these two incredible singers – Radiohead released Kid A in 2000 – that makes it such a compelling and unforgettable track. Stories from the City, Stories from the Sea is a staggering album and is a natural evolution from her darker and more challenging works. Harvey showed she could alter and progress her sound without losing her golden touch.

If 2004’s Uh Huh Her was not overly-successful and well-received – compared to her best work – Harvey was back in peak form for 2007’s White Chalk. Maybe Uh Huh Her was a dark and raw album: White Chalk is gothic and quieter album; one where she put aside the guitar/bass/drum sound and recorded songs for piano. Not only did she tackle the piano (which was fairly new to her) but she sang in a higher register. Again, this was Harvey moving forward and seeing where she could push her music. The second album that I want to pay special attention to is, perhaps, her finest achievement: 2011’s Let England Shake. Not only did the album win the Mercury Prize in 2011 (her second win; 2011 was her first win) but it garnered some truly huge reviews. Recorded during a five-week period in a Dorset church, you get this improvisational, live-sounding album that is another departure; a restless and hungry artist unwilling to settle and repeat herself. PJ Harvey began writing the album’s lyrics before pairing the words to music. Poets such as Harold Pinter and T.S. Eliot were influences as well as bands such as The Doors and The Pogues. Let England Shake is a remarkable album and one of the finest of the last decade. There was plenty of passion and praise for Harvey’s eighth album!

This is how The Guardian viewed Let England Shake:

“Scrupulously avoiding the usual cliches that arise with self-consciously English music – Kinksy music-hall observations, eerie pagan folkisms, or shades of Vaughan Williams – the central sound is guitars, wreathed in echo that makes them seem as if they're playing somewhere in the middle distance. Around them are scattered muzzy electric piano, smears of brass, off-kilter samples and musical quotations: a reference to Eddie Cochran's Summertime Blues somehow works its way into The Words That Maketh Murder, while an incessant trumpet reveille sounds during The Glorious Land, out of tune and time with the rest of the song.

You're left with a richly inventive album that's unlike anything else in Harvey's back catalogue. That, she told Marr last year, is the point: "My biggest fear would be to replicate something I've done before." Let England Shake sounds suspiciously like the work of a woman at her creative peak. Where she goes from here is, as ever, anyone's guess”.

Pitchfork praised Harvey’s thought-provoking and moving lyrics:

“On Let England Shake, Harvey is not often upfront or forceful; her lyrics, though, are as disturbing as ever. Here, she paints vivid portraits of war, and her sharp focus on the up-close, hand-to-hand devastation of World War I-- depicting "soldiers falling like lumps of meat"-- provides a fitting setting for today's battlegrounds. From the Zombies to the Pogues, artists have often gravitated to the confused, massive loss of life of the Great War. If it doesn't resonate as much in America as it does in Europe-- and it doesn't-- that's more our fortune than our shame.

The Great War remains a rich and resonant subject for art because it briefly caused the world to step back, aghast and afraid to look at what it had done. The collective trauma of World War I did indeed shake England, specifically, out of the end of its imperialistic Victorian stupor”.

 PHOTO CREDIT: Getty Images

Before rounding things up and bringing them up to date, I want to bring in a rare interview gave to The Guardian. She talked about Let England Shake and her influences:

“…Even though Harvey has never written about such issues before, she says she has always been politically engaged, and music was crucial to her education. Her parents, a quarryman and a stonemason, were friends with Rolling Stone Ian Stewart and their remote Dorset farmhouse (she has said that even a day trip into town would make her dizzy) was often home to visiting musicians. The songs they played were windows on the world beyond. "Certain Neil Young songs like 'Southern Man' or 'Ohio', I'd go looking for the meaning behind them. A lot of Dylan's work, especially the early 60s. Beefheart's 'Dachau Blues'.

"I'm probably much more influenced by film-makers and painters than I am by other songwriters or poets," she says. "With songs I almost see the images, see the action, and then all I have to do is describe it. It's almost like watching a scene from a film, and that's what I go about trying to catch in a song."

Songwriters tend to be notoriously bad at describing the creative process, and loth to mention the perspiration behind the inspiration, but Harvey is visibly energised by talking about it. "I certainly feel like I'm getting somewhere that I wanted to get to as a writer of words. I wanted to get better, I wanted to be more coherent, I wanted there to be a greater strength and depth emotionally, and all these things require work – to hone something, to get rid of any superfluous language”.

Harvey’s most-recent album, The Hope Six Demolition Project, was another success and critical favourite. Harvey wrote most of the songs for the album during her travels to Kosovo, Afghanistan and Washington D.C. with filmmaker/photographer, Seamus Murphy, between 2011 and 2016. Although many were impressed with the power of the lyrics and the quality of the songwriting, there were some reservations and criticisms. This review from Laura Snapes asks some interesting questions:

“Harking back to Let England Shake, maybe her dispassionate storytelling is making a point about how we easily condemn past atrocities while failing to recognize history repeating itself before us. Questions of perspective, and how we bear witness, feel central to The Hope Six Demolition Project. We were voyeurs, watching her make a record about being a voyeur. Is it a deconstruction of the protest record? By pointing out the problems in these three communities, but proposing no solutions, is she just as responsible for their desertion as the global powers that came before her? You sense that the record is part of an ongoing inquiry, not a destination. Fortunately, the music often feels like salvation itself”.

PHOTO CREDIT: Lex van Rossen

Although 2016 was the last time Harvey released a studio solo album, she has been busy on other projects since then. Once more diversifying her stock and stepping into new territory, she has been composing for the stage and screen. Here (from an article in NME from a couple of months ago), we get details of Harvey’s incredible recent work:

“PJ Harvey has released six new songs as part of her work on The Virtues soundtrack. You can stream the songs below.

Created by Shane Meadows, The Virtues told the story of Joseph – played by Stephen Graham – a man coming to terms with his identity after he uncovers a repressed memory and ultimately seeks revenge.

Speaking of her contribution to the series, Harvey said: “I am so happy to have provided the original music for this extraordinary and powerful new drama by a director I have admired and followed all my life.

PHOTO CREDIT: Seamus Murphy

“Shane has a unique directness and sensibility to his work which I am drawn to and aspire to in my own work, so our collaboration was open and trusting. I sent Shane ideas as demos for him to try out as he edited and let him choose what he used and where to greatest effect.

Earlier this year (April 12), Harvey shared her complete score for the stage play of All About Eve. The play, directed by Ivo Van Hove and starring Lily James and Gillian Anderson, is currently running at London’s Noël Coward Theatre.

Speaking about the score, PJ Harvey said: “I have always loved stories, and so to compose music to support and enhance a story being told is a challenge I enjoy. I also love the freedom that working instrumentally can give me without the constraints of song form.”

She continued: “For All About Eve I chose to work with my long-time collaborator James Johnston as he has a soulfulness and sensitivity to his playing that inspires me. I also worked with Kenrick Rowe who has a versatility to his drumming I knew I could experiment with until I found what was right”.

It is amazing to see how much Harvey has achieved since her 1992 debut. Although that was twenty-seven years ago, her music today sounds as extraordinary and fresh! She is always pushing boundaries and inspiring people as she goes. I know there are a lot of modern artists who are compelled by Harvey’s incredibly raw lyrics and amazing instinct; the way she shifts between albums and how she has grown through the years. Harvey is a true icon and one of music’s most special artists. I look forward to seeing where she heads next and what her music will possess. You can never predict Harvey’s path and what she will include; she is one of those artists that is always moving and never looking back. If you are new to PJ Harvey or have not listened to her work in a while, have a listen to the playlist below and go and buy her albums. (It would be good to see more of her albums on vinyl because, for some reason, one struggles to buy her albums I this form). You can stream her work and witness the brilliance. PJ Harvey is a fearless, vital and inspirational artist whose music will stand and influence…

FOR generations to come.

