FEATURE: Better Off: Martyn’s Law: Making Music Venues Safer for Everyone

FEATURE:

Better Off

IN THIS PHOTO: Martyn Hett (right) and his partner, Russell - Hett died alongside twenty-two others during a suicide bombing attack at The Manchester Arena on 22nd May, 2017 following an Ariana Grande concert/PHOTO CREDIT: martynhett/Twitter

Martyn’s Law: Making Music Venues Safer for Everyone

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IT has been almost three years…

IN THIS PHOTO: Ariana Grande

since the awful suicide bombing attack in Manchester that left twenty-three people dead. The bombing happened at an Ariana Grande concert on 22nd May, 2017, and rocked the world. I remember hearing the news and could not believe the images coming through. It was startling hearing about the destruction and carnage after what should have been such a peaceful concert. Although there has not been an attack at a U.K. venue as severe as this since, there is always a fear that we could see something like it again. The memories of the Manchester attack are still fresh, and we want to make sure everyone can attend a concert or gig without fear of attack. One of the people killed in the attack, Martyn Hett, has a law named after him. ‘Martyn’s Law’ ensures there are stronger anti-terrorist measures at venues:

“Airport-style security checks could be introduced across public venues after the government backed a campaign by the mother of a Manchester Arena attack victim.

Figen Murray, whose son Martyn Hett was one of the 22 people who died in the 2017 attack, has lobbied for stronger anti-terror security measures.

Brandon Lewis, the security minister, said Boris Johnson was “100%” behind the proposals for bag searches and metal detectors at big venues such as concert and sport arenas.

Manchester city council has pledged to adopt “Martyn’s law” early through new licensing rules.

IN THIS PHOTO: The Manchester Arena

Writing in the Mail on Sunday, Lewis said: “The prime minister, home secretary and I are all 100% behind Figen and are working to improve security measures at public venues and spaces.

“We are working quickly to come up with a solution that will honour Martyn’s memory and all of those affected by terrorism.

He added: “I am pleased that last week Manchester city council announced new licensing rules, but we are committed to going further and making Martyn’s law a reality for all public venues across the UK.”

Murray has been pushing for stronger anti-terror security measures since 2018. The government has now backed the plan, but has not yet set a timetable for its implementation.

The government announcement represents a shift from the Home Office’s 2019 resistance to Murray’s petition, when it responded that while it provided advice to venues on appropriate and proportionate security measures, there were “no plans to mandate specific security measures”

Murray told the BBC: “I am absolutely delighted. I met with Mr Lewis a few weeks ago but did not realise they were moving things on so quickly.

“If the government do make this a reality then it will be a fitting tribute to not only Martyn but all those who died that night”.

I can appreciate how good security is at venues and, in the wake of the bombing in 2017, there have been extra measures imposed. It is a shame that we have to up security because of the threat of terrorism but, in terms of making people safer and keeping those out who can cause so devastation, this is a good measure.

PHOTO CREDIT: @ev/Unsplash

I have always wondered why such checks have not been in place at venues already. Consider the size of arenas and how many people are passing through. I know the logistics involved with processing and checking thousands of people is immense, but consider the fact it takes only one person to slip through unchecked to perpetrate an act of violence. I am not sure how extensive the checks are and whether people’s bags will be scanned; whether each ticket holder will go through a metal detector and it is very much like an airport experience. It sounds quite police-like and off-putting, but it is comforting knowing there are such rigid checks. I think this is a way to guarantee we will not see a repeat of the bombing of 2017. I am not sure how venues will monitor those outside venues and whether there are barriers imposed with security guards on every corner. It has been almost three years since we learned the terrible news of the Manchester attack, and it still seems pretty current and hard to accept. Martyn Hett, the twenty-two others who died that night and the many injured are very much in our minds. Manchester city council has pledged to take on Martyn’s Law early, but it seems very likely that it will be rolled out across the country and reach major venues across the U.K. Although Hett lost his life on 22nd May, 2017, Martyn’s Law is definitely…

PHOTO CREDIT: martynhett/Twitter

QUITE a legacy.

FEATURE: The January Playlist: Vol. 3: Learning with Your Eyes Open

FEATURE:

 

The January Playlist

IN THIS PHOTO: The 1975

Vol. 3: Learning with Your Eyes Open

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THIS week…

IN THIS PHOTO: Mac Miller

is packed with brilliant artists and great songs. Not only is there new material from Halsey, Eminem and The 1975; we also have music from the late Mac Miller, Thundercat and Missy Elliott. Add in some Green Day, Ultraista and U.S. Girls and here is a packed and eclectic assortment of tunes. If you want something to kick off your weekend and provide some boost, then look no further! Settle in and enjoy the week’s best tracks. This playlist is guaranteed to get you excited…

IN THIS PHOTO: Halsey

AND moving.   

ALL PHOTOS/IMAGES (unless credited otherwise): Artists

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PHOTO CREDIT: Axelle/Bauer-Griffin/FilmMagic

Halsey - Still Learning

Mac Miller – I Can See

Eminem – Darkness

The 1975 - Me & You Together Song

Bombay Bicycle Club – Good Day

Hayley Kiyoko – She

IN THIS PHOTO: Thundercat/PHOTO CREDIT: Eddie Alcazar

Thundercat, Steve Lacy, Steve Arrington - Black Qualls

Ultraísta - Tin King

PHOTO CREDIT: @issarae

Missy Elliott - Why I Still Love You

Soccer Mommy - circle the drain

IN THIS PHOTO: Leon Bridges/PHOTO CREDIT: Sam Wilson Photo

Khruangbin, Leon Bridges – C-Side

Mura Masa – No Hope Generation

PHOTO CREDIT: Mary Ellen Matthews

Joywave - Half Your Age

PHOTO CREDIT: Bella Podpadec

Porridge Radio – Sweet

LA Priest - What Moves

Green Day – Oh Yeah!

PHOTO CREDIT: Colin Medley

U.S. Girls - Overtime

COIN – Youuu

Gregory Porter – Revival

Marie Dahlstrom, Jeremy Passion – Through Your Eyes

Lauv – Tattoos Together

Ella Eyre - New Me

Sea Girls – Ready for More

The Naked and Famous - Bury Us

BTS – Black Swan

Empress Of – Call Me

Real Estate - Paper Cup

Rina Sawayama - Comme Des Garçons (Like the Boys)

Lily Moore – Now I Know

FEATURE: Inspired by the 1967 BBC Mini-Series… Kate Bush’s Incredible Debut Single, Wuthering Heights, at Forty-Two

FEATURE:

Inspired by the 1967 BBC Mini-Series… 

IN THIS PHOTO: Kate Bush in 1978/PHOTO CREDIT: Gered Mankowitz

Kate Bush’s Incredible Debut Single, Wuthering Heights, at Forty-Two

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MAYBE a forty-second anniversary…

is not worth covering but, as Kate Bush is entering her sixth decade as a recording artist, I wanted to look back at her almighty and utterly unique debut single. Wuthering Heights was originally slated for a November 1977 release, but it was delayed until 20th January, 1978. Bush wanted to change the sleeve design and was not happy with it and, also, there were huge Christmas singles like Wings’ Mull of Kintyre – that was released on 11th November, 1977 and was a huge hit. I will come to my thoughts and particular experiences of the song soon but, before moving on, here is some background and information about Wuthering Heights courtesy of the Kate Bush Encyclopedia:

“Song written by Kate Bush, released as her debut single in January 1978. She wrote the song after seeing the last ten minutes of the 1967 BBC mini-series based on the book ‘Wuthering Heights’, written by Emily Brontë. Reportedly, she wrote the song within the space of just a few hours late at night. The actual date of writing is estimated to be March 5, 1977.

Lyrically, "Wuthering Heights" uses several quotations from Catherine Earnshaw, most notably in the chorus - "Let me in! I'm so cold!" - as well as in the verses, with Catherine's confession to her servant of "bad dreams in the night." It is sung from Catherine's point of view, as she pleads at Heathcliff's window to be allowed in. This romantic scene takes a sinister turn if one has read Chapter 3 of the original book, as Catherine is in fact a ghost, calling lovingly to Heathcliff from beyond the grave. Catherine's "icy" ghost grabs the hand of the Narrator, Mr Lockwood, through the bedroom window, asking him to let her in, so she can be forgiven by her lover Heathcliff, and freed from her own personal purgatory.

The song was recorded with Andrew Powell producing. According to him, the vocal performance was done in one take, "a complete performance" with no overdubs. "There was no compiling," engineer Kelly said. “We started the mix at around midnight and Kate was there the whole time, encouraging us… we got on with the job and finished at about five or six that morning." The guitar solo that fades away with the track in the outro was recorded by Edinburgh musician Ian Bairnson, a session guitarist.

Originally, record company EMI's Bob Mercer had chosen another track, James And The Cold Gun as the lead single, but Kate Bush was determined that ‘Wuthering Heights’ would be her first release.  She won out eventually in a surprising show of determination for a young musician against a major record company, and this would not be the only time she took a stand against them to control her career.

The release date for the single was initially scheduled to be 4 November 1977. However, Bush was unhappy with the picture being used for the single's cover and insisted it be replaced. Some copies of the single had already been sent out to radio stations, but EMI relented and put back the single's launch until the New Year. Ultimately, this proved to be a wise choice, as the earlier release would have had to compete with Wings' latest release, ‘Mull of Kintyre’, which became the biggest-selling single in UK history up to this point in December 1977.

‘Wuthering Heights’ was finally released on 20 January 1978, was immediately playlisted by Capital Radio and entered their chart at no. 39 on 27 January. It crept into the national Top 50 in week ending 11 February at No.42. The following week it rose to No.27 and Bush made her first appearance on Top of the Pops ("It was like watching myself die", recalls Bush), The song was finally added to Radio One's playlist the following week and became one of the most played records on radio. When the song reached number 1, it was the first UK number 1 written and performed by a female artist.

For those who were growing up in the late-1970s, hearing an artist like Kate Bush on the radio would have been mind-blowing! Punk was still raging in 1978 and, when you look around the scene forty-two years ago, there was nothing on the same planet as Kate Bush! Sure, there were talented female songwriters, but Bush’s voice, sound and look was very much her own. A debut single concerning a classic novel (it was published in 1847 and written by Emily Brontë) is not the most conventional of things and, in 2020, it would still be considered rare! Also, although there are plenty of artists inspired by Kate Bush, if Bush arrived fresh today, I still think we would be mesmerised. My discovery of the song happened when I was a child when I saw Wuthering Heights’ video; it would have been on the ‘best of’ VHS, The Whole Story.

It was not the first of her videos I saw – that would be Them Heavy People; also from her debut album, The Kick Inside (1978) -, but I was mesmerised the first time I saw the Wuthering Heights video. Two music videos were created for the song. In one version, directed by Nick Abson, Bush dances on Salisbury Plain while wearing a red dress. It was filmed before the intended November 1977 release date. In the second version, directed by Keef, Bush is seen performing the song in a dark room filled with mist while wearing a white dress. It was the U.K. video of her in the white dress that I saw – and the preferable of the two. Although Bush, when talking about the choreography, said she was inspired by Lindsay Kemp – she attended dance lessons Kemp held in Covent Garden; she was drawn to dance due to Kemp’s Flowers (Kemp’s free interpretation of Jean Genet’s novel, Our Lady of the Flowers, with Kemp playing the central role of Divine, a transvestite transcending gender in a world of criminals, whores and angels) -, the choreography credit should have gone to Robin Kovac (or most of it). Bush did mention in interviews the influence of Lindsay Kemp but, learning of Kovac’s sense of exclusion, Bush wrote her an apology letter and mentioned her in some big interviews. The marriage of the simple-yet-compelling video with the song is amazing. Bush, wide-eyed and entranced, created a video that still seems alien and utterly beguiling all these years later. Whilst she created more developed and sophisticated videos – and looked back with a modicum of embarrassment at early videos like Wuthering Heights -, the song itself is, in my mind, the best debut single ever.  

My favourite album ever is The Kick Inside, and I play Wuthering Heights and still have the same response I did as a child: disbelieving of this pure and gorgeous sound and highly unusual song. In 2019/2020, there has not been a debut single as powerful and original as Wuthering Heights. Written by an eighteen-year-old Bush in March 1977, I can imagine her with the window open as the night held silent. The fact Bush wrote the song so quickly and naturally amazes me. To have that sort of talent and unorthodox creative inspiration so young is inspiring. Wuthering Heights is the most-streamed song of Bush’s and remains her most notable track; it is her signature and, in my view, is more nuanced and staggering than some of her later hits like Running Up That Hill (A Deal with God) and Cloudbusting – both from 1985’s Hounds of Love. Although a remixed version featuring rerecorded vocals was included on the greatest hits album, The Whole Story, the original is still the superior version (why re-record a perfect vocal performance?!). On 20th January (Monday), I do hope radio stations play it and, if you are unfamiliar with the song or have not heard it for a while, make sure you do! Radio stations do play Kate Bush’s music but, as I have said before, many focus on a few songs from Hounds of Love and do not dig any deeper.

IN THIS PHOTO: Kate Bush in 1978/PHOTO CREDIT: Patrick Harbron

Wuthering Heights is where it all began, and it introduced the world to an artist who is practically a national institution; she has gone beyond the level of a national treasure and is almost a deity to some. The word ‘unique’ is bandied about so often, and it usually is misjudged in many cases. When we call Kate Bush unique, nobody can argue against it. She has evolved and produced stunning album after stunning album since 1978 and, although her latest album, 50 Words for Snow, was released in 2011, I am hopeful an eleventh studio album will arrive in the next year or two. Wuthering Heights scored high in charts around the world - Australia: 1, Belgium: 6; France: 14, Germany: 11; Ireland: 1, Italy: 1; Netherlands: 3, New Zealand: 1 and Switzerland: 8 – and features a truly incredible performance from Bush and her band. With some legendary shredding from Ian Bairnson – whose impassioned notes take the song over the horizon –, Wuthering Heights mixes the heavenly highs of Bush’s voice with the electricity and intensity of the guitar. Before wrapping up, I want to return to the Kate Bush Encyclopedia and a quote relating to Wuthering Heights:

“When I first read Wuthering Heights I thought the story was so strong. This young girl in an era when the female role was so inferior and she was coming out with this passionate, heavy stuff. Great subject matter for a song.

I loved writing it. It was a real challenge to precis the whole mood of a book into such a short piece of prose. Also when I was a child I was always called Cathy not Kate and I just found myself able to relate to her as a character. It's so important to put yourself in the role of the person in a song. There's no half measures. When I sing that song I am Cathy.

(Her face collapses back into smiles.) Gosh I sound so intense. Wuthering Heights is so important to me. It had to be the single. To me it was the only one. I had to fight off a few other people's opinions but in the end they agreed with me. I was amazed at the response though, truly overwhelmed “ - Kate’s Fairy Tale, Record Mirror (U.K.), February 1978.

Over forty years after its release, Kate Bush’s debut single is instantly recognisable, magical and out of this world. I am not sure whether she is releasing a new album this year, but no matter. Bush’s back catalogue is finding new fans all of the time and there is so much to enjoy. When it comes to songs that knock you sideways, they don’t come…

MUCH better than Wuthering Heights.

FEATURE: Spotlight: Joy Crookes

FEATURE:

Spotlight

PHOTO CREDIT: Frank Fieber

Joy Crookes

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A few days back…

I reviewed a track from the BBC’s Sound of 2020 winner, Celeste. Now, I am spotlighting the fourth-placed artist on the list: the incredible Joy Crookes. This year’s shortlisted and celebrated Sound of 2020 rundown is brimming with talent and promise. Although, vocally, both Celeste and Joy Crookes have been compared with Amy Winehouse, the two are very different artists. Born in 1998, Crookes is a Neo Soul singer of Bangladeshi-Irish heritage. Even though Crookes has only been releasing music for a few years, she has put out three E.P.s since 2017 – pretty prolific when you consider other work rate of many artists out there. Crookes was nominated for the Rising Star Award at the 2020 Brit Awards, and one can find her name on most of the ‘ones to watch’ articles that herald the artists that will define 2020. Growing up in Elephant and Castle, London, Crookes attended Jazz and Blues workshops as a child. That sparked her interest in music and, at the age of thirteen, she was posting covers of Laura Marling songs to YouTube – she already is making me feel very old! Crookes, like so many incredible artists, taught herself to play a variety of instruments – including piano, guitar and the bass. I have nothing against mainstream Pop artists, but if one wants to find credibility, proper musical talent and skill, they need to look at artists like Joy Crookes. She may not command the same Twitter numbers (not yet) as big stars, but her music seems much more personal and purer – free as it is from a host of writers and producers.

Britain has produced some great R&B and Neo Soul artists over the past few years, including Jorja Smith. Crookes is another fine talent who has years ahead of her. In April of 2013, a cover of Ray Charles’ Hit the Road Jack was uploaded to YouTube; Crookes’ rendition won her huge praise and, as it happens, her current manager! I will bring in an interview she gave to Vogue fairly recently in a bit but, when we think about the rise and talent of Joy Crookes, it is hard to take in just how much she has done in a short time! Her debut E.P., Influence, came out in July 2017 and, from there, things got properly busy. More and more people were turning on to her music and wanted to know about the young woman behind the songs. One of my favourite Crooks songs, Don’t Let Me Down, was released in November 2018 and was followed by another E.P., Reminiscence, in January 2019. That E.P. gained a smattering of impressed reviews, showing that we were definitely witnessing something special. In this review, we learn about some of Crookes’ influences:

“Crookes has previously listed some her influences, which range from Kendrick Lamar’s To Pimp a Butterfly to Frank Sinatra, both of which are apparent on the second track Man’s World. A classical jazz piano leads the melody whilst tuneful rap speaks of female empowerment through rebelling expectations of women in relationships.

The only single that was previously released on the EP is Don’t Let Me Down. After being released in November last year, the music video was premiered by i-D magazine and quickly reinforced the comparisons of Crookes to Amy Winehouse. The single, that is still classed as a demo, is a simple yet passionate song that consists only of Crookes and her guitar, making the track feel more intimate than the other more structured songs.

Because of the timeless soulful voice of Crookes, it’s easy to forget that this is only her second ever release, after she released her first EP Influence last year. Yet, compared to the first EP, it is evident that Crookes is beginning to experiment more with electronic production, more synth melodies are seen in tracks such as For a Minute which seems less like R&B and hints more at the bedroom pop genre.

Joy Crookes is an artist who injects her heritage, upbringing and identity into her work. The personal element gives her music a more intimate and modern feeling and Crookes being picked up by DJs such as Clara Amfo, with such a limited discography, should entice any new listener to her soulful music”.