FEATURE: Always in Vogue: The Record-Breaking Music Videos of Madonna

FEATURE:

 

 

Always in Vogue

IN THIS PHOTO: Madonna in 1990/PHOTO CREDIT: Jean-Baptiste Mondino for Harpers Bazaar 

The Record-Breaking Music Videos of Madonna

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SEEING as so many news reports posted about Madonna…

 IN THIS PHOTO: Madonna as ‘Madame X’ in 2019/PHOTO CREDIT: @Madonna

are negative or have some sort of bitter edge, it was a relief seeing the news that she has broken a music record! Madonna is no stranger to breaking records and, as the most-successful female recording artist ever, she has definitely achieved a hell of a lot. The video for her iconic 1990 hit, Vogue, passed one-hundred million views on YouTube recently and that set a new record: she is the only female artist who has passed one-hundred million views on YouTube for videos covering four decades. Her 1990s’ achievement was long-overdue because, to me, there are no finer Madonna videos than Vogue. Tone Deaf have reported the news:

“Madonna, the iconic pop star of almost every decade since she began music, has officially become the first female artist to reach 100 million views on music videos from 4 different decades.

In case you’re wondering what exactly those videos are, we will be breaking down all four videos, which reached pinnacles of success in their time.

The videos are:

80s: ‘La Isla Bonita’

90s: ‘Vogue’

00s: ‘Hung Up’

10s: ‘Bitch I’m Madonna’

That’s 40 years of hits, not even including songs such as ‘Like a Virgin’, ‘Into the Groove’ or ‘Ray of Light’, which were all extremely successful for their time”.

It is hard to explain why these particular videos reached one-hundred million views whereas some of her other hits – including Material Girl and Frozen – have not garnered more.

It is true, Bitch I’m Madonna (from 2015’s Rebel Heart) is not one of her strongest songs but it is a fantastic video that shows Madonna in strong and defiant mood! Featuring Nicki Minaj, the track is lifted by an incredible video that is full of colour and strut. Vogue, which I shall get to in a bit, is her defining moment in terms of visuals; Hung Up (from 2005’s Confessions on a Dance Floor) is another brash and eye-catching video where the newly-revived Disco queen – Madonna suffered some critical loss and disappointment with her 2003 album, American Life – caught the imagination and drew people in. Not only do these huge videos like La Isla Bonito show Madonna has kept her fans and her videos prove popular to this day but she has also recruited new generations. A lot of modern artists have a very tight demographic or appeal to a certain core. Look at a lot of the biggest artists and you can appreciate one or two of their songs but you feel the music is marketed to a particular age group and taste. With Madonna, she never imposed limits. I am in my thirties but have followed her music from the start – well, I was born in 1983 but I discovered her debut album when I was in school. Her eponymous debut is a great Pop record that sounds completely effortless and absorbing today.

La Isla Bonita is from 1986’s True Blue and, to me, that album remains underrated. It preceded 1989’s Like a Prayer but, on True Blue, Madonna proved she was a fearless and pioneering artist who was pushing boundaries and making epic music to match! Papa Don’t Preach might be a more recognisable single from True Blue but there is something undeniably seductive and beautiful when one watches La Isla Bonita. It is clear a new generation are falling for videos like La Isla Bonita because, not only do the visuals capture the mind and compel repeated viewings, but the music is indelible, universal and instantly accessible. I asked whether there was a link between her four one-hundred-million-topping videos and whether all those views came from those of the same generation. Unlike, as I said, so many new stars, Madonna’s fans span the spectrum in terms of age and nationality. I think all four of the songs that have reached this milestone and very different and, perhaps, that is why they have proved popular. If the ‘newer’ videos, Bitch I’m Madonna and Hung Up, maybe speak to younger audiences, perhaps La Isla Bonita and Vogue are for people like me: those who have charted Madonna career for years and gravitate towards those classic videos. The evocativeness of La Isla Bonita and black-and-white brilliance of Vogue are very different when matched against the neon Bitch I’m Madonna and the dancefloor call of Hung Up.

A lot of Madonna’s videos have racked up millions of views and I think the reason her videos remain essential and span the generations is because of the imagery. Madonna does not restrict herself when it comes to plots, visuals and pace. Some of her videos have employed a lot of energy and colour whereas Vogue relies on something simpler and classic. I guess the changing and eclectic videos match the music: Madonna has never stood still and always offers a new side of her with every album. With her latest album, Madame X, out in the ether, who is to say one of the videos release from that album cannot reach one-hundred million views in years to come? I want to end with the video from the group of four which will break all records. Vogue is the video that seems to epitomise Madonna’s legacy and brilliance. Vogue was shot in black-and-white and remains one of the most memorable music videos ever. Rather than describe the video myself, here is the Wikipedia article on Vogue’s video:

“The black-and-white video, set in Art Deco-themed 1920s and 1930s surroundings, starts off showing different sculptures, works of art, as well as Madonna's dancers posing. Along with this are images of a maid and a butler cleaning up inside what seems to be a grand house. When the dance section of the song starts, Madonna turns around, and, similarly to the lyrics, strikes a pose. The video progresses, and images of men with fedoras, Madonna wearing the controversial sheer lace dress and other outfits, follow.

As the chorus begins, Madonna and her dancers start to perform a vogue dance routine, where she sings the chorus as her dancers mime the backing vocals. After this, other scenes of Madonna in different outfits and imitations of golden-era Hollywood stars progresses, after which there is a scene with Madonna's dancers voguing. Finally, after this scene, Madonna can be seen wearing her iconic "cone bra", after which she also performs a dance routine with a fellow dancer. As the rap section begins, different clips of Madonna posing in the style of famous photographs or portraits of Hollywood stars, begins, ultimately followed by a choreographed scene with her dancers and backup singers.

MTV placed the video at second on their list of "100 Greatest Music Videos Ever Made" in 1999.[48] In 1993, Rolling Stone magazine listed the video as the twenty-eighth best music video of all-time. Also, the same magazine listed "Vogue" as the #2 music video of all time in 1999 second only to Michael Jackson's Thriller.[49] It was also ranked at number five on "The Top 100 Videos That Broke The Rules", issued by MTV on the channel's 25th anniversary in August 2006.[50] It was the third time Fincher and Madonna collaborated on a video (the first being 1989's "Express Yourself" and the second being 1989's "Oh Father"). About.com listed as the best Madonna video.[49]

With the release of the song, Madonna brought the underground "vogueing" into mainstream culture.[22][73] Before Madonna popularized the dance, vogue was performed mostly in bars and disco of New York City on the underground gay scene.[74] Steven Canals, the co-creator of TV series Pose stated "If we're looking at the history of ballroom and specifically that moment in time, what Madonna did was bring ballroom to the mainstream.

She introduced the world to this community who, up until that point in time, had been a subculture."[75] Vogueing has since become a prominent dance form practised worldwide, and many performers have followed Madonna's footsteps, with Beyoncé, Rihanna, Ariana Grande and Azealia Banks all adopting the dance style and incorporating it into their music videos and performances.[75]

However, some critique stems from the possible exploitation of an underground Queer Culture for commercial gain, as feminist writer Nicole Akoukou Thompson notes for the Latin Post, Madonna had "taken a very specifically queer, transgender, Latino and African-American phenomenon and totally erased that context with her lyrics." [76]

The song is also noted for bringing house music into mainstream popular music,[77][78] as well as for reviving disco music after a decade of its commercial death. Erick Henderson of Slant Magazine explained that the song "was instrumental in allowing disco revivalism to emerge, allowing the denigrated gay genre to soar once again within the context of house music, the genre disco became in its second life."[79] Sal Cinquemani of the same publication wrote that the song was "making its impact all the more impressive (it would go on to inspire a glut of pop-house copycats) and begging the question: If disco died a decade earlier, what the fuck was this big, gay, fuscia drag-queen boa of a dance song sitting on top of the charts for a month for?"[21]”.

Vogue was the last of the four videos to top one-hundred millions views and, whilst I am surprised it was the fourth one to reach this milestone, it shows that Madonna’s iconic videos and generation-spanning work never go out of fashion. The indefatigable and iconic Queen of Pop can move, strike a pose and create truly incredible videos…

 IN THIS PHOTO: Madonna in her Vogue video (which was directed by David Fincher)

LIKE no-one else.

FEATURE: The Divided State of America: Can Music Help Bring About Much-Needed Gun Law Progressiveness?

FEATURE:

 

 

The Divided State of America

ILLUSTRATION CREDIT: Rick Calzi/Dying Breed 

Can Music Help Bring About Much-Needed Gun Law Progressiveness? 

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ONE can hardly ignore the terrible…

 IN THIS PHOTO: A woman touches a cross at a makeshift memorial for victims outside Walmart, near the scene of a mass shooting on 3rd August, 2019 which left twenty-two people dead in El Paso, Texas/PHOTO CREDIT: Press/Getty Images

events that happened in El Paso, Texas and Dayton, Ohio. Another two mass shootings in America has horrified the world but, in a nation where this sort of tragedy happens on a fairly regular basis, it seems like change and evolution is going to be a struggle. The sense of stubbornness regarding gun laws in the U.S. is compounded by an ignorant President Trump who, one feels, could not care less about the lives lost in Texas and Ohio; someone whom will never act to ensure we see far fewer deaths of this kind in the future. Will we see an end to gun violence in America? It is hard to see anything moving forward when we have Trump in The White House. Trump’s explanation (regarding the massacres) is that the gunmen had mental-health issues. The fact that the vast majority of gun massacres – and knife crime in the U.K. – are perpetrated by men sort of dismisses such a statement – why would women be able to control their mental-health issues a lot better than men?! I do think that the more logical explanation regards a white supremacy mindset, fuelled and fostered by Trump’s own beliefs regarding minorities. The fact one can relatively easily obtain a gun in the U.S. makes it so easy for radicalists to kill at will. It is sobering and heartbreaking seeing news stories coming through where innocent lives have been lost for no reason – what exactly do massacres achieve regarding certain minorities living in America and ‘learning’ a lesson?

The sheer insanity and barbarism we have all seen on the news over the past week should open eyes in America and compel the Government to make resolutions and amend legislation. We all know that will not happen in a nation where a written constitution gives people the ‘right’ to bear arms – although the Second Amendment concerns protection and the military rather than giving license to unhinged humans to spread chaos and hate. Something needs to change, radically, that is for sure! Whether through song or online anger, musicians have a lot of power and influence. I shall come to Lana Del Rey shortly but, in the immediate aftermath of the attacks, artists took to social media and were keen to register their distress and sympathy. This article from Vanity Fair explains more:

 “After the mass shootings in El Paso, Texas, and Dayton, Ohio, over the weekend, musicians were among the most vocal celebrities demanding action. Rihanna implored Donald Trump to use the word “terrorism.” Jason Isbell accidentally sparked a Twitter meme about feral hogs (really) after tweeting, “If you’re on here arguing the definition of ‘assault weapon’ today you are part of the problem. You know what an assault weapon is, and you know you don’t need one.”) Kacey Musgraves tweeted, responded to a follower who told her to “stick to the singing,” and urged a Lollapalooza crowd to yell “somebody fucking do something!”

IN THIS PHOTO: Lana Del Rey/PHOTO CREDIT: Getty Images 

Lana Del Rey, meanwhile, headed more or less straight to the studio to record her response with Jack Antonoff. On Monday, she posted it to Instagram: a new song called “Looking for America.” “I’m still looking for my own version of America,” she sings. “One without the gun, where the flag can freely fly.” It’s a rough, in-studio video recording that conveys its immediacy. “Now I know I’m not a politician and I’m not trying to be so excuse me for having an opinion,” she wrote in the caption. “But in light of all of the mass shootings and the back to back shootings in the last couple of days which really affected me on a cellular level I just wanted to post this video that our engineer Laura took 20 minutes ago”.

Looking for America is an excellent song and one that stands out in its own right but also makes one think. One sees visions of Lana Del Rey enjoying an America with drive-ins and care-free times; where the flag can fly free and people can walk the streets safely – as safely as one can in any nation. I have listened to the song a lot and it is stirring hearing these messages come out. I think it is great an artist like Lana Del Rey was motivated to head into the studio and record something as raw and emotional as Looking for America. There are political artists out there and, around the world, we are discovering songs that tackle inequality, poverty and gender equality.

PHOTO CREDIT: @yohannlibot/Unsplash

I do wonder, at a time when America is troubled and unwilling the budge regarding gun laws, whether artists need to put some pressure on the Government – not just in the form of songs but also concerts and speeches. It is difficult to compromise possible record deals and fan opinion by having a say but who could possibly object to anger and passion from artists who want to see change in America?! In the U.K., there is a worrying rise in knife crime and we have a few artists documenting this trouble and worrying situation. I do think, however, only artists from certain genres are talking about knife crime and it means there are swathes of the industry that are not doing their part. Even if you do not live in areas affected by knife violence, you cannot help but feel a sense of compassion and fear – feeling heartbroken but also concerned not enough is being done to limit deaths. The same must be true in America. I know so many artists feel disgusted and angry that very little is happening to sure the nation’s citizens are protected against the threat of guns. Although there is a lot of online protest, this is not translating into musical expression. Although Lana Del Rey’s Looking for America is not an explicit and inflamed track that calls out President Trump – it is more a yearning for a past America; one where one felt safer -, it was written in reaction to the recent shootings.

 IN THIS PHOTO: Bob Dylan/PHOTO CREDIT: Getty Images

You cannot help but feel struck and affected when hearing the song. As I keep saying…there is a commercial risk if you mix politics into the blend but I do think there is a yearning for progression and a ban on gun sales. I have to cast my mind back to the protest songs of Bob Dylan in the 1960s to think of a time when a huge artist made such an impression with political music. Maybe I am over-exaggerating but it is a very long time since an artist has reacted to the chaos around them in such a profound and striking way. I do not think musicians alone can take America from where it is now to where it needs to be but, yes, I do think that massive movement and a united front can reach political minds. It is not only music that can affect political motivation: film and T.V. has the potential and power to open eyes and affect minds. I think a lot of the problems in America stem from figures like Donald Trump and a very poisonous mindset. A lot of people buy into his feelings regarding immigration and keeping America pure. If politicians in America are making the possibility of change impossible, I do feel musicians can take charge. Maybe we will not see a total ban on the sale of assault weapons and handguns but conversations can be broached and, with a wave of musicians incentivised and together, there is a chance progression can happen.  I have been thinking a lot about Lana Del Rey watching the T.V. and being hit hard by the casualties; the awful and senseless violence that compelled her to write Looking for America. Who knows how many other artists – from all genres – have been affected and changed by so many tragedies in the U.S. I do think now is the time for some of music’s biggest names to rise up against an ever-corrupt and troubled Government who are helping to fuel hatred. I am not putting all the blame on them but, really, how many more massacres will it take before they realise things cannot carry on this way?! Artists would not be spreading propaganda or pushing any ideals: instead, they are discussing what is obvious and terrible. It may take a lot of consensus and focus from artists to get the wheels rolling but, as Lana Del Rey looks for an America that is safe, united and accepting, it seems that there is…

 PHOTO CREDIT: @kj2018/Unsplash

AN awful long way to go.