The E.P. is great, as there is a confident mixture of distinct tracks that do not stand still. Crookes navigates through various genres but keeps her identity and focus intact. After the success and building attention, Crookes released the E.P., Perception, in May 2019. Before that, the singles Since I Left You and London Mine arrived; each gained a lot of positive feedback and big reviews. – the latter song is a celebration of migrants and London’s fabric. Given the success and quality of her music, Crookes was performing at more and more events and festivals. She appeared on the Introducing Stage at the BBC Radio 1 Big Weekend. Crookes also appeared at Glastonbury last year – taking her music to a whole new world and loads of new fans.

 PHOTO CREDIT: Chris Almeida for The Line of Best Fit

One suspects Crookes will be back at Glastonbury this year, and she will have a new album under her belt. She has said that she wants to bring an album out before May so, with a new honour under her belt, so many people will be looking in her direction in the coming weeks. Crookes has a gorgeous and effecting voice, and she matches that with songs that look at gentrification, social injustice and racism. She is part of a wave of artists who is bringing big themes to life. In terms of artists who have motivated her, The Pogues, Sinéad O’Connor and Marvin Gaye are three of many who run through her veins. I said I would source an interview Crookes gave to Vogue. In March last year, she was asked about her heritage and artistry:

“From Bangladeshi and Irish descent, Joy's dual identity is at the centre of her artistry and what drives both her music and visuals.

“It just makes me, doesn’t it? My dual identity reflects more about me as an artist. I grew up with so many different cultures and influences around me, but it’s not as if I play the fiddle and sitar in my songs. Irish people have a real way with words, we have incredible writers like Oscar Wilde, Paddy Kavanagh, Van Morrison. Then Bangladeshi culture is different – the way we style our hair, the way we present ourselves, our mannerisms. Sure, it would be easy for me to do lots of Indian scales – they do after all, influence jazz – but I’m more about my lyrics.”

Joy Crookes, the 20-year-old singer-songwriter from South London, is undoubtedly one of the most exciting artists to emerge in the music scene this year. Her voice is gentle, yet husky, her music is as elegant as a classic jazz track”.

While, at 20, Joy has impressed many with her unapologetic songwriting that is beyond her years and yet, one of her main goals before turning 21, she told Miss Vogue, is “to become a more confident and eloquent writer – going from lyricist to poet.”

Many have compared her to legendary artists, Amy Winehouse and Lauryn Hill. Though, Joy is wary of such comparisons, explaining, “it’s the highest compliment to be compared to them both, but I think it's dangerous territory – particularly for female artists because we’re so easily boxed. I just want to do my own thing.”

I am going to wrap things up soon but, as I have not brought in any gig reviews, I thought I would mention one Bristol Post published in November. Crookes is playing Oslo in Hackney in March, so go and see her if you can. She is a fantastic live performer:

“With a string of top releases, the latest of which recently made its way onto Radio 1’s playlist, Joy Crookes is being tipped as one of the UK’s most exciting rising stars.

After a busy summer playing major festivals including Glastonbury, Latitude and Radio 1’s Big Weekend, the 20-year-old is currently in the midst of her first UK tour, which included a stop at Bristol’s Rough Trade on Friday night.

The husky, powerful vocals possessed by the precocious talent are reminiscent of those which saw Amy Winehouse rise to fame, particularly on soulful track Don’t Let Me Down, and she was at her best on Friday when her voice was allowed to flourish on its own without the distraction of backing instruments - although that’s not to say her band weren’t impressive.

It’s clear that the Londoner has already developed a solid following despite being in the embryonic stages of her career, as swathes of the exuberant crowd sang along to the catchy chorus of opener Hurts, a song upbeat in style but one in which she discusses drifting apart from a close friend.

She told us about her love of Massive Attack’s Unfinished Sympathy, which she was listening to as she wrote London Mine, adding how she wishes she had written it, and admitted to us that she finds encores “so wet” before finishing with Too Late - the track currently and rightly receiving airtime on Radio 1 - prompting another mass singalong.

Such was the quality of the performance, some members of the crowd tried to twist her arm into performing an encore, despite her voicing her dislike of them. Sadly she stood firm in her viewpoint and was in the adjacent record store signing merchandise for fans before you could say "one more tune".

Crookes is an entrancing performer with an entrancing voice and there’s a reason she’s being tipped as a future star by many. The next time she plays in Bristol it will be at a much bigger venue, and you should seriously consider buying a ticket”.

Last year was a fairly busy one for Crookes, but this one is going to be her most packed and itinerant. Venues around the world will want to host Crookes, and there is the business of her debut album. After the BBC announced Crookes as one of their artists to watch this year, that momentum will make a difference. There are a lot of great artists you need to get involved with this year, and Crookes is among the very best. She is, quite simply, an…

EXCEPTIONAL young voice.

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Follow Joy Crookes

IN THIS PHOTO: Joy Crookes in a shoot for Freedom @ Topshop campaign

Facebook:

https://www.facebook.com/joycrookes/

Twitter:

https://twitter.com/joycrookes

Instagram:

https://www.instagram.com/joycrookes/

YouTube:

https://www.youtube.com/channel/UCtz6Kxq5a7boG5zR-DthM-g

Spotify:

https://open.spotify.com/artist/5XMyhVhi5ZN2pi0Qwi1zXS

FEATURE: Their Finest Hour: The Sundays’ Reading, Writing and Arithmetic at Thirty

FEATURE:

 

Their Finest Hour

The Sundays’ Reading, Writing and Arithmetic at Thirty

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I was going to write another article…

IN THIS PHOTO: The Sundays in 1990

but I noticed The Sundays’ debut album, Reading, Writing and Arithmetic, is thirty today (15th January). This is an album I have been aware of since it was released. At the time, I was only six, but I remember songs such as Here’s Where the Story Ends and Can’t Be Sure being played on the radio. Of course, at the time, I was a little naïve – or just too young to understand – what the songs were about. I was struck by the sweetness and unusual tones of Harriet Wheeler’s voice and the sophistication of the music – Wheeler and David Gavurin wrote all the songs on The Sundays’ debut album. The Sundays were/are David Gavurin, Harriet Wheeler, Patrick Hannan and Paul Brindley and, alongside Ray Shulman, they produced this quiet masterpiece. I recently wrote a piece about the tracks of 1990 and, as you can see, people like Madonna and Sonic Youth were defining the scene. That said, bands like Everything But the Girl, Cocteau Twins and The La’s were providing something alternative; a catchiness and strength that different to everything else out there; It is hard to articulate, but I think there was this very interesting wave of British Indie/Jangle Pop that emerged at the start of the 1990s. Whilst the decade would see some true works of genius released, I think The Sundays’ debut should be considered among the very best. Yes, it does not shout as loud as Nirvana’s Nevermind (1991) or has the same influence as, say, Radiohead’s OK Computer (1997), but I think The Sundays influenced a lot of bands – and they still influence artists today.

One of the things I love about Reading, Writing and Arithmetic is the mix of simplicity and sophistication. In terms of personnel, it is just these five people: Harriet Wheeler – vocals; David Gavurin – guitar; Paul Brindley – bass; Patrick Hannan – drums; Lindsay Jamieson – tambourine. The tracks might seem breezy and light on the surface, yet they are deep and full of nuance. I am listening back to tracks I heard first thirty years ago and discovering new things. Despite the fact Here’s Where the Story Ends is The Sundays’ biggest hit, it was never released as a single in the U.K. It reached number thirty-six in John Peel’s Festive Fifty in 1990, and it topped the U.S. Modern Rock Tracks chart. Reviews were positive for the song, and many artists have covered the track – including Tin Tin Out in 1998. Lots of great albums are turning thirty this year and, as it is only January, it might be a while before we see the next big anniversary. The Sundays’ Reading, Writing and Arithmetic definitely warrants investigation. I will bring in a review later on but, before then, a couple of articles that salute The Sundays’ mighty debut. In this XS Noize article from 2015, they look at the start of The Sundays and why Reading, Writing and Arithmetic resonated:

“The Sundays came into existence when Harriet Wheeler and David Gavurin met and started to date while attending Bristol University. They were messing about with songwriting and prose when the idea of a band first became a possibility. The band would eventually compose Harriet on vocals and David as guitarist with Paul Brindley on bass and Patrick Hannan on drums. Things moved rapidly for The Sundays, the band quickly went from fiddling around making demos to being signed by Rough Trade after a bit of a bidding war. The quickness with which they were signed might not have served them as well as many would think, as Gavurin observed,” A lot of bands who get signed, have been playing for years and have 30 songs for the first album… but we didn’t have enough songs for our first album, let alone a second, we could not write to a deadline.

You can’t force a whole amount of quality songs quickly.” They were almost accidental musicians. The band, fortunately, hit the sweet spot of arriving at a time when a new decade was dawning and suddenly from the ruins of the last musical decade The Sundays emerged and were in parts The Smiths and the Cocteau Twins all in one. The band has the appeal of instant breezy hooks, delicate swirling rhythms and Harriet’s amazing vocals.

Reading, Writing, and Arithmetic was a perfect meditation on post-grad life when the world is your oyster and you either go into plastics like the adults suggest or start a rock band. The Sundays were able to capture the feeling of being totally confident you would never make the same mistakes as the adults and that surely the life you had dreamed of was just around the corner. The disc kicked off with Skin and Bone starting off like someone dropped a sonic bomb. The song then proffered the very British ethos of not getting too big for your britches, “…actually oh well there’s something I’ve found it’s true we are just flesh and bone.” The song breaks forth with the celestial sound of Harriet’s voice over an all so pleasing guitar. Those first vocals were all you needed to indicate you were in for something special.

Alas, The Sundays would only release three albums with Reading Writing and Arithmetic being the strongest commercial performer. Hobbled by their record company Rough Trade’s financial troubles and the commitment to managing themselves may have undercut the band. The Sundays would go on to release Blind in 1992, with the singles Goodbye and the scintillating cover of the Rolling Stone’s Wild Horses, the album would go to 15 on the UK charts. Their last recording Static and Silence would yield Monochrome and Summertime with longtime fan producer Nigel Godrich aiding on the song She. Blind would also reach into the UK top 15. Harriet and Matthew would eventually marry and have two children. They decided to put the band on hiatus to raise their family, but they are still writing, so who knows what the future holds. Hope springs eternal.

The Sundays enduring influence was that they were the first key dive circuit band to break out in their era. They were a response to the Stone Roses and Happy Monday’s invasion. Their success provided a platform for many other thrilling talents to be allowed a look in on the mainstream charts. Those opportunities in all likelihood would not have happened without The Sunday’s success. Their shimmering lyrical economy and sonic transparency make them after all these years a band to sonically enjoy and treasure”.

I do think Reading, Writing and Arithmetic gets overlooked because, not only did it arrive at the very start of the 1990s; the decade is synonymous with brilliance and staggering albums. It is obvious The Sundays have opened the door for many artists, yet there is something unique about their music that cannot be replicated. If you have a moment today, go and stream the album – it is at the bottom of this feature. Reading, Writing and Arithmetic is one of those albums that is not on vinyl, and I wonder why. Maybe there was not much of a market or demand in 1990 – although it was available on vinyl - and, if it was on vinyl today, I think there would be a demand! It sounds beautiful and hugely memorable no matter what format you listen to the album on. Some albums from the 1990s have been lost or do not get coverage – that is not the case with Reading, Writing and Arithmetic. In 2015, The Quietus revisited The Sundays’ debut and had this to say:

 “Harriet Wheeler's voice is a genuine one-off, giddy and effortlessly gymnastic without ever losing sight of the humanistic warmth at its core - the crystalline prettiness she brings to 'You're Not The Only One I Know' lends it a gorgeous quality brilliantly at odds with the mundane minutiae of the lyrics, while her hurtling from punchy gurgles to stage-whispery confiding makes 'Skin & Bones' a terrifically arresting opening. Conversely, David Gavurin is one of the great overlooked guitarists of the entire canon; he might display shameless debts to more familiar figures at times (the aforementioned Marr on 'A Certain Someone', James Honeyman-Scott on 'I Kicked A Boy'), but there's a passion and a very real sense of release to his excursions in spangle'n'jangle that make for listening that's much more bewitching that any mere xeroxing could be.

What's also especially striking - and, given the title, wholly appropriate - is just how strong a reflection of student-age life this is, which, on reflection, is a rarer gift than might initially be assumed (consider, if you will, how much easier it is to rattle off lists of artists whose oeuvres correlate with adolescent experiences or properly grown-up concerns). At times, this can be remarkably specific - the excellent 'I Won' is perhaps the only song to ever build itself around flatshare politics - but it also captures the sensation of a life spent in preparation for a rather daunting sense of possibility. 'Hideous Towns' best expresses the intimidation this entails ("never went to Rome / I took the first bus home" etc), but it rears its head repeatedly, Wheeler at one point taking solace in the thought that "there's no harm in voicing your doubts" and, on 'Can't Be Sure', reflecting with perhaps an overly optimistic confidence that absolute conviction in what lies ahead is bound to emerge. Eventually.

But its real influence is a more benign and lasting one: as the first key toilet-circuit-departing release in the wake of the Roses/Mondays Pops invasion, it kicked the door completely off its hinges, letting a thrilling glut of talents who would previously never have had a look-in on the Smash Hits (or, indeed, smash hits) side of things come haring through in the weeks and months that followed. And, while the NME's review at the time was right to observe that it seemed unlikely you'd ever hear Tina Turner referring to sheds in a song, the alternative would go on to make such a good fist of setting the agenda for the mainstream through the decade that, come '98, the most played song on British radio was a cover of that selfsame shed-mentioning 'Here's Where The Story Ends'. As a signpost for a bewilderingly terrific time, then, Reading, Writing And Arithmetic remains impeccable, while, as an album in its own right, it's still a seldom-bettered affair”.

I will wrap things up shortly, but I am eager to bring in a review. It is hard to find a review from 1990 as, they have even been lost or archived or, in a lot of cases, people were still trying to get their heads around this fresh and exciting band! In 2014, Sputnik Music were eager to throw some love the way of a simply sensational work of brilliance:

“But what ultimately makes The Sundays are successful band, rather than just Harriet Wheeler And Her Backing Group, is what the rest of the band contributes. David Gavarin's guitar playing is the other highlight of the album. Gavarin is an underrated guitarist who crafted nearly as many memorable hooks as frequent subject of comparison Johnny Marr, and beyond his keen ear for composition, his guitar playing perfectly balances with Harriet's singing. The Sundays display a finely-tuned sense for melodies and countermelodies, never tipping the balance too far in one direction or the other. And Gavarin's taste for suspended chords and ethereal melodies on songs like "Joy" set The Sundays apart from groups like the derivative Cranberries.

“Here's Where The Story Ends” is a fine song, to be certain, but the album is filled with tracks that match or exceed its quality. “Hideous Towns” and “You're Not The Only One I Know” are particular standouts, and “Can't Be Sure” builds up in a satisfying way. Though Wheeler and Gavarin tended to get most of the attention, the rhythm section deserves compliments as well. Paul Brindley's bass playing, in particular, makes a subtle but enjoyable contribution to each of the tracks. Although it's tempting to remember The Sundays just for Harriet's vocals, the satisfying manner in which all the pieces come together give the record an enduring charm that sounds as fresh today as it did twenty-five years ago.

The Sundays' influence is found in, of all places, Japanese indie rock, where groups like The Pillows, Advantage Lucy, and Soutaisei Riron owe a lot of their guitar stylings and melodic sensibility to the band. Curiously, Mike Kinsella, in speaking about American Football, cited the band as an influence, in spirit if not exactly in style. In the same way Kinsella's album conjures impressions of the autumnal, suburban American midwest, The Sundays channel the English countryside with its stony, bucolic cottages and anxiously uncertain college days in equal measure. Its distance from the cynicism and detachment of modern independent music make Reading, Writing, and Arithmetic an album that's immediately charming in its honesty and appreciation of simple beauty”.

The Sundays’ third and final album, Static & Silence, arrived in 1997. Whilst that album gained some great reviews, it was not quite as lauded as their debut – even though the album got into the top-ten in the U.K. There has been this talk of the band reforming and playing and, on 10th October, 2014, during an interview on BBC Radio 6 Music's Radcliffe & Maconie radio programme, David Baddiel described Dave Gavurin as his "oldest mate" and stated that "they [Dave and Harriet] are doing music, but whether they ever put that out there, I’ve no idea. They're the most paranoid people about actually putting stuff out there". I doubt The Sundays’ will record anything else, though it is a shame their debut has not been given the anniversary treatment as it turns thirty – new vinyl and a few demos from the studio floor. Regardless, we can access Reading, Writing and Arithmetic on streaming services and revel in its wonder. On 15th January, 2020, Reading, Writing and Arithmetic sounds as beguiling, entrancing and fascinating…

AS it did thirty years ago.

FEATURE: A Musical Icon at Fifty-One: The Dave Grohl Ultimate Playlist

FEATURE:

A Musical Icon at Fifty-One

The Dave Grohl Ultimate Playlist

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I realise I wrote about Dave Grohl…

IN THIS PHOTO: Grohl with his Nirvana bandmates, Kurt Cobain and Krist Novoselic

this time last year when he celebrated his fiftieth birthday but, as he prepares to enter his fifty-second year of life, I wanted to revisit this titan of music. Although Grohl has not recorded a lot recently, he has been out on the road and bringing the classics to the people. Whether he is speaking with NME about the Reading & Leeds Festivals or chatting about some of his best tracks, you are never too far away from a brilliant Dave Grohl interview – which is a good thing! When it comes to the young having access to music and music education, Grohl is a passionate supporter. Schools in the U.K. and U.S. are not providing music lessons the same as they did years ago, and so many are suffering because it:

“Grohl advocates for being resourceful when it comes to learning how to play because the public school system in the US is so lacking in financial support for music. “You have to be imaginative and do things on your own,” he says. “Making music is everybody’s right. Fucking pick up a harmonica and blow the shit out of it. See what happens.” For this track, Grohl played piano. It wasn’t easy. What instrument is he going to attempt next? “I’ll try anything, baby,” he smirks. “I’ll fake it till I make it!”

From his brilliant period as the drummer with Nirvana through to his leadership of Foo Fighters and work with Them Crooked Vultures and Queens of the Stone Age, Grohl has inspired so many people to go into music. It is no exaggeration that Grohl is one of the nicest people in the industry. He is one of these people you want to keep making music and  be around forever. It seems like we might see a new Foo Fighters record soon:

 “Dave, how is the new Foo Fighters record going to differ from 2017’s Concrete and Gold?” asked Eric Blair, host of the insanely named Blairing Out With Eric Blair Show, in a recent interview with the musician.