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: The Big Moon/PHOTO CREDIT: Pooneh Ghana 

An All-Female, Summer-Ready Playlist (Vol. VIII)

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MAYBE it seems inappropriate for me…

 IN THIS PHOTO: Mary J. Blige/PHOTO CREDIT: Gavin Bond/The Observer

to put out a playlist that is summer-ready given what the weather is doing right now! The wind is pretty wild and the rain is not too far so, as much as anything, these songs act as a distraction; maybe a way of summoning the sun and trying to get the wind to slow down! However you listen to the tracks, get involved and discover some of the best new tracks from some fantastic female artists. Every week, so many golden moments are arriving from women in music; in every genre and across the broad. It is terrific discovering these artists you just know will be a big deal. I have collected the latest assortment and I hope there is something in here that tickles your fancy. As the weather is not too great today, spends some time with music that will surely…

IN THIS PHOTO: Lola Coca

LIFT your mood.

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

____________

Mallrat – Charlie

Dominic Sen – Hear Me

The Regrettes – Stop and Go

Tori Kelly – 2 Places

Mary J. Blige – Know

Skylar Grey – New Kind of Love

Grace VanderWaal – Waste My Time

Nasty Cherry – Live Forever

cupcakKe – Whoregasm

PHOTO CREDIT: Pooneh Ghana 

The Big Moon – It’s Easy Then

Anna Ash – Apologies

PHOTO CREDIT: Jonas Risvig

Soleima – Cheers for the Tears

Gia Ford – TURBO DREAMS

Clara Bond – Pink Wine

Kara Marni (ft. Champion) – All Night, Pt. 1

Cashmere Cat – EMOTIONS

Tori Forsyth – Be Here

Lara Andallo - Confidential

Marika Hackman – send my love

Lola Coca – De Nada

Kate Bollinger – Talk About It (B-Side)

Megan Davies - New Eyes

Jess Thristan – Your Turn

Hana Vu – At the Party

FEATURE: The August Playlist: Vol. 2: Catfishes, Small Talk and a Quest for a Better America

FEATURE:

 

The August Playlist

IN THIS PHOTO: Pixies’ Black Francis 

Vol. 2: Catfishes, Small Talk and a Quest for a Better America

___________

THIS time on the weekly Playlist…

 IN THIS PHOTO: Katy Perry

there are so many great artists to get involved with. Not only are there new songs from Lana Del Rey, Pixies and Katy Perry but there are cuts from Bon Iver, Tool and Slipknot. It is a pretty varied week and one that spans genres and tastes. I like what is on offer and I hope you do too. I can never predict what each week will produce in terms of sounds so it is always a nice surprise to see what comes along. Take a good listen to what is included and I know there will be something in there you like. From some big-name selections to some underground songs, it is a nice balance. If you need some kick to get your weekend off to a good start, I think these artists are ready…

PHOTO CREDIT: Slipknot

TO oblige.  

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

_________

PHOTO CREDIT: Travis Shinn

Pixies – Catfish Kate

Lana Del Rey – Looking for America

Katy Perry – Small Talk

The Big Moon – It’s Easy Then

BROCKHAMPTON – If You Pray Right

Tool – Fear Inoculum

Goo Goo Dolls – Indestructible

Bon Iver – Faith

Jake Miller – Nervous

RuthAnne – Unrequited

The Regrettes – Fog

Marika Hackman – hand solo

Slipknot – A Liar’s Funeral

Caroline Polachek - Ocean of Tears

PHOTO CREDIT: Ryan Duffin

King Princess – Prophet

PHOTO CREDIT: Hugo Yanguela

Spector – Half Life

James Blake – Can’t Believe the Way We Flow

PHOTO CREDIT: Howard Wise

Moon Duo – Lost Heads

Gold Panda – Transactional Relationship

Temples – You’re Either on Something

Tori Kelly - Coffee

The Amazons – 25

Miranda Lambert – Mess with My Head 

Mary J. Blige – Know

Mike Posner (ft. Wiz Khalifa) – Prince Akeem 

AJ Mitchell, Ava Max – Slow Dance

YEBBA – Where Do You Go

Lady Antebellum – Pictures

Mystery Jets – Screwdriver

Snoop Dogg – Let Bygones Be Bygones

Ella Eyre, Banx & Ranx (ft. Kiana Ledé) - Mama

Alessia Cara – Rooting for You

FEATURE: Saintly and Supreme: Whatever Happened to Girl Groups?

FEATURE:

 

 

Saintly and Supreme

IN THIS PHOTO: The Supremes/PHOTO CREDIT: Getty Images 

Whatever Happened to Girl Groups?

_________

THIS is another subject I have covered…

 IN THIS PHOTO: All Saints/PHOTO CREDIT: Getty Images

before but, like any good journalist (if I can call myself that), some things are worth revisiting when the time calls! Tomorrow, I am going to talk about Lana Del Rey and her latest track – one that imagines an America without guns and chaos. It is an arresting thing and it makes me wonder whether musicians need to get more involved when it comes to raising awareness about what is happening in the U.S. Now, although some of the girl groups from my childhood are still around in some form, it seems strange that this scene died away. The Spice Girls have reunited and are performing but one wonders whether they will record new music – will it be as anthemic and spirited as their earliest stuff? One suspects now. Also, All Saints are around but, again, a more mature sound presents itself in their newest work; nothing quite like their regency back in the day. Apart from that, there are few remnants of the finest of the 1990s and earliest part of the last decade – I think En Vogue are still together but are hardly being talked about. Maybe there is something inherently un-PC about the term ‘girl group’: at a time when sexism and gender is being discussed and, in music, always present, is it demeaning and wrong to label like this?! I think ‘girl group’ is an old term that has been resigned but, in any case, what about the music that was being made? This feature from earlier in the year tells us where the girl groups of the past are.

I raise this subject for a couple of reasons – I shall get to the second in a bit. I grew up around a lot of music, but it was the music of classic 1960s girl groups that really caught my ear. Maybe it was the harmonies or the connection between the members; something magical that resonated and lingered between the notes. I recall hearing The Ronettes, The Shangri Las; The Supremes and The Shirelles for the first time and noticing how different they were to anything around. Maybe I am a sucker for the romance portrayed in the song but, really, it is the timelessness of the music that hit me – the fact it was passed from my parents to me and, in 2019, the music still sounds fresh and unique. This illuminating article dissects and revels in the extraordinary girl groups of the 1960s:

“Girl groups of the 1960s were responsible for some of the catchiest hits of the day. Songs like "Be My Baby" by the Ronettes, "Will You Love Me Tomorrow?" by The Shirelles, and "Where Did Our Love Go?" by the Supremes are pop-music diamonds, short and catchy with passionate lead vocals and sophisticated harmonies. The earlier wave of '60s girl groups included The Shirelles, The Crystals, The Blossoms, Shangri-Las, The Chiffons, the Dixie Cups, the Ronettes and The Cookies. Then later came the Motown sound with The Marvelettes, Martha and the Vandellas and The Supremes.