“You’ll hear. It’s fucking weird,” replied Grohl.

That was about all he offered, though. Asked about the “lyrical themes” of the upcoming album, Grohl wasn’t sharing any more hints: “I don’t want to give away too much, but … we’re, like, right in the middle of it right now.”

The Foo Fighters frontman has been teasing fans with incremental updates on the progress of Concrete and Gold’s follow-up since September, when the Foos finally finished their tour. “We go home next week and we start making a new Foo Fighters record,” said Grohl at a September 28 show in Rio. “It’s good, it’s good.”

Later in the Eric Blair interview, Grohl spoke about his experience interviewing Ringo Starr for a recent piece in Rolling Stone: “The best part about interviewing him is he’s real. If you talk to him about Lennon or if you talk to him about George Harrison, you know, those were his friends, and his family. So when you start talking about that stuff, he gets emotional”.

I wonder where Grohl will head this year and what he has in store. Maybe there is a new Foo Fighters album coming soon. Perhaps he will be at some of the biggest festivals, producing a typically epic set. As he is fifty-one today (14th January), I wanted to end with a playlist that collects together his work with Foo Fighters, Nirvana; Queens of the Stone Age and Them Crooked Vultures. It now left to me to wish Dave Grohl…

PHOTO CREDIT: Gina Wetzler/Redferns

THE happiest of birthdays.

FEATURE: Vinyl Corner: Red Hot Chili Peppers – By the Way

FEATURE:

 Vinyl Corner

Red Hot Chili Peppers – By the Way

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THERE is relevance behind selecting this album…

PHOTO CREDIT: MTV/Getty Images

for inclusion in Vinyl Corner. For a start, I have not included the Red Hot Chili Peppers in anything much for a long time but, more importantly, they are going to release a new album this year. Not only that, but their estranged guitarist John Frusciante is back with them! It is good news for Chili fans, and I am interested to see what their upcoming album sounds like. This article provides more details:

“After confirming late last year that estranged guitarist John Frusciante is back in the fold, Red Hot Chili Peppers have now announced that work is underway on a new album.

Talking to Rolling Stone, drummer Chad Smith has confirmed that the band, including Frusciante – who played on the band's classic albums – are writing and recording together again. In an interview about his new art exhibition, Smith let a few details slip about the new material.

"I was given strict orders for this interview: ‘DON’T TALK ABOUT THE BAND,'" Smith tells Rolling Stone. "But, yes, John is back in the band, and everyone knows that. We’re psyched.

"The festivals are the only shows booked. For now, we’ll mostly be concentrating on new songs and writing a new record. We’re all real excited to make new music."

When asked to clarify if that means the band are in the middle of recording new music, Smith replies: "Yes. That’s all I can say".

It is great Frusciante is back with the band, as I love his work and I think the Red Hot Chili Peppers are stronger with him. That is not disrespect to any other band members, but there is a magic and chemistry you get with Frusciante that you do not get with anyone else. By the Way is an album you will want to get on vinyl, because it sounds incredible. It is their eight studio album and was released back in 2002. I remember when the album came out. I was in my second year at university and had just moved from London to Cambridge. It was a scary time, because it was a new city and university. I settled in pretty quick and was surrounded by some great people at the halls of residence I was staying. A lot of good music was played here, but the Red Hot Chili Peppers were a common soundtrack. Not only was I hearing Californication – the band’s previous album released in 1999 - playing a lot; By the Way became a new and firm favourite. It is not a surprise the album sold so many copies in its first week (286,000), and it was a chart success. Singles like Can’t Stop and By the Way are instant classics. In fact, I think By the Way contains so many of the band’s best songs.

Maybe the Red Hot Chili Peppers were a bit more challenging and innovative earlier on; delving deeper and not quite as commercial as they were in 2002. That said, listen to Universally Speaking, The Zephyr Song and Dosed, and these are songs that you will recall to mind and sing to yourself long after you have listened to them. Maybe the Red Hot Chili Peppers were at their peak earlier in the 1990s, but they were still very much on fire in 2002! If previous Chili records wee more outward and less personal, there was an air of reflectiveness on By the Way that marked a welcome shift. Maybe the album is calmer and more emotional than we are used to, but I think it brings new sides from the band – and tracks like Can’t Stop are definitely as energised and kicking as anything they have produced! John Frusciante was a crucial element regarding By the Way’s sound as he wrote most of the melodies and backing vocal arrangements; he also penned most of the bass lines and guitar progressions. Some diehard Chili fans felt the new direction took the band away from a more Punk-scented style and softened them. Every great artist needs to progress and change, and I think By the Way is a record where the band sound connected and committed. Frusciante has said the recording of By the Way was one of the happiest of his life – let’s hope the guitarist’s return to the brand is equally happy and productive!

After the immense Californication tour, the band members started working on the new album in the spring of 2001. The band laid down new ideas and songs in practice locations and (band members’) homes, as Frusciante and Anthony Kiedis (the band’s lead singer) collaborated. They would sit and discuss song ideas, lyrics and arrangements; Frusciante was back to his normal self – In 1998, he successfully completed drug rehabilitation and rejoined the Red Hot Chili Peppers -, and things were back to the golden days of the band. Legendary producer Rick Rubin was back on production duties, having helmed Californication, and he allowed the band freedom to create what they wanted without too much direction and dictation. I am not sure what the band had originally planned for By the Way, but the final sound is very different from what was suggested. I think the band were going to include more Punk-Rock songs but, inspired by groups such as The Beach Boys, Frusciante took By the Way in another direction. He was also listening to The Beatles and Emerson, Lake & Palmer, and you can hear touches of each in By the Way. Flea (the band’s bassist) felt his voice was not being heard and, when it came to the guitar and bass parts, Frusciante composed them himself, rather than collaborating with Flea. This was not a personal beef: Frusciante had a solid idea of what he wanted and felt the Red Hot Chili Peppers needed to move in a new direction.

Frusciante would record one more album, 2009’s Stadium Arcadium, before he departed the group; I think Flea felt that, in hindsight, Frusciante was not valuing his opinions and taking too much charge. Whatever slight tension there was from Flea, one cannot deny the brilliance and range on By the Way. There are few weak moments, and the band sound completely in-step and tight. Whilst there were lots of positive reviews – I shall bring two in soon -, some felt By the Way was not an adequate and notable improvement on Californication; more like a sequel rather than a whole new album. Others, knowing lyrics were not necessarily the strong suit of the band, wondered if Kiedis missed a trick. The singer is not the strongest writer around, but it is the fun and slight nonsense you get with Red Hot Chili Peppers that makes them so appealing. By the Way is a more supplicated and nuanced album that Californication, whilst Kiedis’ voice sound incredible throughout. AllMusic remarked the following when reviewing By the Way:

“The Red Hot Chili Peppers' eighth studio album finds the California foursome exploring the more melodic freeways of harmony and texture, contrasting the gritty, funky side streets of their early days. Luckily, with this more sophisticated sound, the Peppers have not sacrificed any of their trademark energy or passions for life, universal love, and (of course) lust. Although they recorded the spiky Abbey Road EP in 1988, this album actually sounds a lot closer to the Beatles' Abbey Road, with a little of Pet Sounds and elements of Phil Spector's lushest arrangements all distilled through the band's well-traveled funk-pop stylings. Harmony vocals and string arrangements have replaced some of the aggressive slap bass that the group was initially recognized for, but fans of both the gentle and the fierce Chili Peppers styles will embrace the title track and first single, "By the Way."

In fact, this song on its own could almost be a brief history of everything the Red Hot Chili Peppers have recorded: fiery Hollywood funk, gentle harmonies, a little bit of singing about girls, a little bit of hanging out in the streets in the summertime, some rapid-fire raps from Anthony Kiedis, some aggro basslines from Flea -- the song plays like a three-and-a-half-minute audio version of Behind the Music. Overall, the album leans more toward the melodic end of their oeuvre, but they have grown into this kinder, gentler mode organically, progressively working toward this groove little by little, album by album. What once were snapshots of a spastic punk-funk lifestyle have grown into fully realized short stories of introspection and Californication. Though the pace of the album falters at times (particularly in the verses; the choruses are all pretty spectacular), it is refreshing to see that as the four Chili Peppers continue to grow older and more sure of themselves, their composition and performing skills are maturing along with them”.

It is hard to rank the Chilis’ albums, because they sound very different on Mother’s Milk (1989) as they did on 2016’s Getaway. I think By the Way would be top of my list, then I’d place Blood Sugar Sex Magik (1991) above Californication. I think we can all agree that By the Way should be in every fan’s top-five! I want to highlight this review from The Guardian before moving on:

“The Chilis have definitively taken the socks off their cocks: now they wear them to keep their feet warm while they sip cocoa and concoct lovely melodies. Far from the gloriously brutal funk-metal workouts of old, By the Way is their most relaxed and mellow album yet.

A grainy string orchestra swells through cosmically minded love song Universally Speaking, ballad Midnight features a theremin, and Cabron is a pungently surprising flamenco singalong. That said, the Chilis haven't forgotten how to dance. Self-explanatory manifesto Throw Away Your Television boils with Flea's bass rumblings and an irresistible tom battery, On Mercury brilliantly rehabilitates the idea of ska, and Can't Stop is possibly the funkiest thing they have ever done.

Singer Anthony Kiedis does his rap-shouting thing while backing himself with a swooning falsetto countermelody; drummer Chad Smith cunningly saves his hi-hats for the most devastating moments; and John Frusciante's clean-toned guitar is thrilling: you can almost hear the wound metal of the strings scraping against the fretboard.

The lyrics throughout are the usual rhyming nonsense, and all the more pleasing for it”.

If you are new to the Red Hot Chili Peppers, I think you can be a bit selective regarding the album you listen to. I would definitely suggest you spend some time listening to By the Way – preferably on vinyl, but go and stream it if not. It is a remarkable album that, I think, is defined by John Frusciante. As he is back with the Red Hot Chili Peppers after a decade away, I think now is a good time to highlight By the Way. I am excited to see what the Los Angeles band come up with this year and whether their new album matches the sheer beauty of…

THE exceptional By the Way.

FEATURE: Perfect Covers, Intriguing Reinterpretations and Long-Awaited Releases: The Rise and Success of Music Biopics

FEATURE:

Perfect Covers, Intriguing Reinterpretations and Long-Awaited Releases

IN THIS PHOTO: Later this year, Aretha Franklin’s life will be brought to the screen in Respect; Franklin will be played by Jennifer Hudson

The Rise and Success of Music Biopics

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ONCE more…

IN THIS PHOTO: Taron Egerton won a Golden Globe for his portrayal of Elton John in Rocketman/PHOTO CREDIT: Fred Duval/FilmMagic

I am covering a theme that has been fairly exposed on my site over the past year. All of us have our dream music biopic: the artist or artists we would love to see on the big screen. Not all biopics are a success, as they can incur critical scorn or commercial failure. In some cases, the pictures are misjudged and, in others, the estate of departed musicians object. It is a tricky venture, and I have written about the inherent gamble associated with a music biopic. I have also mused regarding those artists who have not been on the screen, yet warrant a go. The reason I have picked this theme back up is because, as stride into 2020, there are fresh ventures in the work. Taron Egewrton, who played Elton John in last year’s Rocketman, scooped a Golden Globe last week, and that film won praise from critics. Earlier this week, we heard news another iconic artist is going to be portrayed on the big screen: the one and only Bob Dylan:

“Timothee Chalamet is in talks to play Bob Dylan in the Fox Searchlight film “Going Electric,” directed by “Ford v Ferrari” filmmaker James Mangold, Variety has learned.

The movie will follow Dylan as he rises in fame on his way to become a folk music icon.

The news comes after a busy year for Chalamet, who most recently appeared in Greta Gerwig’s “Little Women” adaptation as Laurie and starred in Netflix’s historical drama “The King.” Next up, Chalamet will star in Denis Villeneuve’s star-studded “Dune” with Rebecca Ferguson, Oscar Isaac, Josh Brolin, Stellan Skarsgård, Dave Bautista, Zendaya, Jason Momoa and Javier Bardem.

Mangold most recently scored rave reviews for “Ford v Ferrari,” which stars Matt Damon and Christian Bale and tells the true story of the automotive team at Ford, led by designer Carroll Shelby (Damon) and his British driver Ken Miles (Bale), as they build a race car in an attempt to beat the legendary Ferrari at the prestigious Le Mans race. He previously directed and co-wrote the critically acclaimed “Logan,” which went on to become the first live-action superhero movie to be nominated for screenwriting at the Academy Awards.

The last high-profile project based on Dylan was 2007’s “I’m Not There,” an unconventional biopic that features six actors playing different facts of Dylan’s public persona: Christian Bale, Cate Blanchett, Marcus Carl Franklin, Richard Gere, Heath Ledger, and Ben Whishaw. Before that, Martin Scorsese directed documentary “No Direction Home,” which traced Dylan’s life and his impact on music and culture”.

Of course, Bob Dylan has been portrayed before, but this sounds like a biopic that has the makings of a success. I think there is an advantage having the ‘original’ alive: they can help tell the story and, crucially, give their approval. That is one of the things that concerns me when departed artists are portrayed. I am not sure whether a planned Amy Winehouse biopic is near completion. Since her death in 2011, there have been a number of projects related to Winehouse, making sure her legacy is kept alive. From biopic chat to a planned hologram tour – which is ghastly -, it is understandable there is great fascination.

IN THIS PHOTO: Amy Winehouse will be portrayed in a biopic slated for release this year

Whilst it seems strange to imagine someone playing Amy Winehouse, bringing her story to life would be inspiring and, if struck right, it could prove successful. Her family and friends can have their input and ensure the film is handled right; one wonders whether her demons will be uncovered, or whether we will get a more sanitised film. The success of films like Rocketman and Bohemian Rhapsody – with Freddie Mercury front and centre – has encouraged filmmakers to step forward and release their projects. Even the films I have just mentioned have faults. In both cases, the private lives and sexuality of Elton John and Freddie Mercury were watered-down. It is hard to please everyone and include every detail, but I think biopics should be open and disclose fully – meaning a Winehouse biopic should mention her alcoholism and problems in addition to her genius and kindness. Last year was a busy one for biopics, and 2020 is not going to be a slouch. I have written about the on-off Madonna biopic, Blond Ambition, and I wonder whether Madonna will give the green light and approve the thing. It is one of those biopics that we all want to see but, as it has been delayed and criticised by Madonna herself, maybe a release is a way off! Proposed biopics relating to Carole King, Elvis Presley and Michael Jackson could make their way to us soon enough.  I will wrap things up, again, talking about those artists ripe for a biopic and the projects slated for 2020 I am especially excited about.

IN THIS PHOTO: Madonna/PHOTO CREDIT: Mert Alas

Before moving on, I want to bring in an article from last year that reflected on a year that produced biopics concerning everyone from Bruce Springsteen, The Beatles and Elton John:

“Another film that will provide Rocketman with competition right at the end of July is Yesterday. Yesterday revolves around struggling singer-songwriter Jack Malik (Himesh Patel) waking up in a world where he is the only person that has heard of The Beatles. Jack uses this opportunity to become a global musical superstar, as songs like “Hey Jude,” “She Loves You,” and “I Want To Hold Your Hand” are catchy no matter the decade.

On the face of it the combination of bona-fide British beauties like producer Danny Boyle, writer Richard Curtis and The Beatles should be tantalizing for cinephiles and music aficionados alike. But it will be interesting to see whether Yesterday’s blending of Mamma Mia! and Groundhog Day is actually a success. Early reviews have suggested that it is just a formulaic rom-com with Beatles songs thrown in. Of course that might still be enough for some fans, those who want to come together in a large crowd to see the most famous songs of the most famous band in the world performed on the biggest screen possible.

But the fact that the two remaining Beatles, Paul McCartney and Ringo Starr, haven’t been anywhere near the promotional material, means it could just as easily be overlooked and dismissed by those who are pining for either a more substantial take on the band, akin to Bohemian Rhapsody, or an out-and-out jukebox musical, a la Mamma Mia! and its follow-up.

Blinded By The Light, set for release in late August, is neither of those. In fact, the best way to describe the British comedy is as a cinematic essay on the impact of Bruce Springsteen. Inspired by the life of Sarfraz Manor, Blinded By The Light tells the story of Javed (Vivek Kalra), who despite living in Luton, England, in 1987 becomes obsessed with the lyrics and music of “The Boss,” which empower him during a period ofgreat racial and economic turmoil in the country.

Like Yesterday, Blinded By The Light honors the music rather than detailing the life that made it. But boosted by impressive reviews out of the Sundance Film Festival, and with the late summer particularly lean when it comes to competition, there's a good chance that smart marketing will entice a portion of Springsteen's legion of fans to celebrate the impact of his work.

Together, what these three movies already show is just how much the musical biopic has evolved.

In years gone by, the Oscar nominations picked up by Ray, Walk The Line, Amadeus, The Buddy Holly Story, Coal Miner’s Daughter, What's Love Got To Do With It, Shine and La Vie En Rose meant entries into the genre were usually regarded as prestige pictures — films that boosted studios' reputations more than their profits. This was even more true with adventurous music films like I'm Not There, Control, Love & Mercy, and 24 Hour Party People that received critical acclaim but made little money.

But now, the combination of 2015's Straight Outta Compton and Bohemian Rhapsody have exposed just how much money can be made when a huge studio and its subject matters back a musical biopic. With studios running out of genres that they know audiences are interested in, and with character-driven directors who aren't excited by superheroes running out of genres that studios are interested in, the musical biopic has become both a prestige and blockbuster release. That is of course, until one of them fails.

There are two very different biopics that are top of ‘must watch’ list for this year. Respect is about, as stated earlier, the late Aretha Franklin. Before her death in 2018, Franklin selected Jennifer Hudson to play her. The film has an August release date, and it will detail Franklin’s life from childhood to stardom. Also planned is a film about John Lennon and Yoko Ono. Bohemian Rhapsody writer Anthony McCarten has been given approval by Yoko Ono; the film details their romance and activism for peace. Whilst I hope a Madonna film does reach us, there are a few artists that that have yet to be covered on the big screen. A David Bowie biopic is being made, but it does not have the approval of his family. I think, with permission, a proper Bowie biopic would be very popular; perhaps focusing on his early/mid-‘70s albums. I have argued for a Fleetwood Mac biopic that concentrates on their masterpiece, Rumours, of 1977. There was a lot of tension in the band at the time but, in spite of drug use and division, they managed to release one of the best albums ever.

I also feel a biopic about Björk is overdue. She might not seem like the most obvious artist to bring to the screen, but her uniqueness and extraordinary career would make for an engrossing watch. Of course, it is not just the cinema that showcases biopics. With services like Netflix and Amazon Prime, there are opportunities for lower-budget releases. I think there needs to be a Prince biopic as, since his death in 2016, there has not been one. There have been rumours, but it might be the case of getting the right actor and ensuring the film is authoritative and well handled. We all have those biopics we are dying to see realised and, as 2019 provided us some award-winners and hits, I have high hopes regarding the crop of biopics already announced for 2020. There is no telling which other artists will get their own flick and what happens to those that will be released. There might be the odd failure, but I think there is a real demand and appetite for biopics. There have been some turkeys of biopics in the past, but the last year or so has seen some successes and great ventures. In fact, the biggest biopics are among…

IN THIS PHOTO: Björk

THE very best films around.

FEATURE: Modern Heroines: Part Sixteen: Alicia Keys

FEATURE:

Modern Heroines

Part Sixteen: Alicia Keys

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IN my ongoing feature that spotlights…

PHOTO CREDIT: Paolo Kudacki

female artists who will be considered icons in years to come, I am looking at the sensational Alicia Keys today. Whilst she has received some critical apathy through her career, I think she is incredibly underrated and, as we look ahead at festivals this year, I hope Keys is featured on many bills – few would have objected if she was named as a Glastonbury headliner. I am not sure what Keys has planned in 2020 but, with an album rumoured – more on that later -, she has enjoyed a pretty eventful and successful career so far. Born in 1981 in Manhattan, Alicia Augello Cook Dean is a classically-trained pianist and songwriter. Similar to so many of the other women I have included in my Modern Heroines and Female Icons feature, Keys fell in love with music and performance as a child. She was composing her own songs from the age of twelve and, just three years later, she was signed to Columbia Records. For some artists, that might appear daunting and too much pressure. It seems that Keys was ready. Despite the fact there were disputes with the label, she did sign to Arista Records; she released her exceptional debut album, Songs in A Minor, in 2001. I was just about to leave for university when that album came out and, whilst searching for a brilliant new artist, Alicia Keys seemed like a natural fit.

Of course, many of us associated Keys’ debut album with the single, Fallin’. Some debuts make a bit of an impression and float by but, with songs like Fallin’ all over the radio, there was no chance Songs in A Minor would just pass by without celebration! The album earned five Grammy Awards in 2002. Keys started working on the album in 1995 at the age of fourteen. She recorded it for Columbia Records in 1998, but she switched to Arista Records. Again, like the best female artists out there, Keys produced and wrote most of the debut album herself. She was determined and had a clear vision of her work; not relying on the horde of writers and collaborators so many artists do. Perhaps mixing music of her childhood and personal favourites, Songs in A Minor combines R&B, Jazz; some Blues and Hip-Hop to create a wide-ranging yet focused album. The title, I guess, refers to a sadness or particular sound, in spite of the fact Jane Doe is the only song recorded in the key of A minor. It is great hearing some of Keys’ Classical background fusing with a lot of the sounds she would have grown up with. Hard-driven funkiness and beautiful melodies seem effortlessly at home with one another. Keys would receive greater critical love and focus later in her career, but Songs in A Minor could not fail to impress. Here is what NME said in their review at the time:

“And reach the masses it has, having raced to the top of the US pop charts selling in excess of 250,00 copies in the process. Remarkably the album has achieved this without a hint of compromise. Be warned: stay away if you take your soul with a Scandinavian remix or a guest rap from 'MC Hot At The Moment' as this is the real deal. 'Girlfriend' is a rock-fuelled ditty commenting on the perils of a man juggling female company with having a relationship which reeks of self experience.

Deeper moments creep up and grab you exemplified by 'Fallin'' and the spine-tingling Stevie Wonder-esque 'Troubles', whilst growing up on a staple diet of Aretha Franklin shines through on 'Why Do I Feel So Sad'. 'Rock Wit U' revolves around a groove the Love Unlimited Orchestra would have been proud of, and one is left waiting with baited breath for big Barry's vocals to kick in.

They never do of course which isn't necessarily a bad thing. It's been well documented about her classically trained playing skills but Ms Keys can more than hold a note vocally, best demonstrated on the Stephanie Mills cover 'How Come You Don't Call Me' which is a real 'hide the crystal glasses and cover that chandelier' moment. Balancing the album on the fine line between contemporary and retrospective (highlighted by collaborations with Kandi and Isaac Hayes) has been an act of pure genius.

There were some who were not sure Keys was at her best and purest but, as it was her debut, Songs in A Minor was never going to impress everyone. Critics that could spot promise and identify with Keys’ brilliance were keen to praise a unique and stunning artist. In this review, AllMusic had this to say:

“Alicia Keys' debut album, Songs in A Minor, made a significant impact upon its release in the summer of 2001, catapulting the young singer/songwriter to the front of the neo-soul pack. Critics and audiences were captivated by a 19-year-old singer whose taste and influences ran back further than her years, encompassing everything from Prince to smooth '70s soul, even a little Billie Holiday.

In retrospect, it was the idea of Alicia Keys that was as attractive as the record, since soul fans were hungering for a singer/songwriter who seemed part of the tradition without being as spacy as Macy Gray or as hippie mystic as Erykah Badu while being more reliable than Lauryn Hill. Keys was all that, and she had style to spare -- elegant, sexy style accentuated by how she never oversang, giving the music a richer feel. It was rich enough to compensate for some thinness in the writing -- though it was a big hit, "Fallin'" doesn't have much body to it -- which is a testament to Keys' skills as a musician. And, the fact is, even though there are some slips in the writing, there aren't many, and the whole thing remains a startling assured, successful debut that deserved its immediate acclaim and is already aging nicely”.

Alicia Keys was a reluctant interviewee early in her career. Maybe there was not a lot to say, or she was wary of the media and did not want to discuss her personal life. Regardless, one will not find too many interviews with Keys between her debut in 2001 and her sophomore album in 2003. I am not sure the exact reasons Keys was reticent, but I did find an interview from FADER from 2001. It is clear there was a lot of curiosity surrounding Keys regarding her originality and, in a Pop-heavy climate, how she would fit in:

“In the pop-strumpet climate of modern music, however, Keys is a curious choice to be pegged as a breakout star. For one thing, she knows what she's doing, even though she's only 19. She's a classically trained pianist who can talk about Porgy and Bess, Schubert and Erykah Badu. She's already survived a go-nowhere record deal with a major label who wanted to hook her up with a male studio svengali instead of letting her produce her own records like she is currently doing (she won't tell which label when you ask her, but it was Sony.) 

Keys is also surprisingly down to earth despite all the buzz going on around her. In fact, she is forthcoming about the demand she is feeling. "There are times, I'm not going to lie, when I feel a little bogged down and I want to meet all the expectations. So therefore, sometimes it can create its own pressure if I allow it, and sometimes I do." She is also wary about dealing with the individuals whose job it is to package and market her. "It's scary, because when you put yourself out there, you can only hope that you can make the person understand you in that hour or two you have with them. Are they really going to understand who am I in two hours? Can they capture it?"

Her maturity, however, is most evident when she discusses what will happen if she doesn't become an instant pop music phenomenon. "I can be satisfied with not selling 12 million records and not going on tour with N'Sync. That's okay with me. But say my album is released and I do sell 12 million records? It's almost like, what can you do after that? Can you sell another 12 million records? That's creating an even bigger hype that you then must surpass".

Because there was critical praise – or attention at least – and Keys was turning heads, there was a bit of pressure regarding a second album. The Diary of Alicia Keys was released in 2003 and is a stronger and more complete effort than her debut.

After her debut sold over six-million copies and scooped Grammys, eyes were on this exceptional artist and what she would bring the world next. Again, a lot of artists might have crumbled or repeated their last album. Although there is common thread between Songs in A Minor and The Diary of Alicia Keys, one can detect the differences. Keys was getting used to Grammy success. She was nominated for two the ‘big four’: Song of the Year (If I Ain’t Got You) and Album of the Year. The Diary of Alicia Keys sold twice the amount Songs in A Minor did in its first week, and it took Keys to new heights. In terms of reviews, more people were aware of her work than they were in 2001. This is AllMusic’s assessment of Keys’ second album:

“Tonally, this is ideal late-night romantic music, even when the tempos are kicked up a notch as on the blaxploitation-fueled "Heartburn," yet beneath that sensuous surface there is some crafty, complex musicality, particularly in how Keys blurs lines between classic soul, modern rhythms, jazz, pop melodies, and singer/songwriter sensibility. It's an exceptionally well-constructed production, and as a sustained piece of sonic craft, it's not just seductive, it's a good testament to Keys' musical strengths (which can even withstand Andre Harris and Vidal Davis' irritating squeaky voice production signature on "So Simple"). What the album lacks are songs as immediate as "Fallin'" or as compelling as "A Woman's Worth," and that, combined with her insular outlook, is where Diary comes up short and reveals that it is indeed merely a second album. Such is the problem of arriving with a debut as fully formed as Songs in A Minor at such a young age -- listeners tend to expect more from the sequel, forgetting that this an artist still in her formative stages. So, those expecting another album where Keys sounds wise beyond her years will bound to be disappointed by The Diary of Alicia Keys, since her writing reveals her age in a way it never did on the debut. Yet that is a typical problem with sophomore efforts, and while this is a problem, it's one that is outweighed by her continually impressive musical achievements; they're enough to make The Diary worth repeated listens, and they're enough to suggest that Keys will continue to grow on her third album”.

I think a lot of critics want artists to be revealing and personal, because they can extrapolate or form opinions. If an artist is more abstract or they want to be less revealing, that means people have to think more or come to their own conclusions. Not only was Alicia Keys not conducting too many interviews in this first phase; she was someone whose music nodded to personal matters but did not do so frequently and explicitly. I think an artist who leave a little to the imagination is more powerful than someone who is too raw and ready. This is how The Guardian summed up The Diary of Alicia Keys:

“The album's title plays upon Keys's legendary reticence as an interviewee: when one British magazine recently asked how her life had changed since her debut album, it received the illuminating reply, "I'm definitely older." The prospect of an artist who will reveal nothing of her private life releasing a "deeply personal and autobiographical" album is obviously intriguing, but as a diarist, she's more Charles Pooter than Alan Clark. "I won't tell your secrets," says the title track, rather unsportingly.

Far more interesting is an unexpected dig at the "war against terror" called Wake Up. Keys's politics are as mysterious as her personal life: two days after September 11, she told a reporter that she "saw lies" in the American flag, but three months later, she appeared in a US music magazine posing before an enormous floral Stars and Stripes. In fact, Wake Up is surprisingly direct, sung from the viewpoint of a serviceman's partner, pleading, "Bring my baby back home." It's not the Internationale, but it is an anti-war song likely to find its way into millions of American homes.

Quite what Wake Up will do to her approval rating remains to be seen, a fact not lost on Keys. Questions about the track have received an even more stony response than usual. "It's definitely important to think before you speak," she said. "You don't just want to blurt something out." Her album seems similarly straitened: there are a handful of great moments, where risks are taken and ground is broken, but too often it opts for the familiar and the bland. Listening to The Diary of Alicia Keys, you can't help but wish she threw caution to the wind a little more often”.

Keys is someone who kept her cards close to her chest in the first years of her career. As her popularity grew, there was a lot of pressure on her to speak and ‘open up’. Whilst I think Keys’ words and sense of leadership defines her strongly, one cannot her music and how she evolved and grew through the years. Again, Keys waited a while from her sophomore album until we got a third. As I Am, again, could have people guessing regarding the title’s significance and how she portrays herself in music. If her sophomore ‘diary’ was not as lovelorn and tantalising as some hoped, I think As I Am is a defiant and true statement.

Released in 2007, As I Am was laid down at various recording studios between 2005-2007. With contribution from musician John Mayer and production by Keys and Kerry ‘Krucial’ Brothers; Jack Splash and Linda Perry, the album went in at number-one on the U.S. Billboard 200, selling 742,000 copies in its first week – the highest ever from a female R&B artist! One of the album’s singles, No One, was the most-listened-to song of 2007 in the U.S. and there were a lot of positive reviews for As I Am. It is gob-smacking thinking some were critical of Keys’ songwriting, seeing as her third album scooped three Grammys and has sold over five-million! In this review, Blender remarked on Keys’ progression as an artist:

“With each album, Alicia Keys becomes more of an oddball and peeks back a little further in time. Her new record glances toward the ’60s, but she’s not just retro-soul anymore.

Keys isn’t an incisive lyricist. She sings generalities, which at worst can make her a platitude-monger, but at best can lift her toward classic pop writing. Here she switches between lovers’ plaints and inspirational self-help, elevating both by the grainy intensity of her voice. She also has subtleties; “Go Ahead,” a kiss-off set to squelchy Stevie Wonder funk, doubles as commentary on the Bush years: “What have you given me, but lies lies?”

Only 27, she has learned classic soul: “Teenage Love Affair” has the gleam of Motown, and “Where Do We Go From Here,” built on an obscure Memphis-soul sample, turns into a vintage cry from the heart.

Her first two albums showed how well she could renovate an old structure. As I Am advances by showing an experimental side. The daring single “No One” may have the least swinging beat of any 2007 hit: a midtempo bass drum under unsyncopated classical piano. Dullsville, but Keys piles on other parts — a tuba-like synthesizer, a tearfully-determined vocal — until it marches toward obsession. And “I Need You” could have been a hymnlike ballad but instead rides atop sputtering drums and percolating keyboards. So what if she’s only singing, “East needs West and No needs Yes”? The music is dizzying, even mesmerizing.

With several albums under her belt, there was that growing intrigue from the media about the woman behind the music. Even after her third album, Keys marked herself as one of the best artists of her generation and, years from now, we will look back at her first few years in awe. I will bring in an interview Keys conducted from 2010 soon but, now, I wanted to talk about her fourth album, The Element of Freedom. Again, the title suggests Keys was looking for freedom; maybe the freedom to write as she wished or not be slavish to commercial and media demands. Keys has said she wanted to find who she was and a sense of liberation after her third album. The Element of Freedom consists of a strong and bold side and a more vulnerable one. This was Keys’ most tender and emotional album to date, but there is still a lot of energy and fire that we would hear on her next couple of albums. Whilst recording the album, Keys listened to a lot of Tears for Fears, Fleetwood Mac and Genesis – one listens to The Element of Freedom and you can pick up notes of each group in certain songs. I feel each album Keys has released in her figuring herself out and growing as a person; looking for answers and revealing new sides to herself. There was a lot of love for The Element of Freedom. USA Today had their say:

“Though none of the tracks has the instant appeal of hits like Fallin' or No One, the songs are consistently strong and thematically cohesive. The only one that seems out of place is the club anthem Put It in a Love Song, a collaboration with Beyoncé (produced by Beatz) that's catchy but ultimately underwhelming, considering the talents involved. Rapper Drake's background vocals bolster a sexy highlight, Un-thinkable (I'm Ready).

Freedom marks not so much a departure for Keys as it does the evolution of an artist still seeking higher ground”.

Around the time of The Element of Freedom, Keys was more visible in the media in terms of interviews. I knew a bit about Keys before I heard her music, and I was sort of piecing things together after that. When she spoke with The Telegraph, she was asked about her music and her success:

 “Keys wrote her first song at 13 when she was coming to terms with the death of her grandfather. Her debut album, 'Songs in A Minor’ , released when she was 20, was one of the best-selling debut albums ever, shifting more than 12 million copies worldwide. She has continued to be relentlessly successful, picking up 12 Grammy Awards over four albums; and the track she made with Jay-Z, Empire State of Mind, is probably the most played single of the past year.

But, she says, 'I never think I’ve reached that pinnacle, so to speak, but I do feel satisfied with what I’ve achieved, so I don’t feel this endless need, “I’ve got to get there, I’ve got to get there.” ’

And what’s that been replaced with? 'I’ve got to get peace. I have to be peaceful and I have to be happy.’

What does make her happy? 'I don’t have a ton of friends but the friends I have are great ones. I don’t have huge family but the family I have is a great one. I have solid decent people around me and I believe that is all it is, because you will get destroyed if you have people bringing you down.’

She recently played two nights at the O2 arena in London, which houses 20,000 people. 'It’s unbelievable,’ she says. And she really does seem shocked at herself. 'I’m thinking, “What am I doing, two nights at that venue?” ’

She commented to me earlier, 'I think sometimes we confuse success with happiness,’ but Keys has always wanted this kind of success – success is what gets you appreciated. Success has come from being strong and in control. Throughout her teenage years she would carry a knife on the streets of Hell’s Kitchen, New York, where she grew up, to help her feel that she didn’t need anybody.

She was brought up by her mother, Terri Augello, a part Italian, part English, part Scottish actress who also worked long hours as a paralegal, often until midnight. It harnessed Keys’ self-sufficiency. Her African-American father, Craig Cook, was a flight attendant turned masseur. Her parents were never married and never lived together, but their relationship was amicable. Cook’s parents called Augello their 'daughter-in-love’ . But Keys’ contact with her father was minimal until recently.

I wonder if that is what created the emotional reticence that appears now to be dissolving. 'I would say that in the process of growing you sometimes realise you hold on to anger. I was angry then and I’m sure I had the right to be angry, but if you hold on to all this anger the only person you’re hurting is you.’ How did she give up the anger? 'It came from my grandmother being ill. That was his mother and it caused a shift in the family dynamic.’ She was incredibly close to her grandmother and was with her when she died, in 2006”.

Two more albums arrived after The Element of Freedom. Girl on Fire came along in 2012 and, in my view, is one of her best albums. Some might disagree, but I feel Alicia Keys stepped up another gear and found fresh inspiration. He fifth album, it was Keys’ first release with RCA Records, following Sony Music Entertainment’s decision to close J Records. I like the production on Girl on Fire, as it is quite minimal and there are some interesting melodies and chords. With a largely R&B vibe, there is that balance of traditional R&B cuts and piano-driven songs. Every album is about Keys stepping into new sonic ground. On Girl on Fire, there are attempts at Electro Soul and Hip-Hop that sounds brilliant against all the other genres she explores. Relationships and faith are under the microscope, but Keys also talks about marriage and motherhood – she gave birth to son, Egypt Daoud Dean, in October 2010. There is a sense of personal rebirth and meaning that runs through Girl on Fire. Many compared Keys’ work with that of Beyoncé who, around 2012, was hitting her peak with the 4 album – she would release her eponymous album the following year and reach new heights. I want to bring in a review from AllMusic, who had some interesting observations regarding Girl on Fire:

“Two of the better songs, both of which feature assistance from John Legend, immediately follow and are closer to Keys' personal breakthrough. The first one, "When It's All Over," is a gushing testimonial over a dizzying Jamie xx co-production -- a clash between acoustic jazz, synth funk, and minimal techno that will either thrill or repel. "Listen to Your Heart," the second one, is mechanical yet plush and dials it back for Keys to embrace new love; it's one of Rodney Jerkins' unassuming yet stunning beats.