The Supremes were one of few girl groups that was able to sustain their success through the tsunami that hit American shores in the form of the Beatles and the British Invasion. It's conventional wisdom among some music experts that the Brits more or less "killed" the girl group phenomenon, or at least hastened the end of the golden age of girl groups. But let's be real -- it's pop music, considered a fairly disposable form of entertainment at the time, and nothing lasts forever. It's also worth noting that girl group never went away, it just changed with the music -- up through the Pointer Sisters to TLC to the Spice Girls.

One of the most famous of the girl groups that emerged out of Detroit’s Motown music scene in the mid 60’s, at the same time the Beatles and the British invasion were coming on strong in the U.S. and would go toe-to-toe with those groups on the music charts, was The Supremes. Diana Ross, Mary Wilson and Florence Ballard recorded “Where Did Our Love Go” in the summer of 1964, that particular song had been rejected earlier on by the Marvelettes. It went to #1 and sold over 2 million copies, so The Supremes were on their way to make music history! They quickly followed this with two more #1 hits: “Baby Love” and “Come See About Me”. The hits kept coming for The Supremes in 1965, 1966 and 1967. Between 1964 and 1967, The Supremes had one of the best all-time female track records in pop music history: they released 15 singles and all but one made the Top 10. Additionally, 10 of those songs were #1 hits!”

 IN THIS PHOTO: The Bangles/PHOTO CREDIT: Bertrand Rindoff Petroff/Getty

I will bring in another article that examines the girl groups of the 1990s and early part of the last decade. It seems strange that bands of the 1960s such as The Rolling Stones and The Beatles were so much more massive than girl groups like The Supremes, but I think the classic girl groups helped influenced generations of artists and, as I say, the music sounds so sumptuous, passionate and evocative today. Whilst so many modern Pop artists discuss love in negative terms of, when being positive, are quite trite and predictable, there is something inherently jaw-dropping and seductive when you hear the 1960s’ best girl groups. Of course, not all girl group-produced music was about love and loss: there were anthems of defiance and the subject matter was quite broad. I am going to briefly mention the 1980s because we cannot ignore bands like The Bangles and Salt-N-Pepa. In a way, the classics crafted by these groups were on the same sort of level as the 1960s’ best. Maybe the subject matter was broader and we got some slightly harder-edged bands but, essentially, the template was the same: an incredible tight band performing these incredible catchy and memorable song. I like The Bangles because they were one of the few girl groups who played and rocked hard – maybe girl groups never caught on as much as Indie and Rock bands because of the lack of guitars and riffs; The Bangles were a bit of an anomaly.

When I think of the second wave of girl groups and the ones who I still listen to, it is the 1990s that comes to mind. Groups like All Saints and Destiny’s Child continued into the next decade, but I think the 1990s was this decade where girl groups held as much sway as boy bands. If the 1960s was defined by ‘boy bands’ like The Beatles courting more fevered and vocal fanbases than girl groups, there was a time when girl groups were on a level par with the men. What I like most about the 1990s’ girl groups was the fact that there were these different camps. If you wanted something a bit more commercial and sweeter, you had the Spice Girls and Sugarbabes. If you wanted something sassier that possessed a bit more clout then Destiny’s Child, TLC and En Vogue were on hand. Depending on your age will dictate whether the strongest girl groups were the legends of the 1960s or their grandchildren of the 1990s. I will end by asking where the girl groups have gone but I am not surprised the 1990s was such a fertile period for them. Even though genres came and movements evolved – we had Grunge and Britpop; U.S. alternative and all sorts at that time – girl groups seemed to be a constant that were unaffected by tastes, markets and trends. Some say girl groups aren’t prevalent today because the music is not enduring and seems uncool. I disagree. Listen to the very best girl group music of the 1990s – including All Saints and Destiny’s Child – and there are plenty of indelible tracks that added something bright and brilliant to the scene.

 IN THIS PHOTO: TLC/PHOTO CREDIT: Getty Images

In America, you had these independent, pioneering and strong girl groups like TLC, Destiny’s Child and En Vogue who, to me, were about projecting these messages of strength against suppression; encouraging girls and young women to stand tall and believe in themselves. In a sense, the 1960s’ girl groups, whilst talking about love and heartache, were promoting the same thing: the new breed of the 1990s were updating those messages and giving them a bit more kick and swagger. Personally, I was a bigger fan of the U.S. best compared with our version: the Spice Girls, All Saints and Eternal were great but not quite as intriguing and nuanced as their U.S. sisters. Just as I write this, I am seeing a report that suggests Destiny’s Child might reform and tour together. They sort of came together for Beyoncé’s epic headline set at Coachella last year – few can forget that incredible performance. It was great to see the group back together and storming it like they did back in the 1990s and early-2000s. I digress. I think, though, there is an appetite for revival that extends past nostalgia and rehashing the past. Today’s music lacks potent girl groups and a sense of swagger, punch and pop. Think back to the 1990s and some of the anthems that came out. Destiny’s Child provided (from the 1990s to the next decade) Bills, Bills, Bills and Say My Name; the brilliant Lose My Breath and Jumpin’ Jumpin’. The Spice Girls had their fair share of brilliant tracks: Wannabe, Who Do You Think You Are and Say You’ll Be There among them.

Look at the En Vogue camp and some of their biggest numbers. Who can ignore the prowess and charge of Free Your Mind and My Lovin’ (You’re Never Gonna Get It)?! I really loved a lot of All Saints’ music and feel they are underrated. There was something about girl groups’ music that resonated more than simple Pop. Maybe it was the harmonies or, perhaps, the subject matter was more interesting. I was never into the branding; I never had a favourite member of the groups and, whilst I have great affection for the TLCs and Destiny’s Childs of the world, my love was purely musical – whereas a lot of fans identified with the imagery and messages being projected. I could definitely appreciate the lyrics but I understand male listeners might get something different to girls and young women. Certainly, one cannot refute the addictiveness of the music and the fact so many of the songs from the 1990s and early-2000s are revered and played today – that is the case with girl groups’ music of the 1960s, 1970s and 1990s, too. So, then…why have girl groups sort of faded away?! The Fader discussed the subject last year and stated that, whilst there are modern boy bands like BTS, girl groups are barely visible:

“BTS, with their distinguishing nicknames, hairstyles, and personalities, model a dynamic homosociality in the same mold set by The Beatles over fifty years ago. Like the now-hibernating U.K. group One Direction, they present an array of types from which young fans can choose a favorite member. When a straight or bi teen girl undergoes the process of finding out what kind of boy she finds most attractive — a clean-cut beach blond like Niall Horan or a tattooed enigma like Zayn — she also begins to construct her own personality. Boy band fandom has served as an easily accessible identity-building exercise among teen girls for decades.

At the turn of the millennium, girl groups and boy bands had nearly equal sway over American culture. Singles from the Spice Girls, TLC, and Destiny's Child brushed up against hits by Backstreet Boys, 98 Degrees, and NSYNC on the radio. With bubblegum tracks about female friendship in a world that prioritized men, '90s girl groups preached a newly accessible pop feminism. "Girl power" resonated among pre-teen and teenage girls, and it succeeded largely due to the social dynamics on display in girl groups.