After a pair of bombastic anthems -- including the oddly written "Girl on Fire," which has her "living in a world, and it's on fire," then "on top of the world" with "both feet on the ground" and "our head in the clouds" -- the album loses its grip. It hits a low with "Not Even the King," an obvious "love is worth more than money" ballad, and "That's When I Knew," a tender back-porch ballad presumably about Mr. Keys. (If the mind wanders, consider that the object of affection is the man behind hits such as "Money, Cash, Hoes" and "It's Me B*#@hes.") Once "101," the last listed track, fades out, a chaotic outro fades in and peaks with Keys screaming, in a celebratory and defiant manner, "Hallelujah -- kicked down the door!" It ends the first chapter of her new life with several exclamation points, but it's missing one. The album could have used some swift and uplifting neo-disco like "Million Dollar Bill" or "Everybody Needs Love," exceptional songs that Keys and her husband wrote and produced for Whitney Houston and Jennifer Hudson”.

Family was entering her lyrics more, and it is interesting comparing the themes and tones of Girl on Fire with that of Songs in A Minor. I will move on to Keys’ most-recent album in a second but, before then, I want to bring in a couple of other bits – including another review for Girl on Fire. This is what The Telegraph had to offer:

 “It’s been a while/ I’m not who I was before,” are the opening lines of the opener, Brand New Me, and she delivers them with the spine-tingling self-possession for which all those Saturday night talent-show contestants are so desperately reaching. The emotional involvement is immediate as she draws you into an empowered narrative which does what she does best and rises above: “I’m not expecting sorry/ I’m too busy finding myself.” It unfurls from a simple piano motif – heavy on her trademark echo. Her keyboard is, as ever, the intimate sound of vulnerability facing up to the big drums (and sampled sirens) of the big city. The melody is unsurprising, and the programmed percussion is off the peg. But the bold, soulful vocal – with just a scratch of a catch in the throat – refuses to let you go.

Elsewhere New Day finds her noodling a bit over a squelchy, upbeat bass line but title track Girl on Fire has a thrilling energy and compelling melody, even if I’m not entirely sure if Nicki Minaj rapping about the “bawling” ghost of Marilyn Monroe has anything to do with Keys’s main lyric and a video featuring Keys (who married and had a baby in 2010) as a housewife. Sometimes the powerful simplicity of her lyrics tends toward the trite: missin’/kissin’ rhymes dull strong, Motown-style songs like Tears Always Win. But as right-on as ever, the beautiful solo-piano ballad Not Even the King finds her breathing new, believable life into the old truth that money doesn’t make happiness. And if this album doesn’t find Keys consistently “on fire”, it does at least see her classily smouldering and occasionally ablaze”.

I did mention how Keys was becoming more open to interviews and, whilst she was selective about who she spoke with, there are some interesting articles. As much as anything, many years had passed since her debut album, so there was more to talk about. Keys talked with Complex about her latest album (Girl on Fire) and how she thought it was her best work to that point:

“She believes her new album is her best work yet. “It’s not a departure,” she says. “It’s growth. I love the way that I’ve been able to go deeper into my lyrics and my songwriting and go to a place I was too afraid to access before.”

On “Not Even the King” you can hear her sit down on her piano bench, take a deep breath, and start to sing about how you can’t buy love and trust, about how much it sucks when you “ain’t got a friend who’s not on the payroll.” On “101,” a hair-raising song written with the brilliant British artist Emeli Sandé, Alicia sings about loving a man who’s played 100 girls, her voice so breathy and naked that it’s almost painful to listen to. And then there’s “Tears Always Win,” which is just as wrenching as its title suggests. The standout of the collection is “Brand New Me,” which Alicia calls “the anchor” of the album. It’s a song of catharsis, a telling-somebody-off song that feels like it’s been a long time coming. 

Having spent most of her 31 years in show business, Alicia is understandably guarded. “I mean, what the hell?” she says of the whole art-imitating-life thing. “The whole freaking world is looking at your shit. It’s scary. I didn’t want to say every single thing because you don’t want people to know that. There’s personal and there’s public, and I deserve the right to have a personal space.”

And yet, she’s opening up more on this album than ever before. Part of that may be because so much of her business has already been aired out. It’s no surprise that she has much to get off her chest with Girl on Fire, her first release as a married woman and mother. She announced the project in August via an open letter on her website. “Before making this record, in some ways I felt like a lion locked in a cage,” she wrote. “I felt like a girl misunderstood that no one really knew. I felt like it was time to stop making excuses for any part of my life that I wanted to change. Once I made that choice I became a girl on fire, the lion broke free!”.

It has almost three years since Here was released. In 2016, the music landscape had changed drastically since Keys arrived, but the inspiring songwriter was adapting and still standing out, some fifteen years since that debut! Here was recorded at Jungle City Studios and Oven Studios in New York; the music, Keys stated, came together quicker than ever before; inspiration flowing out of her rain-like.

Although four years seems like a big gap between releases, Keys found out she was pregnant with her second child during recording, so that changed plans and put new material on the back burner slightly. One might imagine Keys would lose spark and majesty so long after her debut album but, like all titans, she seemed to get better and better! Here is an album I remember listening when it arrived, and I was interested seeing how it differed from her previous work. The fact that Black Lives Matter features so heavily makes Here a vital and powerful work. This was noted in a couple of reviews of the album. I want to introduce this review from The Guardian, who were suitably impressed by Here:

“From the cover photo, which has an afroed Alicia Keys giving the camera an equivocal gaze, to the contents, which throw her weight behind Black Lives Matter and other social justice movements, her first album since 2012 is a sobering piece of work. Its sprawling 18 tracks pit a raw-voiced Keys and her piano against a catalogue of intolerance and -isms, with New York, her lifelong home, as the fractious, polyrhythmic setting. Nina Simone and Black Panthers leader Elaine Brown, both namechecked in songs, are among her totemic figures, but much of the music transcends race: the rippling Where Do We Begin Now prettily toasts same-sex relationships; Blended Family employs hip-hop crackle to address her husband Swizz Beats’s children from former relationships; Girl Can’t Be Herself is a Tropicália-laced takedown of beauty standards. Despite an undertow of glum earnestness, Keys has never sounded so committed”.

Keys was definitely among the most regarded, revered and respected in music by 2016. There was this great wave of love for Here and, whilst there were some mediocre reviews, there were plenty who had some kind and passionate words. In their review, The Independent remarked the following:

“There are several similarities between Here and Solange’s recent A Seat At The Table. Both deal with issues of family, empowerment and diversity, and both convey black history through anecdotal spoken interludes. But crucially, Alicia Keys’s musicality is far superior: whether developing swaying gospel fervour on “Pawn It All”, threading balofon through the two-part reflection on African-American queens “She Don’t Really Care/1 Luv”, or riding a perky Latin shuffle for “Girl Can’t Be Herself”, her work is grounded in a melodic appeal that’s almost magnetic. Advocating individuality, the latter is especially laudable, Keys wondering, “Why is being unique such an impurity?”. Elsewhere, “The Gospel” offers a vivid rap tableau of a poor black upbringing, and “Where Do We Begin Now” reflects on sisterly affection; but “Holy War”, critiquing the separatist urge to build walls, seems somewhat after the fact in this of all weeks”.

The great reception for Here means that, as we look into this new decade, there is plenty of demand for a new Alicia Keys album. I will mention that in a second. I am keen to quote from an interview Keys gave to The Guardian when prompting Here in 2016. We learn more about her early life, and Keys discussed the political situation at the time – 2016 is the year Donald Trump was elected President in America:

“At 12, in 1993, she attended the newly created, publicly funded Professional Performing Arts School, 10 minutes walk from home and just off Broadway. Claire Danes and Britney Spears were pupils at one time. She was tutored by “Miss Aziza…” she says wistfully. Aziza Miller – “One of the most phenomenal women jazz instructors ever to be born. She was a pianist, an arranger, a producer, a composer, and she had so much vocal prowess. She was badass. And I know for a fact that she influenced a large part of what I became.” 

The school kept her off the streets. “You walked out the door, you had to be ready to protect yourself,” she says. “Be covered up, just get to where you were going. I couldn’t wear skirts, I couldn’t wear heels. On the other hand, it was kind of the area where whoever didn’t belong anywhere else could come, and belong.”

Keys has said that having children has made her feel more womanly. “As I grow and I get older I’m realising more and more that there’s such a beautiful, sensual power that we have as women,” she says. “It’s really unbelievable and that’s why everybody falls to our feet.”

In a piece for Lena Dunham’s Lenny newsletter, she explained the decision to go without makeup which has gripped the world – from the TV hosts on NBC’s Today morning news show, who wiped their own off in solidarity, to the messageboards of Muslim girls debating the difference between liberation and empowerment. The stuff made her feel like a “chameleon”, she says. Going without it is a terrific marketing trick: she even wrote a lyric that goes, “Maybe all this Maybelline is covering my esteem”. And her makeup artist recently revealed that the no-makeup look actually requires quite a bit of makeup.

Does she think there’s been a change, in the way female R&B looks now?

“Yes. To me, it just seems like there’s a lot less variety,” she says. “When you talk about the TLCs, or the Marys, you had a chance to see women in different orbits. [TLC’s] Chilli was one way, T-Boz had a whole other style. Now, I think we see almost only one thing when it comes to female performers. Obviously they’re beautiful, so you want to emulate that. But I think there’s some confusion as to what beauty looks like – it can only be oversexualised. What’s refreshing is when you see people who know how to express themselves in a multitude of ways.

“We think – or maybe we’re shown – that the only way to express ourselves is through that very sexy energy. I think there’s more than that which shows our power. For me, I sometimes feel the most sexy when I’m totally covered head to toe.”

We meet in the week that it was revealed that Donald Trump acknowledged that his daughter is a piece of ass – and that 35 is the age he tends to check out on a woman.

She cracks her knuckles unnervingly loudly. “I don’t listen to anything that he says. Does anybody care what he thinks about women? That’s the only question. I just was wondering?”.

There is an album rumoured this year, A.L.I.C.I.A., that will be very interesting in the wake of #MeToo, Trump’s continued reign and political events around the world. I am not sure how long we have to wait, but keep your eyes peeled for Alicia Keys news. She has no tour dates planned yet, but that will change when we get a new album. At the moment, I was eager to show how Keys’ work has evolved and what a remarkable artist she is. Keys is, as the song goes, a girl on fire; a woman with few equals and a long career ahead. For so many reasons…

PHOTO CREDIT: Philippe Bialobos

LONG may she burn brightly!

FEATURE: A Decade In… The Very Best Billboard Hot 100 Hits, Singles and Album Tracks from the Year 2010

FEATURE:

 

A Decade In…

IN THIS IMAGE: Gorillaz

The Very Best Billboard Hot 100 Hits, Singles and Album Tracks from the Year 2010

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AFTER producing a feature…

IN THIS PHOTO: Laura Marling circa 2010

that assessed the very best songs from 1990, I produced another article yesterday that combined the finest tracks from 2000. Now, I wanted to look at the songs that defined the start of the last decade – it is interesting comparing the sound of 2010 with what is happening right now. I have combined Billboard Hot 100 tracks, album cuts and singles that cover a range of genres and tastes. Whilst it is impossible to beat 1990 for sheer class and power, that is not to say 2010 was lacking in variation and memorable tracks. I will focus on the start of this decade and look forward from now but, for one last time, it has been good revisiting the past. 2010, like the start of the 1990s and ‘00s, was definitely not short…

IN THIS PHOTO: Robyn

OF quality tunes.

FEATURE: Turntable Dreams: Terrific Albums Not Available on Vinyl

FEATURE: 

Turntable Dreams

PHOTO CREDIT: @greemsky/Unsplash

Terrific Albums Not Available on Vinyl

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IT is around this time of the year…

PHOTO CREDIT: @koalamoose/Unsplash

that we get reports regarding music sales and how streaming is doing compared to vinyl and C.D. sales. I am a big fan of vinyl myself, but there is that debate as to whether people are buying vinyl because they want to listen to the album, or they have to have it to be seen as cool and a ‘proper’ music fan. For the last few years, vinyl sales have been healthy, and it is pleasing to see so many people getting to record shops and picking up fantastic albums on their finest format. Every year, too, we get articles that turn their noses up at the vinyl revolution. Back in 2017, there was a lot of excitement regarding a boom in vinyl sales and how people were buying records, despite the fact we could stream all we like. This NME article had its doubts regarding the validity of the boom in vinyl sales:

“At first the recent boost in sales of brand new vinyl seems to be a glorious thing, with people embracing an old-school format as a stand against the constant digitisation of our consumption of music. But when you look at the 2016 data in detail, a weird pattern starts to emerge. David Bowie’s ‘Blackstar’ and Radiohead’s ‘A Moon Shaped Pool’ aside, the albums that populate the Top 10 are old, from The Stone Roses’ 1989 debut to Nirvana’s 1991 breakthrough ‘Nevermind’, Fleetwood Mac’s 1977 smash ‘Rumours’, Amy Winehouse’s 2006 ‘Back To Black’ and Bob Marley’s posthumous 1984 best-of, ‘Legend’. They’re all records that were – and remain – bestsellers; none of them have shifted fewer than four million copies, with most selling a hell of a lot more. Which brings us to the question: why are people buying albums that they most likely already have, be it on CD or through a download?

 PHOTO CREDIT: @barncreative/Unsplash

Is vinyl simply just the latest poser accessory, after beards, fixed wheel bicycles and literally anything with the word ‘craft’ in it? It’s not an entirely out-there assumption, especially considering the current popularity of vinyl frames, made for the express purpose of locking up your records and placing them on the wall, which makes them pretty difficult – even impossible – to then play. The stats seem to back the theory up; last year the BBC published a survey that stated half the people who purchase vinyl have no intention of ever playing it, while seven per cent of vinyl buyers don’t even own a record player. It’s a bit like buying a bunch of flash new workout gear when you know full well that you’re going to spend the next few months on the sofa eating Deliveroo and watching back-to-back episodes of The OA.

The fact that all vinyl now comes with a ‘download code’ seems to suggest that even record labels know that their releases are unlikely to get much love on the turntable. Add to this a new wave of unreliable record players that don’t cost much more than the actual vinyl, on which records sound, well, a bit s**t, and you’ve hardly got the makings of a real vinyl revolution. Here’s to things changing in 2017 though – and to people actually playing the records that they buy”.

Since 2017, there has been a real spike in vinyl figures, and it doesn’t look like we will see a drop anytime soon! Of course, streaming is doing wonderfully; it is the format most of us rely on but, today, there are loads of people who need to hear albums on vinyl. Vinyl compared to streaming, is cumbersome and actually quite expensive. One of the joys of streaming is how much music you can get for very little money.

PHOTO CREDIT: @estherdr/Unsplash

On the other hand, a single album on vinyl usually starts at over £10, and one can pay double that for many albums. For those who cannot afford to buy all their favourite albums on vinyl, streaming is a preferred choice. Many people have called for the price of vinyl to come down. I think it is something that needs to be considered to ensure sales stay healthy and we do not lose our love of records. This BBC article shows that, alongside streaming’s rise, vinyl sales are doing rather well:

“The industry is now dominated by streaming - with fans cueing up 114 billion songs last year, a new record.

Vinyl sales also rose again. Liam Gallagher's Why Me? Why Not was the most popular LP, selling 29,000 copies.

By contrast, vinyl sales rose by 4.1%, with the format now accounting for one in every eight albums bought in the UK.

Big-sellers included Billie Eilish's debut album When We All Fall Asleep, Where Do We Go? and perennial classics like Fleetwood Mac's Rumours and Queen's Greatest Hits”.

Not only are new albums selling pretty well, but there is that love of the classics. I feel like the vinyl market is not reserved strictly to diehards and the slightly older listeners. More and more younger listeners are buying vinyl, and there is a growing passion for the sort of sound quality you can only get on vinyl. Yes, some are buying vinyl as it is collectible and artistic, but many more appreciate the substance and feel of a record – much more tactile and fascinating than simply streaming an album.

More and more people I speak to are buying vinyl alongside streaming. They can stream any album they like and, when it comes to an album they really love and want to treasure, they go out and buy it on vinyl. The experience of going to a record shop and finding that album you want and seeing it in all its glory is amazing. One might also find an album whilst shopping they didn’t intend to get but couldn’t resist. There is nothing wrong with using online services to deliver vinyl because, as one can appreciate, there is not always a record shop and, even if there is, there might not be the album in you need. The downside of retail is the competitive lack of choice compared to online so, now and then, we do need to rely on the Internet. I was musing on Twitter a few days back as to why some classic albums are not available on vinyl. I really want De La Soul’s 3 Feet High and Rising on vinyl, but one cannot get it for love nor money – I think you can get it second-hand for a lot of cash! It seems odd that, when so many new albums are released to vinyl, there are some older gems one can only get from streaming services or on C.D. I got a couple of responses and, when it comes to genres like Hip-Hop, I was told that fans of the genre are generally less into vinyl. A lot of the classic Hip-Hop records arrived in the 1980s and 1990s and they might have just been released on cassette. If they were released on vinyl, they might be out of print now or unavailable.

I think Hip-Hop, now, is one of those genres where people want it on vinyl. Cassettes and C.D.s are fading out, and streaming does not really provide the same magic and importance as vinyl. Maybe there was not much demand decades ago, but it seems strange that some true classics are still not available on vinyl. Threads like this are important, as they ask people which albums they want on vinyl that are currently unavailable. In the case of De La Soul’s debut masterpiece, it is incredibly difficult to get hold of in any format. Whilst one can get second-hand copies of Steely Dan’s Can’t Buy a Thrill and Pretzel Logic (I have the latter on vinyl), getting a new copy is impossible. That said, you can get Aja on vinyl, and it makes me wonder why some albums are on vinyl and others not. Maybe bands release their most popular and celebrated on vinyl as they know it will sell – when it comes to Steely Dan, their sheer love of composition and sound means all of their albums should be on vinyl! Whilst artists such as Madonna have recently re-released some of their classics on vinyl, there are other albums that one cannot get on that form. When it comes to vinyl, there is a minimum pressing of five-hundred copies, so it can be an expensive mistake releasing an album on vinyl and seeing it only sell a few units.

PHOTO CREDIT: @stairhopper/Unsplash

Also, C.D.s are cheaper, so many people prefer that format and vinyl can be less profitable. Vinyl takes a while to be pressed, so it can derail momentum if a single is doing well and then you have to wait for an album to be pressed to vinyl. Until there is a way to make vinyl production faster and less expensive – if that is even possible -, there will always be problems. I can understand, too, why a lot of new artists resist vinyl because of the financial concerns and possible risks, but what of those albums that will sell and have already won enormous critical acclaim?! Articles that are snobbish towards vinyl will dissuade labels from releasing albums through fear of poor sales, but I think we all know of a few albums that need to be on vinyl! I love Aaliyah’s eponymous album of 2001 and, again, here is a work that has been lauded and stands as a classic, yet I cannot find it on vinyl at all. Although Aaliyah died in 2001, there is still huge interest in her work, and I think vinyl releases would help bring her work to new worlds. She is an artist whose music is not available on Spotify, so it is incredibly difficult getting albums like Aaliyah on any format. I admit that there are drawbacks to vinyl, so it is not as simple as putting an album out and seeing it fly off the shelves! There are plenty of pros associated with vinyl.

PHOTO CREDIT: @wordsmith_sf/Unsplash

Albums on vinyl are much more immersive and cherished. One can be flippant regarding streaming and there is not the same value and meaning. Vinyl can be passed through the generations and create great memories. If you have spent a bit of money on an album, then you are much more likely to play it and revisit it time and time again. I do think there should be a call to labels and artists whose best works are not available on vinyl. Each of us can name a few great albums that are only on streaming sites, that would sell tonnes if they were brought to vinyl. I disagree that the vinyl boom is cynical and fake; that people are simply buying vinyl to fit in or be part of a trend. There are plenty who know vinyl provides an experience you cannot get anywhere else. For that reason, not being able to find certain albums on vinyl is a frustrating experience. I do hope that the continued resurgence and good health of vinyl will change minds and mean that albums that were previously not available on vinyl make their way to the shelves. It seems strange to say vinyl is here to say – as it has been available for decades – but streaming and the online is not killing its charm and appeal. So many music lovers prefer the purer and warmer sound of vinyl, so let’s hope those albums not available on vinyl, one day, find their way into your local record shop. Maybe it is a personal thing, but I have a list of albums I yearn to have on vinyl and am at a loss to explain why they are not available. That goes to show that me and so many other people do not merely own vinyl to seem hip: we do so because it is a serious passion that…

PHOTO CREDIT: @priscilladupreez/Unsplash

WE have always had and always will!

FEATURE: Attitudes and Agendas: The BRIT Awards Nominations and a Predictable Reaction

FEATURE:

Attitudes and Agendas

IN THIS PHOTO: British rapper Little Simz was not nominated (for some reason) in the Mastercard Album of the Year category for the phenomenal and award-nominated GREY Area, provoking the question as to whether sexism is dominating once more - all five nominated albums were from male artists

The BRIT Awards Nominations and a Predictable Reaction

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THE title of this feature might seem vague…

HAVE BEEN NOMINATED FOR 4 BRIT AWARDS!!!!🏆 from the shit awards to the Brit awards, dream can come true. who said sex appeal can’t get you to the top 🤷🏻♂ @BRITs x pic.twitter.com/naxxD3t0m8

— Lewis Capaldi (@LewisCapaldi) January 11, 2020

but I shall make it clearer. The nominations for this year’s BRIT Awards has been released and it is another case of some good artists mingling alongside the most commercial and sound! One can say that the BRIT Awards is among the least relevant shows and it is about record companies succeeding; a bit of a back-slapping exercise that celebrates the biggest chart acts and does not truly reflect the quality of British music. Others say (the BRITs) is like any other awards: they are there to congratulate people and, really, do we really need them at all?! Those are fair points but, actually, I feel award shows celebrate achievement and it is important to give artists a chance to enjoy their accomplishments. It is good bringing the music world together and having a night where we can see which artists have made the biggest impact over the last year. Like so much of the industry now, sexism has dominated the headlines. Before I come to that, here is a brief overview of the big nominees for this year’s ceremony:

“The nominations were announced this afternoon (January 11) in a special televised programme that featured a lineup of performances from Mabel, Aitch, Freya Ridings, Dermot Kennedy and Liam Payne. The winners will be revealed next month at the annual awards ceremony, which is due to take place at London’s The O2 on February 18.

All of the nominations for #BRITs 2020 have been revealed and we now can't WAIT for 18 February! 🙌 https://t.co/KBddpl79cx

— BRIT Awards (@BRITs) January 11, 2020

Lewis Capaldi and Dave are the most nominated artists this year, with four nods apiece. Both the ‘Someone You Loved’ singer and ‘Location’ rapper are up for awards in the Male Solo Artist of the Year, Song of the Year, Best New Artist, and MasterCard Album of the Year categories.

Sam Fender in the running for Best New Artist, where he’ll go up against Aitch, Mabel, Lewis Capaldi, and Dave. Stormzy and Mabel have three nominations each”.

2020 is, I feel, a year when sexism is going to be under the spotlight in a very big way. I thought this year would start off with positivity and progression in that sense. I am still hopeful all the major festivals will adopt a fifty-fifty gender balance with their line-ups and we will see discussions occur that tackle sexism and attitudes right through the music industry. It is a little galling that we are still in January, and one of the most high-profile award shows in the calendar has made the headlines for the wrong reasons. Looking at the categories and there are two things that strike me – one good and one bad. I will say that the BRIT Awards have done something BAFTA failed to do regarding their award nominees: there is diversity and there are BAME (Black, Asian and Minority Ethnic) artists to be found. Artists such as Stormzy, Michael Kiwanuka and Lizzo ensure we do not have to endure another white faces-only show. The film industry could learn something from the BRITs, but both share common ground: there is a distinct lack of women to be found!

In the Mastercard Album of the Year category, the nominations are as follows: Dave – PSYCHODRAMA; Harry Styles – Fine Line; Lewis Capaldi – Divinely Uninspired to a Hellish Extent; Michael Kiwanuka – KIWANUKA and Stormzy – Heavy Is the Head. It is great seeing three black artists nominated and, alongside that, a variation of sounds that means the category is at its most diverse in years. Whilst one cannot accuse the judges of racism or narrow focus, where are the women?! Many people took to social media when the nominations came out, and we got two schools of thought – the former is the correct position. There were those (myself included) who wondered why a category that marks the best albums of the past year is lacking women. I will admit so many of 2019’s best albums were made by women outside of Britain but, even then, there are a few great artists who have been omitted. Little Simz’s Mercury-nominated GREY Area was better-reviewed than Lewis Capaldi’s latest album – and Stormzy’s for that matter! Also, FKA Twigs’ Magdalene scored better reviews that nearly everything on the shortlist – bar Michael Kiwanuka’s KIWANUKA. One could easily have replaced Lewis Capaldi and Stormzy and replaced them with Little Simz and FKA Twigs. We would not only have an even more diverse line-up in terms of race, but there would be two deserving women in the mix! Some will retaliate saying the BRIT Awards recognises Pop artists and it is more about the commercial than the edgy. If Capaldi has been dominating the press and conquering the world, why would one omit his album?

IN THIS PHOTO: Mabel has been nominated for three awards at this year’s BRITs: Female Solo Artist, Best New Artist and Song of the Year (for Don't Call Me Up)

This brings into question another question: Why would an award show place popularity and marketability above quality and critical acclaim!? Categories like the Album of the Year suggest there were no truly great albums from British women out there – which is patently untrue. The Best New Artist category has Aitch, Dave; Lewis Capaldi and Sam Fender on the list and only one woman: Mabel. Again, I argue against the imbalance and why an artist such as Nilüfer Yanya's could not have made the cut instead of Aitch?! There are so many great women who are coming through that warrant a nomination – Grace Carter is another promising artist who has a bright future. Whilst, again, there is a diverse field in terms of genre, I wonder why it is four-fifths men when there are so many great female artists who could have made the running. The Group of the Year category has no female artists. This is a category that is harder to balance and, whilst The Big Moon have just released a sensational album this year (Walking Like We Do), I do feel like the overall ‘quality’ of the nominees this year is worrying. Song of the Year has nine names and only one song is led by a woman: Mabel’s Don’t Call Me Up. The BRIT Awards trimmed a couple of awards. This article from last year explains more:

“The Brit Awards have announced a major revamp for 2020, with fewer awards and an end to fan votes.

Organisers promise "more music" as a result, with artists being given full creative control of their performances.

Prizes like best British video and best international group have been cut, while the outstanding contribution award has been retired for 2020”.

If you look at the Female Solo Artist of the Year category, you have some great names. Charli XCX, FKA Twigs; Freya Ridings, Mabel and Mahalia are all nominated. I wonder why, then, Dua Lipa’s Don’t Start Now or FKA Twigs’ Cellophane were not nominated when they are far superior to several of the tracks on the Song of the Year List? Although there are a couple of collaborations on the list that include women, both of the songs feature American women in the ‘featured’ role: Mark Ronson ft. Miley Cyrus – Nothing Breaks Like a Heart and Sam Smith ft. Normani – Dancing with a Stranger. I will come to the second point of this article – the vitriolic and patronising reaction from many men following criticism regarding sexism – in a bit but, before moving on, there is a general positive we can all respect: the fact 2019 was synonymous with terrific women making brilliant music. It is a reason why festivals HAVE to be gender-balanced and improved this year. The International Female Solo Artist category is stuffed with talent: Ariana Grande, Billie Eilish; Camila Cabello, Lana Del Rey and Lizzo are all in the running! I was reading a couple of tweets that said there are many great international women/albums made by international women, but relatively few by British women – meaning the problem is more with British music and less about women in general. Sure, if the BRIT Awards were renamed and we had something more like the Grammys in this country, there would be an embarrassment of riches to choose from.

IN THIS PHOTO: Charli XCX has been nominated for Female Solo Artist - but her album, Charli (which was a commercial and critical success), and single, White Mercedes, have not been nominated in the album and song categories respectively

As most categories concern British talent, artists like the above women and Sharon Van Etten, Taylor Swift and many others would be included. That being said, Charli XCX’s Charli was a commercial success and won huge reviews. Why was she not nominated in the album category, and why were singles like Gone not in the running in the song field?! The BRIT Awards does have this reputation regarding placing sales and press inches over credibility, pure talent and promise. Maybe the buzz around artists like Lewis Capaldi has distorted the judging panel’s vision, or maybe they were not looking hard enough. If one looks at the successful singles from last year, why was Little Mix’s Bounce Back not nominated!? The song went top-ten in this country and has 35,815,570 views on YouTube (as of 12th January) and nearly forty-million streams on Spotify! Why could Tom Walker’s Just You and I and Calvin Harris and Rag’n’Bone Man’s Giant have made way?! Can anyone legitimately claim quality is a factor in the gender imbalance? I don’t think so. Even if sales are the deciding factor, Little Mix and Dua Lipa are far ahead of a lot of those nominated this year. I do wonder why British Video and the Outstanding Contribution award were cut because, if they were still going, you could have had some great women in contention!

I get the BRIT Awards needs to evolve and, with so many artists identifying as non-binary (such as Sam Smith and Janelle Monáe, will we have a new category for non-binary artists? Should we dispense with gender-specific categories altogether?! Those are reasonable questions, and I think they will become more pressing as we move through this new decade. Even if we integrate men and women or leave things as they are, one cannot deny women are being overlooked and shunned. This year’s BRIT Award nominations is, I fear, the start of a year that will see women side-lined as we look to see parity across the industry. Even if you feel the BRITs is meaningless and out-of-touch, it is one of the most-watched award shows in music and a lot of people look to it regarding those artists we need to see at festivals. Mabel is the only woman who appears in non-gender-specific categories so, does that mean she is the only great British woman?! Little Simz and FKA Twigs are out there; Cate Le Bon’s Reward is a remarkable album and, as Charli XCX has been nominated in Female Solo Artist of the Year, why were her singles and albums omitted? The fact the ever-popular Dua Lipa is missing makes me a little perplexed. What is done is done (sadly), and it was good to see articles from male journalists react strongly.

PHOTO CREDIT: @diklein/Unsplash

Normally, it is women in the music media who have to call out sexism but, in The Guardian, both Ben Beaumont-Thomas and Alexis Petridis had their say. The former did mention how the BRITs has improved in terms of racial equality – the awards have been criticised for being too white in previous years -, but it was Petridis’ words that resonated hardest with me.

“More recently, it spent several years apparently going out of its way to ignore grime, self-evidently the most important and exciting thing around, until artists and viewers started wondering aloud if the awards had an issue with representing black British music. That seemed to have an effect. The last few years’ choices have been more ethnically diverse. This year, it’s women.

At the 2019 Brit awards, the 1975 used their acceptance speech for the best British group award to protest against sexism in the music industry, quoting a feature by the Guardian’s Laura Snapes about misogyny. Twelve months later, a grand total of one British female artist has been nominated out of 25 available slots in mixed-gender categories.

Curiously, there’s the sense that the Brits knows there’s a problem here. The longlist nominations came accompanied by a statement that sounded suspiciously like a caveat: “The eligibility list has been compiled by the Official Charts Company and includes artists who have released product and enjoyed top 40 chart success. Record companies have had the opportunity to inform Brit Awards Ltd (BAL) of any eligible artists they wish to be added or inform BAL of any incorrect entries.” In other words: don’t blame us, it’s the record companies who are at fault.

IN THIS PHOTO: Billie Eilish is nominated in the International Female Solo Artist category

It’s clear there’s a wider issue here, one that involves the British music industry’s ability or otherwise to sign and develop female artists, to turn them into lasting success stories. It’s clearly not beyond the music industry to do this. After all, it was a British female artist who made the biggest-selling album of the 21st century thus far, 21 by Adele. It just doesn’t seem to happen very often, especially compared with the US, where there are so many big-hitting female artists that the Brit nominations can’t contain them all: Taylor Swift isn’t there, edged out by Lizzo, Lana Del Rey, Billie Eilish, Ariana Grande and Camila Cabello.

It’s a subject that you wouldn’t bet against one of the more switched-on winners at the awards ceremony in February addressing in their acceptance speech. Even if they don’t, the Brit nominations seem set to provoke a conversation about it. With the greatest of respect to the nominees, that might be the best thing about them”.

The fact the international women category could have had Taylor Swift, ROSALÍA; Little Princess, Weyes Blood and Brittany Howard included shows that there is no short supply of brilliance from women in music. Even us Brits have enough stunning female artists that are not being recognised. Read the comments below both of those Guardian articles – and he corresponding tweets on social media -, and one sees the predictable mix of men (and a few women) moaning and wondering why we need tokenism. Many have commented how it would be tokenism to include women. Other, with mock expression, stated how these articles were woke – the word means ‘to alert to injustice in society, especially racism’.

IN THIS PHOTO: In a competitive category, Taylor Swift (who released the brilliantly-received album, Lover, last year) was not nominated for International Female Solo Artist

The comments and exasperated tone of many who contributed suggests they feel there are few decent women out there; the BRIT Awards is about quality and who is most popular so, if women were included more, does that undermine the purpose and conform to an overly-P.C. and snowflake-like culture? Others were dismissive of the BRITs’ point and why we need to bother with it at all; some others were hostile and found is ridiculous why a national paper like The Guardian would put an article out and waste everyone’s time. It is bad enough that televised award shows are ignoring women, but the slew of sexism and ignorance one finds online is staggering. Granted, there was support and empathy online regarding this year’s nominations and, in most cases, the ignorance was from men and not women. It is clear sexism runs right through the music industry and there are plenty of people out there who feel women are inferior and tokenism is rife. That would suggest men are greatly inferior and, like a P.E. class where we give an award or clap to the un-athletic kid who is trying but failing, the women of music should be let in the club, even though they have not earned their dues. I shan’t go too much into the idiocy of the ‘logic’ behind many of the comments, suffice to say there is a bright spot in the BRIT Awards’ nominations: Celeste was named the BRITs Rising Star winner for 2020, after being nominated alongside Joy Crookes and Beababadoobee. An all-female field in that category shows that, first, the future is bright regarding great women coming through and, secondly, we need to look closely at new and emerging artists rather than those who do well in the charts and are commercial. Even if you are not a fan of the BRITs, it doesn’t matter: the award show is vastly popular and it is symptomatic of the wider industry: even though so many tremendous women are out in the music world, it is still the men who get the honours and focus. It is clear progress is not happening quickly enough and, in 2020, the industry is doomed to be mired in sexism…

PHOTO CREDIT: @luzfc/Unsplash

WHEN it should be creating balance!

FEATURE: Twenty-First Century Bliss: The Very Best Billboard Hot 100 Hits, Singles and Album Tracks from the Year 2000

FEATURE:

Twenty-First Century Bliss

IN THIS PHOTO: The White Stripes in 2001 (their second album, De Stijl, came out in 2000)/PHOTO CREDIT: Pieter M. van Hattem

The Very Best Billboard Hot 100 Hits, Singles and Album Tracks from the Year 2000

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I have already written a feature…

that collated the very best songs from 1990 so that we can look back thirty years and remember the brilliance! As we are in a new decade, I actually wanted to go back twenty years and see how this century kicked off. After the 1990s ended, artists had that responsibility keeping the momentum going and, not only were there some great albums; there were some smashing songs that still sound incredible today. I might do another decades/decade-starting feature, just so we can see how previous decades have started, and whether 2020 has the same promise. Even if you were not alive in 2000, you will still love the cream of the crop from the start of the twenty-first century – a year that seemed futuristic years previously and, now, seems so far away. Here, in a handy playlist, is a year that provided the world with…

IN THIS PHOTO: Kelis

SO much top-notch music!

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

FEATURE:

 

Sisters in Arms

IN THIS PHOTO: PONGO

An All-Female, Winter-Ready Playlist (Vol. I)

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THIS is the first playlist of the winter…

IN THIS PHOTO: Yazmin Lacey

celebrating some of the finest women in music right now. This week has been a packed one for new music, so I have tried to include as much as I can! There is a great spread of music through this playlist, and I hope you discover some new favourites among the pack! This weekend is a bit gloomy and cold, so I think we need music to give us some warmth and energy. Have a listen to the magnificent artists below and I just know there will be something in there that takes your fancy. I am not sure what this year will produce but, with so many great cuts out this week already, I am confident it will be…

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

A wonderful 2020.