Whether there is room for the girl group in the contemporary neoliberal imagination remains to be seen. Non-male bands command attention in more niche genres such as indie rock, where groups like Camp Cope and Cayetana challenge the patriarchal vision of the rock stage as a male domain. The sound of female camaraderie remains a powerful one for certain audiences, yet it remains a challenge for groups of women to attain mainstream sway. If girl groups are to see a resurgence, they’ll have to prove to the market what we already know to be true: female friendship is worth looking at”.

I do think it is changes in scenery and tastes that have seen girl groups’ numbers reduce rather than them being of a particular time. There are a lot of great female artists out there now and so many of them are in very innovative and stunning bands. We still have close-knit female groups but, rather than it being displayed through R&B/Pop with melodies and harmonies, things are more varied; perhaps the commercial demand is not there just yet and, with so many of the established girl groups either disbanded or less active than before, maybe we will see another wave in years to come. I do like the fact groups like the Spice Girls and Destiny’s Child have reformed and are/will play together again. Maybe it, as the article above claims, time for the industry to recognise female power and talent out there. Whereas we had a fair few great girl groups in the 1990s and last decade, things sort of petered out. With Pop evolving and the mainstream shifting, maybe the new breed of girl groups will be an entirely different proposition to the ones who have come and gone. I am buoyed by the news Destiny’s Child might record more material and, with one of the iconic girl groups gearing up for their next phase, does this mean that other girl groups, new and established, follow in their wake? At a time when music lacks a distinct energy and fun, I think girl groups’ music has…

 IN THIS PHOTO: The Shirelles/PHOTO CREDIT: CSU Archives/Everett/Alamy

A vital role to play.

FEATURE: Back in My Day… Is Modern Music More About Sound Collages and Mood Rather Than Hooks and Melodies?

FEATURE:

 

 

Back in My Day…

PHOTO CREDIT: @melodyjacob1/Unsplash 

Is Modern Music More About Sound Collages and Mood Rather Than Hooks and Melodies?

_________

MAYBE this is a generational thing…

 PHOTO CREDIT: @v_well/Unsplash

but I have just posted online an article that concerns Inner City’s hit, Good Life. It is an interesting piece in The Guardian that speaks with those involved in the song’s creation. A couple of months ago, the same site did a similar feature of Sub Sub’s Ain’t No Love (Ain’t No Use) featuring Melanie Williams. Both of those songs are from a period (the late-1980s/early-mid-1990s) when there was a big emphasis on hooks, big choruses and something quite exciting. For those who did not live through the Dance and Trance explosion; the beauty of House and the fantastic Pop that was around in the 1980s and 1990s, it was a heady time for music. It was not just the catchiness and quality of the hooks but there were great melodies and timeless sentiments that we are still spinning today. One can say we still have tracks like that today and, indeed, there have been bangers and addictive songs for decades – listen back to the best of the 1960s and you have ample examples of tracks that get into the head and stay there forever. I am not suggesting artists today are devoid of fun and excitement – as I have alluded to several times – but I think there are fewer modern examples of big songs with big hearts. I am not necessarily referring to House tracks but look back at the girl groups of the 1990s and early part of the last decade; some of the big club tunes that were around at the end of the 1990s and a few of the finest cuts from this year – the likes of Lizzo, Hot Chip and Sigrid have brought bags of hooks and bright moments.

Look at the best albums of the past couple of years and it seems, at least, there is greater attention paid to urgency in a more personal and political form. Maybe, too, artists are thinking more about using sound as a collage or tapestry; a mores sophisticated and less commercial sound. I do admit that a lot of the Pop mainstream and newcomers rely on the same sound: the plastic vocals and robotic lyrics; a template that is utterly lacking in charm, interest and originality. I love albums from Cate Le Bon (Reward), Weyes Blood (Titanic Rising) and Billie Eilish (When We All Fall Asleep, Where Do We Go?) but I do feel the strength of those records lies away from hooks and something instantly gratifying. Some might say their sounds are more mature than a lot of the music I have just described but is modern music more about building layers and mood rather than something free, unleashed and hook-laden? There is enough evidence to suggest that, over the past decade, music has sort of lacked real variety. I do think a lot of the best modern artist are trying to buck this trend by writing really interesting, rich and detailed songs but, in order to avoid being seen as meaningless or samey, are artists avoiding songs with hooks, bright choruses and sumptuous melodies? I do feel like artists such as Lizzo are a rarity in the modern scene.

I have a lot of time for most music but I do sort of miss the fun times; songs that got us moving because of their common codas, pure messages and the way they made us feel. A lot of modern music interests me and engages my imagination but very little sticks around and compels me to sing along or move. Maybe natural evolution and changes in scenes means music as it is now is the new explosion: as important and meaningful as the beats of the past but different in tone. At a time when we are strained and divided, does music need to reflect reality more? Is escapism something we should avoid? I want to bring in that article from The Guardian regarding Good Life and read producer Kevin Saunderson’s recollections:

“Thirty years later, Good Life still instantly gets people dancing and feeling good. It’s funny, because there’s not much to it: a TR-909 drum machine for the beat and a TR-707 for percussion, Casio and Korg keyboards and a sampler. I started with the main riff, imitated it with the bassline, put some strings on it and sent it to Paris. After she added her lyrics, I did a mix and a friend of mine played more keyboards. I wasn’t a trained musician, but I heard notes in my head and found a way of getting them out”.

We are being told music is getting louder, more receptive and over-familiar and I can appreciate how hard it is to stand out and remain relevant at a time when anyone, anywhere can release a track.

 

Gone are the slinky days when groups like TLC, Destiny’s Child and En Vogue could get you popping with an audacious chorus; the halcyon times when songs had quality and depth but they also boasted hooks and an explosive energy. I do think there is a desire for fun, boisterous and captivating songs that, whilst fairly simple, do make you feel better. As I say, I think modern music is great and one cannot say the quality has declined lately – in fact, I think the sheer variety and standard is staggering. In order to create structure, original expression and something personal, the universality of music has declined. By that, I mean a lot of the great tracks of the past were about coming together and feeling good. Even if they talked about love, artists were able to speak from the heart but speak to the masses and ensure there was a smile on the face. This interesting article explains how larger Pop writing teams takes away uniqueness; perhaps artists are taking fewer risks. I don’t know but I do think we have crossed from a time when there were a lot of artists penning these emphatic and instantly memorable tracks that one could relate to, but there was this need to capture the mood and move the soul. As I say, I love modern music and think it is a lot more varied and progressive than it has been for many years. Whilst genres are being fused and artists are creating these interesting tracks, I do miss harmonies and melodies; classic tracks with indelible choruses and the sense of release truly great music can provide. At this difficult and divisive time, I think the industry needs these kind of tracks…

 PHOTO CREDIT: @joewthompson/Unsplash

MORE than ever.