ALL PHOTOS (unless credited otherwise): Artists

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Bad Honey – Easily

Sofia Wolfson – Party Favors

Georgia – 24 Hours

Agnes Obel – Broken Sleep

PONGO – Canto

Aunty Social – Cortex

Aoife Nessa Frances - Libra

Frances Quinlan – Your Reply

Alexandra Savior - Can’t Help Myself

Poppy – Sit / Stay

IN THIS PHOTO: Anoushka Shankar

Anoushka Shankar, Shilpa Rao, Ayanna Witter-Johnson – Those Words

PHOTO CREDIT: Ian Horrocks

The Big Moon – Holy Roller

Anna Pancaldi – Why

Caroline Rose – Feel the Way I Want

Elley Duhé – MIDDLE OF THE NIGHT

Halsey – You should be sad

Kiesza – When Boys Cry

Charlotte Rose Benjamin – Party City

Sia – Original (from Doolittle)

Yazmin Lacey – Not Today Mate

Lanterns on the Lake – Baddies

IN THIS PHOTO: Normani

Megan Thee Stallion (with Normani) - Diamonds

The Secret Sisters – Hand Over My Heart

Beach Bunny – Cloud 9

Winona Oak – Lonely Hearts Club

SAYGRACE – Loyal

Royal & the Serpent – MMXX

Selena Gomez - Fun

Celeste – Stop This Flame

Susanne Sundfør – Lene

Little Big Town – Nightfall

IN THIS PHOTO: Jenny Lewis

Jenny Lewis, Habib Koite, Artists for Peace and Justice - Under the Supermoon

FEATURE: Musicians and the Australian Bushfires: What Now Going Forward?

FEATURE:

Musicians and the Australian Bushfires

IN THIS PHOTO: Sir Elton John/PHOTO CREDIT: Ben Gibson

What Now Going Forward?

___________

I am writing this feature…

IN THIS PHOTO: A firefighter hoses down trees and flying embers in an effort to save houses near the town of Nowra in New South Wales/PHOTO CREDIT: AFP

on a day (9th January) when Australian bushfires are still wreaking havoc and destruction. It is hard to comprehend the full scale of the carnage and what has been lost. Apart from millions of animals and wildlife to acres and acres of land, the toll is horrendous – not to mention the loss of homes and human life. There is hope the fires will abate in the coming days, and there will be an end. As it is summer in Australia, there is a danger new fires will start and there will be a lot more to ensure. In this article from The Telegraph, they investigate why the bushfires have been so severe:

“Australia is no stranger to wildfires, but this season has been unprecedented in scale and intensity - and the summer is far from over.

So far at least 17 people have died in blazes that have swept the country, more than 1,200 homes have been destroyed and 5.5 million hectares (13.5 million acres) of land has been burnt.

So what has caused the blazes which have devastated huge swathes of the country?

Why are the fires so bad?

Australia’s deadly fires have been fuelled by a combination of extreme heat, prolonged drought and strong winds.

The country is in the grip of a heatwave, with record-breaking temperatures over the last three months. In mid-December the nation saw the hottest day in history - the average temperature was 41.9 degrees Celsius.

These conditions, which show few signs of abating in the next few weeks, have been accompanied by brisk winds which fan the flames and push the smoke across Australia’s major cities. On Monday wind speeds were recorded at 60 miles per hour.

All this follows the country’s driest spring since records began 120 years ago, with much of New South Wales and Queensland experiencing rainfall shortfalls since early 2017. Trees, shrubs and grasslands have turned into the perfect tinder for flames”.

So so so sad. It’s breaking my heart. My home is on fire. I’m donating $100,000 to @WIRES_NSW to help injured, displaced wildlife. Please see here to find out how you can help Australia: https://t.co/2U6v1NQnn8 pic.twitter.com/dRgfGniJWp

— Flume (@flumemusic) January 7, 2020

A lot of people feel helpless, and they want to do what they can, wherever they are. If you want to donate to help out, this link provides good information. Of course, nothing can bring back all that has been lost so far, but it is heartening to see so many people united and donating. Around the world, people are sending their support to Australia. In terms of donations, millions (of Australian dollars) has been raised already. I have been especially struck by the music world’s reaction to the bushfires. Sir Elton John has donated to help those affected:

“Sir Elton John has pledged $1m to the relief effort in Australia where wildfires have devastated a swathe of the country.

The singer made the announcement while on stage in Sydney, telling the audience they should be “in awe of the work that the firefighters are doing”.

He added: “This is a magnificent country that I’ve been coming to since 1971.

“I love it here so much. To see what is happening here breaks my heart and so we have to come together and we have to fight, and this is my bit towards it.

“I love Australia so much and to those that have lost their homes, God bless, I hope that your lives will be repaired very soon.”

It came as the smoke from the fires – which previously covered”.

PHOTO CREDIT: Brett Hemmings/Getty Images

As NME report, other musicians have joined the wave of support. It seems like artists from all corners are donating and playing gigs to help in the effort:

“Nick Cave & The Bad Seeds bandmate Warren Ellis have pledged $500,000 (£382,000) to help victims of the Australia bushfires.

“Our thoughts and prayers are with all of those affected by the fires destroying our beloved Australia,” wrote Cave in a statement posted on Instagram.

“We are pledging $500,000 to some of the many organisations carrying out selfless and courageous work aiding and supporting communities and wildlife who have been hit by this overwhelming devastation. We urge everyone to do whatever they can to help.”

Queen have also revealed they have been asked to perform a Live Aid style benefit concert in Australia to help the victims of the bushfires".

It has been upsetting seeing images of animals and wildlife left dead or uprooted by relentless fires. Brave and dedicated fire crews are working around the clock, and the money that has come in will go a long way. It is not only Elton John and Nick Cave & The Bad Seeds who have provided money and support for the Australian bushfire relief effort. Many different artists have also joined together:

“Courtney Barnett is throwing two benefit shows in Melbourne, Australia, with Camp Cope and Alice Skye, with all proceeds going to “bushfire disaster appeal, vic/nsw fire services and wildlife rescue.”

Sydney producer Flume has also pledged $100,000 to WIRES, posting to Instagram “It's so sad. It's breaking my heart.” Following a performance in Melbourne, Vampire Weekend donated $10,000 to Wildlife Victoria and encouraged others to lend their support.

Pink has also pledged to donate $500,000 to local firefighters, tweeting links to various fire services. A “disheartened” Kacey Musgraves asked her Twitter followers how she could help, ultimately finding an undisclosed organization to donate to”.

IN THIS PHOTO: Lizzo visits a food bank in Victoria, Australia

I think we feel those who are famous or well-known do less when it comes to charity than most regular people. When it comes to crisis like we have seen in Australia, it is humbling than those in the music industry are helping and making sure they can do all they can. There have been benefit gigs in Australia, and I wonder whether we will see any in the U.K., U.S. or the rest of the world. I shall come to that in a minute, but I want to quickly mention Lizzo, who volunteered her time earlier in the week. As NME explain, she has volunteered her time at a Melbourne food bank:

“Lizzo volunteered at a Melbourne food bank earlier today (January 8) as aid efforts for those Australians affected by the country’s ongoing bushfire crisis continue.

The ‘Cuz I Love You’ artist is currently on tour in Australia, and she pitched in at a Foodbank Victoria warehouse today to help the cause as she helped sort and pack food hampers.

Speaking to volunteers at the food bank, Lizzo said: “Thank you so much for volunteering your time and your energy and your hearts. Let’s go get some boxes!” (via 10Daily).

Foodbank is the largest provider of food relief in Victoria, with the organisation issuing urgent food relief hampers to those affected by the bushfire crisis.

“​​​​​​​We need your support to continue delivering emergency food relief and water to Victorians affected by this devastating bushfire crisis,” a statement from Foodbank Victoria reads.

“With roads in the area cut off, many Victorian families are isolated – without food, water, electricity, or communication. Foodbank Victoria sent life-saving food and water to Mallacoota by sea to assist.”

You can donate to Foodbank Victoria here.

IN THIS PHOTO: Grimes/PHOTO CREDIT: Eli Russell Linnetz

As I said earlier, the fires will continue, but we all hope the weather improves in a way that allows for some rain, stability and relief. The massive outpouring and awareness raised on social media regarding the situation in Australia and climate change is something that must be a priority in 2020. If our government in the U.K. and Trump in the U.S. has been slow to acknowledge and respond to the effects of climate change, they cannot remain motionless now. Seeing kindness from musicians and so many people around the world has been inspiring, but there is that concern as to whether there will be a lot more bushfires in Australia and, indeed, what other horrors we have to see. I have covered this before, but what can the music world do regarding climate change and reducing their impact? I have to make it clear that, of course, the events in Australia have not been caused by musicians and the receptibility for change lies with politicians – they are the ones who hold power and can affect change. Apart from donations and raising awareness at gigs, I think 2020 is a year where the effects of climate change will be at the forefront of many albums. Grimes’ forthcoming album, Miss Anthropocene, is out on 21st February and will put the environment at the forefront. This article from last summer explains more:

 “Grimes is one musician choosing to dive headfirst into the topic. In an interview with The Washington Post last week she announced that her upcoming fifth album will be a concept record about “the anthropomorphic Goddess of climate Change”. In practice that might not be so overtly calling for environmental action, but at least it is focusing on the issue. The same goes for Foals, who talk about the state of the world on their most recent record Everything Not Saved Will Be Lost Part 1. Speaking to us about the issues that fed into the record, frontman Yannis Phillipakis said: “What scares me right now is what scares you, right? … the bee population that’s going, environmental collapse, biodiversity collapse – the fact that on an aesthetic level there’s a plastic flotilla the size of France in the Pacific”.

IN THIS PHOTO: Madonna performing at the 2019 Billboard Music Awards/PHOTO CREDIT: Getty

Every generation has to deal with something world-changing and unsettling and, whilst it is not the same as political action and laws, music can raise greater awareness and spur others into action. It is important climate change becomes part of the scene this year, and I hope many mainstream artists do their part. 2020 is an exciting one for festivals and big artists hitting the road – everyone from Elton John to Madonna are touring -, but there are considerations regarding travel, sets and environmental damage. This Vice article talks about the way artists can reduce the negative effects their tours have:

But beyond recording albums, what happens when we start to think about practical steps musicians can take with regard to climate change? If we’re talking about the same things that we non-musicians can also do to minimise a personal effect on the planet, then yes, there are some basic starting points. They can use paper straws, energy saving light bulbs, try and get an electric van when hiring a vehicle on tour – all the stuff that’s been pushed in the past few years and is now starting to be common sense. But the bigger issue of trying to combat climate change as a musician falls on shoulders of those higher up the food chain. Soon, you realise that kicking the problem up to promoters, venues and so on really requires investment from government and major multi-national companies.

For example: is there a way for venues to bring their cost on the environment down, whether that’s removing all plastic cups and straws, or something more dramatic, such as running on renewable energy? Could a promoter who owns a venue back their plan? Thing is: things get tricky when it comes to installing renewable energy, involving planning permission and building warrants from the local council. Then there's costs, paperwork, extra checks to follow up on. So while it's not impossible, it would be a process. One venue that's already achieved this is east London's Village Underground, who describe themselves as an 'ecological project' and run on 100 percent green energy”.

PHOTO CREDIT: @chazmcgregor/Unsplash

It is great seeing a show and having a moment to be in a stadium or venue and seeing something magical and spectacular. Whilst that is important, can artists scale things back and still entrain their fans without needless excess and theatre? This BBC feature from November is worth investigation:

"Do we really need 27 scene changes? Do we need cars hanging from the ceiling?"

It might not be an obvious question for a superstar agent to be raising, but it's one Emma Banks, who co-founded the UK arm of one of the world's biggest music tour agents, is increasingly having to ask.

She says your favourite artist's tours can have up to 60 trucks moving equipment all over the world.

And she says musicians "have to be proactive" about the impact tours like that have on the environment.

Emma's roster at the Creative Artists Agency ranges from other female superstars like Katy Perry, Lorde and Kylie to some of the biggest bands on the planet - including Arcade Fire, Red Hot Chili Peppers, Green Day and Muse.

Although it's difficult to calculate the exact impact of each individual tour, a 2016 report on the impact of live music events suggested the UK festival scene produced 19,778 tonnes of carbon emissions every year - excluding the travel of artists and fans.

In comparison, football tournament Euro 2016 is reported to have produced a total on 2.8m tonnes, including travel of fans and players.

It's also been suggested that private jets, which many artists use to keep up with their hectic tour schedules, burn 40 times as much carbon per passenger as regular commercial flights.

Some artists have announced plans to reduce the impact of their tours.

PHOTO CREDIT: @maxwbender/Unsplash

There is a lot more that can be done regarding musicians and ways to improve their carbon footprint, but I know how hard that can be, seeing as there is demand for new and established acts to tour and bring their music to the masses. I do feel every artist, regardless of popularity, needs to make cuts and take small steps in every area. It might be as simple as fewer tour dates or not flying as much. That might sound severe, but the music industry is one of the most loving and community-led, and fans around the world, I know, would rather artists look after the environment, even if it means they loss out. One only needs to look at the images and news reports of artists donating their time and money to help Australia to realise the music world wants to see change and action. I have argued a lot how this year needs to be more fun and together and, whilst that might sound counterintuitive, I think we can mix the serious and fun; songs that put the environment under the spotlight and others that take our minds elsewhere. Things might seem hopeless at the moment, and the task of reversing climate change is one that seems lost and futile. Maybe our politicians are unconcerned and docile, but there we will see action from the music industry – from bands who tour less to those who donate proceeds from sales to environmental charities; others that put environmental concerns in their albums and songs. It is a long road ahead, but it is very clear that…

PHOTO CREDIT: @wildlittlethingsphoto/Unsplash

ALL is not lost.

FEATURE: The January Playlist: Vol. 2: i should be sad…but I’m not

FEATURE: 

The January Playlist 

IN THIS PHOTO: Halsey

Vol. 2: i should be sad…but I’m not

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THIS is the start of a fresh assault…

IN THIS PHOTO: Alicia Keys

of great music. 2020 started a little slow but, in the past few days, there has been a slew of remarkable songs out there. Not only is there new material from Hasley, Selena Gomez and The Big Moon; Tame Impala, Field Music and Wire have new tracks out. There is also fresh stuff from Alicia Keys, The Orielles and Georgia to get your weekend kicked off. It is stunning how much music has come through. Artists are not wasting any time, and I cannot wait to see what come nest week. It is cleat this year will be an exceptional one! I know there is enough in the playlist to give you a kick and boost as you head about your day. This week’s very best, it must be said, is quite…

IN THIS PHOTO: Field Music

A fabulous assortment.   

ALL PHOTOS/IMAGES (unless credited otherwise): Artists

_________

Halsey – you should be sad

Selena Gomez - Rare

Georgia – 24 Hours

PHOTO CREDIT: Hollie Fernando Photography

The Orielles - Space Samba (Disco Volador Theme)

Tame Impala – Lost in Yesterday

Ethan Gruska (ft. Phoebe Bridgers) - Enough For Now

The Big Moon – Barcelona

Lawrence Rothman, The Turning (ft. Pale Waves) - SkindeepSkyhighHeartwide

STORMZY – STILL DISAPPOINTING

PHOTO CREDIT: Christian Högstedt

Algiers - We Can't Be Found

Agnes Obel - Broken Sleep

Gengahr - Never a Low

PHOTO CREDIT: Michelle Shiers

John Legend - Conversations in the Dark

Easy Life – Dead Celebrities

Field Music – Coffee or Wine

Wire - Primed & Ready

Alicia Keys – Underdog

Taylor Hawkins & The Coattail Riders - Middle Child

Nada Surf - So Much Love

Megan Thee Stallion & Normani - (Birds of Prey: The Album) - Diamonds

PHOTO CREDIT: Daniel Topete

Fontaines D.C. - Liberty Belle

Ozzy Osbourne (ft. Elton John) - Ordinary Man

Circa Waves - Move to San Francisco

PHOTO CREDIT: Alexander Black

Moses Sumney – Me in 20 Years

Kodaline – Wherever You Are

Lanterns on the Lake – Baddies

Future (ft. Drake) - Life Is Good

Celeste – Stop This Flame

FEATURE: Good As Gold (Stupid As Mud): Paul Heaton: A Genius Songwriter Overlooked

FEATURE:

Good As Gold (Stupid As Mud)

IN THIS PHOTO: Paul Heaton/PHOTO CREDIT: Simon Fernandez

Paul Heaton: A Genius Songwriter Overlooked

___________

THIS is one of those random pieces…

IN THIS PHOTO: Paul Heaton and Jacqui Abbott - formerly, both were members of The Beautiful South - have recorded three albums together; a fourth, Manchester Calling, is slated for release this year

that is not related to anything happening in the music news or relevant, as such. I am peppering a few of-the-moment features and bits about artists to look out for this year. As my blog is about capturing the current and mixing that with musings, it is appropriate I give a nod to one of this country’s greatest songwriters: the sensational and always-brilliant Paul Heaton. I wrote a feature not too long ago that was about Paul Heaton as this songwriting architect and inspiration that people could learn from. As a member of The Housemartins, The Beautiful South and alongside Jacqui Abbott (a former Beautiful South vocalist who reunited with Heaton years after her departure), Heaton’s words have become anthems. Of course, like all top songwriters, there have been a few less-than-titanic songs, but one can rattle off a list of classics that proves Heaton is in a league of his own. I was sad when The Beautiful South called it a day back in 2007 because, to be fair, there is nobody around like them today. That unique combination of three lead vocalists – Paul Heaton, Dave Hemmingway and Briana Corrigan/Jacqui Abbott/Alison Wheeler – singing songs that are rich in the everyday and the extraordinary is something the music world has been lacking. There was an ordinariness to The Beautiful South’s songs that was easy to love. Rather than singing about abstract things or being too experimental, the band were about these relatable songs/sounds; Heaton’s lyrics could make you laugh and provoke a tear when they needed to.