FEATURE: Spotlight: allusinlove

FEATURE:

 

 

Spotlight

PHOTO CREDIT: Haris Nukem 

allusinlove

_________

THERE are a lot of rising artists…

 PHOTO CREDIT: allusinlove

I want to highlight over the coming weeks but, as they are a bit of a roll now, I am putting the incredible allusinlove under the spotlight. This is not the first time I have featured the band: I have reviewed and followed them under their previous moniker, allusondrugs. If the once-drug-naming band have transformed into a more loving and wholesome-named clan, the music still has a certain sense of lick, sweat and excitement. The Yorkshire band’s new album, It’s Okay to Talk, had the terrific Catherine Marks on production duties (she is the go-to producer if you are a pretty thrilling and meaty band!), and I recommend people buy the album and check it out. The record has been picking up some promising and encouraging reviews. Here, Discovered Magazine had their say:

“‘It’s Okay To Talk’ is grounded in alternative indie but has many offshoots to keep the listener guessing and interested in what is to come, heavy distorted guitars keeps the energy up while the shoegaze aspect creates a spacey atmosphere. Not to mention a very memorable performance from lead vocalist, Jason Moules, adapting to each song to match the feeling from the intimate songs to distorted and soaring choruses. The track listing does include all four songs from the latest EP released late 2018 while two songs make a return from the allusondrugs days with a fresh sound and production that lifts and improves the songs tenfold. The producers give a good indication of what to expect from the record: Catherine Marks (Foals, The Killers, Wolf Alice) and Alan Moulder (Nine Inch Nails, The Smashing Pumpkins, Queens Of The Stone Age).

As a hard reset for the band, this is an incredibly well thought out and executed record. The band have harked back to their roots while improving on it, concisely setting out what they wanted to achieve in their production. The mix of styles and genres has certainly kept things open for what is to come from the Leeds outfit which is no bad thing but rather an intriguing prospect. While relying heavily on already recorded and released material is not ideal, the band have decided that this will be the jump off point for allusinlove”.

I love the band because they sort of mix modern Indie/Alternative with something a bit older. Yes, some of their songs cut to the bone and are lustful and cocky but the band are never that crude and vulgar: instead, they remind me of bands like The Rolling Stones and Led Zeppelin and can talk about love/sex without being disparaging. With incredible chemistry between the members and riffs-aplenty, it is no wonder allusinlove are proving to be a very popular live act. There are a couple of dates coming up, but keep an eye on their social media channels (links are at the bottom of this feature) as the band might add some new ones and stuff pops up. The fact that their album is out at the moment means there will be a lot of excitement and demand. Here, the band talk about each of the tracks and I have selected a couple of interviews from a little while back – where they talk about recording their material and how they started out.

When speaking with Sound Arts, they were asked about their formation and what it was like working with producer Catherine Marks:

“How did you meet and how were allusinlove (allusondrugs) formed in the first place?

We all met around the Leeds area as everyone in the band was already playing music in different projects. We had known of each other from previous gigs and nights out so we started hanging out as new friends. One evening, after a hazy conversation outside a pub, the first version of the band was born. We all connected extremely well musically because of a very similar taste in bands. The idea of forming a new band between us seemed exciting and we wanted to go for it.

“All Good People” is the first taste of your forthcoming EP, produced by the legendary Catherine Marks and Alan Moulder. How was your collaboration with them?

It was an amazing experience. Catherine was excellent to work with and she really had everything under control in the studio. She understood straight away what kind of band we wanted to be and she had some amazing ideas. There were some truly magic moments shared with both Catherine and Alan during the recording and mixing of the album. Thanks to them both we have been able to achieve a sound that we are very proud of.

Which is your favorite song from you latest EP and why?

Bad Girls is probably our favorite because it is the most experimental song we’ve done. The whole progression of the guitar riff is based around a constant loop that never actually changes it’s structure. The song loops through various different sections and the lyricism focuses on insecurities within a darker relationship between two broken souls. There’s also a hippie drum circle we recorded over the middle 8 which gives the song a real tribal feel”.

Of course, we know the E.P. became an album and the band have been showcasing songs on the road. I want to bring in another interview and, although it is pre-album, it does reveal something interesting – including who allusinlove would like to collaborate with. They explain more:

“Tsvetelina: You released your EP last year and it’s so diverse and interesting. What was your main inspiration musically and lyrically for it?

Jason: It’s longing mostly, like a lot of confusion. About life and just people – how you feel about them and stuff. And sex. Just stuff, I think, everybody goes through, mostly. It’s hard to talk about, I haven’t thought much about it. Other than actual subjects, it’s feelings, as well. Live musicians, they can create a feeling that’s not something you can describe but it can take you somewhere. I like stuff I can listen to. If I make a song and I can listen to it after, we’ve won. Sometimes you can make music and be like ‘I don’t actually like that. Why have I done that?’

Tsvetelina: There are a lot of new artists and bands but who would you like to collaborate with the most?

Jason: Perfume Genius. He’s a chap from America, I think he’s from Seattle. He makes really amazing music. There’s a girl called Anna Calvi. Let’s not say a girl, she’s a woman, she’s older than me. She’s from the UK. She’s amazing. We were really lucky with the people we made the album with, the EP. We’re a four-piece band but I would say in the studio we were a seven-piece band because of our producers and our engineers. They were helping us and creating with us, so just to work with them again would actually be really nice. Hopefully, the second record, we’re gonna do it with all the same people because they were just incredible. They’ve some of our favourite records, everyone between from Smashing Pumpkins to My Bloody Valentine and Warpaint. That’s all the music that I enjoy listening to and then the people who made that music are making music with us now. I just want to collaborate again with them, I guess. Because why not? The formula is good”.

I need to catch up with the band because I would love to know what they have planned for the remainder of this year. I know there will be more gigs but, in terms of material, perhaps nothing else until next year. I recall discovering them as allusondrugs and marvelling at a band who sounded so complete and assured right from the off. They have grown even stronger and more ambitious – in no small part due to gigs and great exposure – and I think they are one of these bands who could become IDLES-big. Maybe they are not as political and charged as IDLES but this new wave of guitar music with heart and nuance is very popular and something we have been missing for a while – there has always been guitar music but there is a definite rise right now. I shall wrap things up here but, how would one describe allusinlove?! They are brotherly and have a great bond with their fans. They are riff-tastic but have plenty of heart; they are underground yet primed for big success and, in a world where we have guitar groups like John, Foals; IDLES, Slaves and countless others, there is something different about allusinlove. Have a listen to their incredible music and I know you will become a fan soon enough. Sit back, turn up (the album) It’s Okay to Talk and allow the majestic and memorable songs…

 PHOTO CREDIT: allusinlove

TO lodge themselves in the brain.

_____________

Follow allusinlove

PHOTO CREDIT: allusinlove 

Facebook:

https://www.facebook.com/allusinlove.x/

Twitter:

https://twitter.com/allusinlove

Instagram:

https://www.instagram.com/allusinlove.x/

Spotify:

https://open.spotify.com/artist/30f8y3JNhI5bOis0Sb2kdx?si=gOjxrrNGTDO_2SPNKcxiwA

YouTube:

https://www.youtube.com/channel/UC7kOAcd3V8Aif6-eql4h6iw

FEATURE: It All Started with Lily... Kate Bush’s Before the Dawn at Five

FEATURE:

 

 

It All Started with Lily…

Kate Bush’s Before the Dawn at Five

_________

MAYBE I should ration my Kate Bush-related features…

 IN THIS PHOTO: Kate Bush performing on stage (in 2014) in Before the Dawn/PHOTO CREDIT: Ken McKay/Rex Features

to single figures next year but, when it comes to anniversaries and talking about important events, one just has to get involved. I will write one more feature – marking thirty years of The Sensual World in October – this year but I cannot believe it has been five years since Kate Bush brought the world Before the Dawn. I recall when tickets went on sale on 21st March, 2014. In fact, those were for fans who had signed up to her website: the general public had to wait until 28th March. I was not signed up to her website but, as I had to work the day tickets were available, I missed out. Tickets sold out in fifteen minutes! It is amazing to think that a concert run could sell out that quickly but, as it was thirty-five years since Bush hit the stage in such a fashion, one could understand the fever! The Hammersmith Apollo is a venue Bush has always had affection for. Not only does it have proscenium arches – it was formerly a cinema – but it is close to where she lives; she performed a few dates to end her The Tour of Life in 1979.  The Hammersmith Apollo is a great space and one Bush clearly feels at home in. I will discuss her legendary tour soon but, in 2014, few were expecting Bush to return to the stage. Since 1979, she had played a few times but they were one-offs or rare appearances.

There had been nothing on the scale of The Tour of Life since 1979. That tour took Bush through the U.K. and around the world. In 2014, there was no way Bush was going to repeat that process. She loved the original experience but was fatigued by touring and the fact that, in many ways, it was like a touring circus: she would pack up the stage and props from one location and then they would be moved to the next – this was quite rigorous and, as she was not keen on travelling, this time around it has to be the one location. It meant there were no stresses regarding moving around and she could remain in a venue she knew and was familiar in. That said, as she discussed with Matt Everitt in 2016, she was terrified each night; the fear of remembering her lines and getting everything right did not elude her until the final performance! I will also talk about the live recording of Before the Dawn that was released in 2016 but for those who were lucky enough to be at one of the twenty-two shows in 2014 witnessed a once-in-a-lifetime thrill. You can find more information concerning The Tour of Life and the sheer effort that went into it. Bush has joked in interviews, as I said, that it was like a circus act. Such was the scale and grandeur of the tour that is left critics’ jaws dropped.

After releasing two albums in the space of a year in 1978 – her debut, The Kick Inside and Lionheart – there was a desire for Bush to control something; to have a big input into something this big. She felt her first two albums were okay but she did not have enough say and, maybe, they were not as good as they could have been. The preparations and rehearsals were rigorous. Unlike standard concerts of the time, The Tour of Life was replete with set changes, incredible choreography and a mix of mime, dance; the fantastical and poetic. Bush did not say much during the shows because it was a very planned and constructed set. If there was a lack of audience interaction, the performances could not be faulted. This was a spectacle that had not been seen perform; an extravaganza that took her work to new levels and broke new ground. The very nature of what a gig could be changed. Bush’s grand visions and groundbreaking nature – she was the first to use a wireless/head mic – inspired other artists and has gone down in musical history. There were a number of reasons why Bush did not take to the stage sooner. Her song, Albert, sort of changed her mind and gave her the courage to get back on the stage. Consider the effort and work required to realise The Tour of Life. The energy-draining sets were spectacular to watch but sapped Bush; she wanted to concentrate on making music and other stuff got in the way. There are other reasons why she did not tour again but something clicked prior to 2014.

Having been immersed in recording prior to Before the Dawn – she released Director’s Cut and 50 Words for Snow in 2011 – she was keen to try something new and move on. Whereas The Tour of Life took material from her first two albums (and the odd new song), the bulk of the material for Before the Dawn was taken from 1985’s Hounds of Love and 2005’s Aerial: two albums with concepts/suites that she could link and explore on the stage. There were similarities between The Tour of Life and Before the Dawn. With multi-media effects and a mix of shadows, dancers and puppets, it was another chocked and evocative set that also brought in filmed sequences – Bush spent three days in a flotation tank for filmed scenes played during the performance (she got ill as a result and got a ticking-off from her doctor!). Also featuring dialogue written by author David Mitchell, it was a typically bold and spellbinding Bush show. There were some flaws – some of the scripted, filmed scenes fell flat; not all of the set/props choices worked – but one cannot argue with the reviews. The Guardian had two tastes and, in both reviews, could not fail to be impressed by Bush. Kitty Empire’s review was full of praise:

“Other than the woofers and what sound like a few more tweeters in Aerial's birdsong passages, there has been precious little messing with Bush's music at all. Her energies have gone into staging the visuals that tell the stories of two song-suites, The Ninth Wave (about a woman lost at sea, and the horror of being parted from loved ones), from the 1985 album The Hounds of Love, and A Sky of Honey, the second half of 2005's Aerial (about the play of light in midsummer). At one point there are 20-odd people on stage. Subtle rearrangements can suit a voice that's lost its elasticity. That stage management is not needed here. At the end of three hours of untrammelled theatricality punctuated by skits (written by novelist David Mitchell), what is truly thrilling about Kate Bush's comeback is how little her voice – or her essence – have changed.

IN THIS PHOTO: Kate Bush photoed in 2005/PHOTO CREDIT: Trevor Leighton/National Portrait Gallery, London 

This is an emphatically rehearsed production which draws heavily on moving scenery, startling stagecraft – a “helicopter” strafes the crowd in a botched rescue attempt during The Ninth Wave – and surprisingly scary costumes. Fish People is the handle of Bush’s website and record label, and the fish skeletons that populate the drowning dream sequences of The Ninth Wave are the stuff of gothic nightmares. Media are mixed. Infamously, Bush was filmed earlier at Pinewood Studios singing in a tank of water, buoyed by a blinking life vest, for this act. On the video she looks less like Ophelia, and colder and wearier than you might expect”.

Alexis Petridis was similarly blown away:

 “For someone who's spent the vast majority of her career shunning the stage, she's a hugely engaging live performer, confident enough to shun the hits that made her famous in the first place: she plays nothing from her first four albums.

The staging might look excessive on paper, but onstage it works to astonishing effect, bolstering rather than overwhelming the emotional impact of the songs. The Ninth Wave is disturbing, funny and so immersive that the crowd temporarily forget to applaud everything Bush does. As each scene bleeds into another, they seem genuinely rapt: at the show's interval, people look a little stunned. A Sky of Honey is less obviously dramatic – nothing much happens over the course of its nine tracks – but the live performance underlines how beautiful the actual music is.

Already widely acclaimed as the most influential and respected British female artist of the past 40 years, shrouded in the kind of endlessly intriguing mystique that is almost impossible to conjure in an internet age, Bush theoretically had a lot to lose by returning to the stage. Clearly, given how tightly she has controlled her own career since the early 80s, she would only have bothered because she felt she had something spectacular to offer. She was right: Before The Dawn is another remarkable achievement”.

I am a bit gutted not to have been in the audience for one of the Before the Dawn dates. Like me, go and buy the live album and you are treated to a pretty memorable experience. I love the excitement in Bush’s voice and the impassionate roar from the audience. The performances are tight, stunning and will stay with you for a very long time. Like the show itself, the Before the Dawn album received cracking reviews. Consequence of Sound had this to say:

“While it’s tempting to look at this as an endpoint — a final and well-deserved victory lap — Bush has described this album as “a rather big comma.” This isn’t the end, apparently, and nor should it be. If anything, Before the Dawn is living, breathing proof that Bush still has the creative prowess and unique sensibilities that made her a superstar in the first place.

Like most live albums, this is not essential listening for new or casual fans. However, for dedicated fans, both those who could and could not attend the run of shows, it is a reminder of the still very potent lust for life that Bush has always exhibited in her music, art, and personality. It’s a reminder that fear can be conquered in the most ambitious and uplifting way, that fear does not define who we are”.

Celebrating and remembering the incredible Before the Dawn makes happy because it was great to see Bush back on the stage. Many asked why she did not return sooner but there are reasons for it – including the fact she started a family and The Tour of Life was quite an exhausting experience. Whilst it is unlikely Bush will take to the stage again like she did in 2014, maybe there will be a gig in the future. Who knows? You can never rule anything out with Kate Bush but, whilst we wait to see where she heads next, let us remember the magical moment Kate Bush took to the stage…

IN 2014.