Unbelievably Paul Heaton has never won an award for his songwriting or music. No Brits, no Ivor Novello, no Q Award. No nothing. #totp #totp89

— Complete Control PR (@pollybirkbeck) January 3, 2020

Although Heaton did some brilliant work with The Housemartins, it is the material he wrote for The Beautiful South that is my favourite. The tweet above caught my eye because, amazingly, Paul Heaton has not been truly recognised for his songwriting! Maybe he has won a few awards here and there but, when it comes to the big gongs and nods, there has been nothing. Maybe some critics feel The Beautiful South were a bit middle of the road or, as often is the way, Pop artists and big commercial artists win the big songwriting awards. Awards should go to those with the most talent and the most original so, considering that, why has Heaton been overlooked? The Beautiful South were a fantastic band whose songs were so rich and full of wonderful images and phrases. After the band split, Heaton formed the band, The Sound of Paul Heaton; he released his second solo album, The Cross Eyed Rambler, in 2008 and his third, Acid Country, in 2010. In 2014, Paul Heaton and Jacqui Abbott released What Have We Become?, and although Heaton was writing with his long-term collaborator Jonny Lexus and his bandmate Abbott, it is his brilliant and hugely memorable words that stay in the mind the longest.

This 2014 review of a Paul Heaton and Jacqui Abbott gig in London makes some great points regarding Heaton and his status:

“In his bomber jacket, librarian spectacles, crew cut and awkward grin, Paul Heaton could hardly look less like a pop star. Yet see past this unpromising exterior and it is difficult to dispute the fact he has been one of British pop's most routinely underrated figures of the last three decades.

Heaton recently returned with What Have We Become, a collaboration with Jacqui Abbott, his former co-vocalist in the Beautiful South. The album went top three in its week of release – behind only Coldplay and Michael Jackson, as he reminds us tonight with relish – and confirms that the spiky yet honey-voiced Abbott has always been his most effective musical foil.

If Heaton were a dramatist, he would surely be Mike Leigh. The songs from all stages of his lengthy career boast observational acumen, dry wit and a big heart. New track Costa del Sombre is a sensitively empathic portrait of a middle-aged woman on a package trip throwing herself into a Shirley Valentine-type holiday romance with dancefloor "steps she had been saving up since 1972".

Co-fronting their six-piece band, Abbott is vivacious and full-voiced on DIY, a sardonic country-tinged diatribe written from the perspective of a wife traded in for a younger model. When they plunge into the pop alchemy of the Beautiful South's back catalogue, as with the gorgeously melodic Rotterdam, you recall exactly why their 90s greatest hits collection went platinum five times over.

A 23-song set has virtually no filler, and they close with a sweetly harmonious revisit of the Housemartins' 1986 a cappella No 1, Caravan of Love. Paul Heaton would doubtless be horrified to be categorised as a national treasure. Sadly for him, he has no real say in the matter”.

Heaton is very normal and unassuming so, perhaps, judges and prize-givers sort of miss him out. I am out of ideas as to why Heaton’s songwriting has not been properly acknowledged and, regarding the tweet earlier in the article, Heaton himself was at a loss to explain why – and he is someone who, I am guessing, would welcome an Ivor Novello or big award. Maybe he would cringe at the notion of being a national treasure, yet Heaton is one of the greatest songwriters ever, in any genre. I heard a lot of The Housemartins when I was a child, but it was The Beautiful South’s debut single, Song for Whoever, from their 1989 album, Welcome to the Beautiful South, that really caught me. The idea – as the song explains – that the song’s anti-hero (Dave Hemmingway takes lead vocals and is this cynical and ruthless songwriter) is thankful to his other half for giving him ‘inspiration’ and making him lots of money without her knowing about it is inspired. Rather than Heaton writing lyrics about the usual stuff – relationships and dishonesty -, you hear a new angle and something very fresh. The band’s music was full of these unconventional twists, tales and nuggets that, again, makes me wonder why Heaton has not been acknowledged. Maybe there are other songwriters who have been missed out and not given proper respect. Heaton has been writing gems for decades and nobody has the same gift and imagination as him. With Heaton’s golden lines familiar to us all, it is baffling he has not been given a lifetime achievement award or something bigger. Let’s hope things change, because Heaton is still working and shows no sign of slowing down. I have ended this feature with a playlist of some career-spanning belters that prove…

WHAT a truly mighty lyricist Paul Heaton is.

FEATURE: Top of the Flops: What Happened to the Glory and Heady Taste of Music Television?

FEATURE:

Top of the Flops

IMAGE CREDIT: MTV Australia/NZ

What Happened to the Glory and Heady Taste of Music Television?

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IN a few days…

I will put out a few names that I think we need to look out for this year. I keep putting it off, but I want to wait a while and see which artists put out singles and how things go. It is hard to narrow down those who will succeed in 2020 and, in a sea of artists, making sure you do not leave anyone aside. I think streaming sites and articles are good – those that tip the artists you need to be aware of this year. It is a good radar and sense of who will make waves and who is ahead of the pack. Apart from charts and radio playlists, one is left to discover on their own and wade through the music out there: from the brilliant to the rare through to the commercial and forgettable. I admit it is fun and exciting discovering fantastic new music and getting involved with an artist on the ground level. I know things have moved from T.V. to streaming sites and the Internet when it comes to promotion and musical discovery. This is another of those subjects that I have covered frequently through the years. I have pitched ideas for music T.V. shows in the vein of Top of the Tops, The Old Grey Whistle Test and the sort of stuff we saw on MTV back in the day – the epoch of music television. Whilst many argue everyone is online and T.V. is less necessary and powerful when it comes to music discovery, I actually think people are more engaged with television compared with streaming; there is something about a well-constructed and immersive show that you cannot replicate on the Internet – unless, of course, you combine the two in the form of a Netflix or Amazon Prime show!

The reason I am re-launching this subject is because of the latest in a line of T.V. music talent shows: the skin-crawling and bizarre The Masked Singer. The concept is both unique and utterly pointless. The ITV show features a range of ‘celebrities’ that are dressed in various costumes and sing a song; the audience votes which they want to keep on and the panel guess who might be in the costume. For a start, the title of the show is flawed. Singers are not ‘masked’; they are in full costumes so, for that reason, I wonder what the point of a ‘mask’ is, as it is not their face that is obscured but their entire body. The show has featured in countries like the U.S. and, whilst they have had guests like Chaka Khan feature, the U.K. version is a lot more budget-friendly and far less impressive. Also, the ambition of guesses is laughable. In the opening show, everyone from Sir Ian McKellen to Margot Robbie was guessed, as though people of that calibre would be on a ridiculous ITV show dressed as God knows what! The idea behind the show is laudable enough: bringing a sense of joy and fun to T.V. after a year that has been bad and divisive. Britain is never good when it comes to fun. Our comedies are laughable – not in a good way -, and T.V. is full of crap panel shows and predictable drams.

IN THIS PHOTO: A typically odd line-up in The Masked Singer/PHOTO CREDIT: ITV

Occasionally, we do create an interesting and stunning show, but this is rare. Some reviews of The Masked Singer have been positive, but this example sums up the tone and bottom liner of most: why the show even exists in the first place!

“The judges are Ken Jeong, Davina McCall, Jonathan Ross and Rita Ora. Jeong, best known to British audiences for The Hangover film franchise, also judges the US version of the show and so is here because… he knows the ropes? It’s in his contract? I have no idea. He made a joke about Paula Radcliffe “taking a dump in the street”, which suited the tone of the programme perfectly.

He at least invests the panel with an off-the-wall energy. Ross is jolly. McCall is super-earnest about the whole thing, for which we can only admire her. Ora is on the panel for the reasons she is on anything, which is that her agent works hard. Her main contribution was to shout out the names of her friends: “Cara Delevingne!” “My friend Charli XCX!”

Most of the singers can’t sing, because being able to sing is not a requirement of appearing in a televised singing contest. Joel Dommett presents, proving it’s possible to radiate delight (that he’s hosting a prime-time Saturday night entertainment show) and alarm (that the show is this one) simultaneously. “Queen Bee versus Duck! Unicorn versus Butterfly! Chameleon versus Hedgehog!” were actual words spoken. I do not advise watching this programme while sober.

The only conceivable way for it to work would be if extremely famous people were behind the mask. Harrison Ford. Vladimir Putin. Princess Anne. The judges threw out wildly ambitious guesses: was the duck Margot Robbie? And that chameleon was so sexy (they really said this), surely it could only be Idris Elba?

In the end, the butterfly turned out to be Patsy Palmer, aka Bianca from EastEnders. Still, there are weeks of this to go. That duck might be Clint Eastwood”.

Admittedly, The Masked Singer is not the only disaster we have to contend with on T.V. I can understand why commissioners wanted to bring some fun to television but, given the absurd format and pointlessness of the entire show, it is a waste of time and money. When I have pitched music T.V. shows to networks, the response is the same: it costs too much money to produce. Given the costumes, guests and studio involved in shows like The Masked Singer, how can that be more cost-effective?! Look around and there are various versions of music and dancing shows. From The Greatest Dancer and Strictly Come Dancing through to The Voice and X Factor, we have to endure the same tired format. The dancing shows are not as bad but, when it comes to singing shows, the same boring, commercial and instantly forgettable artists belt out songs, get the overly-excited judges whooping and teary. I don’t think I have ever bought a record from a T.V. singing talent show contestant and, in all the years they have been running, I have never been moved or invested – and I have given these shows time. The Masked Singer has no point, really. You guess who a singer is and…that’s it.

Nothing happens after the show has finished, so I wonder what anyone gets from it. Look at the so-called ‘talent shows’ and the artists who compete will never reach the standard of real and honest artists who tread their own path. Look at the lists of ones to watch 2020 and, mostly, these are artists who have made their way through the ranks without having to rely on a talent show or some bleeding hearts sob-story – the cornerstone of every talent show around. I know times have changed but, as recently as the 1990s and early part of this century, we have enjoyed a golden period of music T.V. The advent of streaming and the Internet shifted music discovery away from the box. I know we can get music videos on YouTube, so there is not the same appeal and uniqueness when it comes to MTV, once to the must-watch station for those who wanted to see the latest hits on the screen. Apart from Later… with Jools Holland, there isn’t really a platform on T.V. to bring us the best in new music. One can say that what constitute the ‘best’ is subjective: shows like this do not cover a wide spectrum and you can only fit so much in to a single episode. That is fair, but there is scope and demand still for music T.V. From news and features to performances and new music discovery, a T.V. show seems more concise and digestible than wading through the Internet and streaming services.

New artists rely on gigs to get exposure, so bringing some of the hottest to T.V. would definitely be a good idea. Whilst doing so, we could promote venues and put the importance of live music under the microscope. Also, there are classic albums that could be featured and find a whole new audience; videos that could get an airing; album reviews and music news alongside a mix of the old-school and new. The main focus of any good music T.V. show should be new music and having a diverse platform. Recent attempts like Sounds Like Friday Night have been admirable but flawed. The last series of that show went out in 2018 and the concept was similar to Top of the Pops. With a youthful tone and music guests that were more on the Radio 1 side of the spectrum – Pop and chart-based acts -, it was too limited. The music was also too narrow and the attempts at skits, sketches and comedy was ill-judged and unnecessary. There were also guest presenters and, whereas there was something charming and appealing regarding presenters on Top of the Pops and The Old Grey Whistle Test, the lack of chemistry and consistency with Sounds Like Friday Night was another reason it did not last. If broadcasters like the BBC can afford to commission big-budget dramas, then they can commission music T.V. shows. The reason shows profit and remain on the air is because of ratings. If a music T.V. show is brilliant in terms of its concept and wins critical praise but does not prove popular with audiences, then it will still be subject to cancellation.

The act, God help us, shows like The Voice survive is because people still find time to watch T.V., despite the distractions of Smartphones and the Internet. From families and young people through to those who prefer the entertainment value rather than the music, there is at least one good thing about these talent shows: people watch, and it gets us talking. One cannot say, therefore, there wouldn’t be a demand and place for a music show that expands on these talent shows and takes away the worst elements of them, namely the facsimile singers, bleeding hearts and rigid formats (judges on the panel and the voting element). From the ridiculous drama of talent shows – winners announced after a never-ending pause to build some form of fake tension – through to the anonymity of the winners and their anodyne, overly-commercial sound, talent shows like this have had their day. There are other shows that are genre-specific, but take away the judging element, the fakery and voting and have a music show that showcases new talent from across the musical spectrum, without having the public voting and stupid judges acting like pantomime villains! I know for a fact people crave the days of Top of the Pops and the classic shows; they love old albums and magazine shows and, as a handy all-in-one, I struggle to see why a network would deny a great music T.V. show concept, given the fact it could pull in big ratings and acclaim.

I know it is risky putting a show out there with high hopes to see it mauled, yet Later… with Jools Holland has lasted decades and, endlessly, people talk about the brilliance of older music T.V. shows and their memorability. I know we cannot go back and magically summon the magic of the past in a modern format, but we can learn from recent and past failures and, with some gauging, research and sensibility, produce a new music T.V. show that pleases most people and has legs to survive. Maybe it would be more suited to Netflix or Amazon Prime, but music T.V. has so much promise. From untapped drama ideas – specific artists and albums could be brought to life – through to a world of new artists that are perfect for some airtime, I disagree that music T.V. has run its course and it is out of tune with the modern world. It is about getting the tone and concept right and, whilst tricky, it is possible and would prove successful. It is evident the talent show format has run its course and, even if shows like The Masked Singer and fun and fluffy, they lack any purpose and, judging by the critical attacks, they will not last long! Music, new and old, is so wide and fascinating, I think there is a golden T.V. show idea that would make for an irresistible proposition; one that does not rely on the conveyor belt-type formats we have now and go behind mere commercial Pop and digs deeper.

PHOTO CREDIT: @anthonydelanoix/Unsplash

START a new wave of music television.

FEATURE: Spotlight: Tyler Bryant & The Shakedown

FEATURE:

Spotlight

PHOTO CREDIT: Robby Klein

Tyler Bryant & The Shakedown

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EVERY year…

there is a debate whether Rock is dead. Obviously, things are not like they were. There are fewer great Rock bands, and the scene is very different. Rock has evolved and there are sub-genres that allow artists a bit more freedom. Are there any Rock bands around that summon up the same stomp and  memorability as the greats of before? It is rare these days to unearth genuine Rock contenders, but Tyler Bryant & The Shakedown are well worth a closer look! Having relocated to Nashville aged seventeen, Tyler Bryant met drummer Caleb Crosby and, just a week after that meeting, the two formed ‘The Shakedown’. Calvin Webster came in on bass; Boston guitarist Graham Whitford joined up as did Noah Denney. I do love a band with that lead who gives their crew a sobriquet. I am not sure where ‘The Shakedown’ emerged, but it seems apt when you hear the band’s music. They are better known in the U.S. but, with an album out last year, there is an opportunity for Tyler Bryant & The Shakedown to gain traction here in the U.K. I shall get to that album but, before then, I would recommend people check out the band’s debut, Wild Child, of 2013. It stands as a confident and original release from the band that merges Hard Rock and Blues Rock. Although a lot of major publications passed by the album, those who reviewed Wild Child were impressed.

Blues Rock Review gave their assessment:

“From the opening notes of Wild Child, it is clear this is a band that absolutely knows what it’s doing. Everything is just right. The songwriting is simply sublime. The performance is extremely tight, focused, and expansive. And while not lacking in the least on From the Sandcastle, the production quality has been dialed up as well. This is an amazingly huge-sounding album. Nearly every track could be a single, and each one commands undivided attention. Even so, the album works exceedingly well as a cohesive unit, all while packing in a fitting amount of musical variety.

The styles vary from some hints of more traditional blues influences on “Poor Man’s Dream” to more progressive blues-infused rock similar to The Black Keys on tracks like “Say A Prayer” and “Last One Leaving.” The latter immediately felt reminiscent of the Keys’ hit “Gold on the Ceiling.” This is a very impressive, essentially perfect album. Honestly, basically any track could have been listed as one of our ‘Can’t Miss Tracks.’

Simply put, Tyler Bryant and the Shakedown have totally, unequivocally arrived. And this is only their first full length album. It’s unbelievably exciting to consider just how far this act will go when they’ve achieved what they’re ultimately capable of. Wild Child is a massively impressive effort by one of the most promising groups today. If you’re skeptical, just listen to “Last One Leaving,” the first single from the album and you’ll see. We may already have the greatest record of 2013”.

Although the band released the E.P., The Wayside, in 2015 and the album, Tyler Bryant & The Shakedown, in 2017, I want to get to their latest release as soon as I can. Before then, I wanted to source from an interview Tyler Bryant gave to Muse on Muse, back when the band were promoting their debut album:

 “MM: The credits on the album show that many of the songs were co-written by you with other songwriters. How were the song/lyric writing tasks shared? Can you tell us a little bit about the song writing process, how the songs on the album were actually written?

TB: I have a couple of friends here in Nashville that I call up when we’re not on the road. “Hey, you wanna come over and write a tune?” I love the writing community here in Nashville. I wrote most of the tunes off of Wild Child with Neil Mason. We’ve probably written 50 songs together. We’re buds and have similar musical tastes. It just kind of works. The ideas come from all over the place. There’s really no process for me. It just happens when it happens.

MM: The live feel on “House That Jack Built” and “Say A Prayer” sound very impressive. What was the reason behind having the same songs you had on the previous EP featured again on “Wild Child”?

TB: That was a thing that the label asked us to do. They felt like since this was our first full length album it would be good to put those tunes on there to help people understand who we are. If I remember correctly it was a “We’ll do those tunes if we can put “House On Fire” on the album” situation. I think we all ended up happy!

MM: The later half of the album have a great energetic rock vibe with songs like “Still Young(Hey Kids)”, “House On Fire”, “Where I Want You”. Sounds like some great tunes to play live!

TB: For sure! We go to town!

MM: The closing song on the album “Poor Boy’s Dream” sounds magnificent with a great vibe. The album seems to have a nice mix of blues, soulful passion, and energetic rock, making it a superb album.

TB: Thanks very much. That’s my favorite song on the album. It’s the most personal to me. I’m glad you like it”.

I think it is worth people checking the band out on social media – links are at the bottom of this feature –, because I think Rock has been getting a kicking for years now. Commercial bands like Imagine Dragons are popular, but I don’t think they represent what Rock is capable of and should be. Bands like Tyler Bryant & The Shakedown are a much more exciting proposition. In terms of those underground, underrated treats from 2019, Truth and Lies is an album that takes them on from the promise of their debut and their eponymous 2017 release. Since the beginning, the band has sharpened their chops on the road and have support some giants of Rock. In this album review from Rock ‘n’ Load, we learn more about the band’s progress:  

 “This young six-string-slinger and his compadres return with an absolute banger of an album, continuing on their meteoric rise via support slots with AC/DC, Guns & Roses and Aerosmith to name but a few. A worthy addition to any line-up, TBSD is the real deal. A band that when you have the pleasure to capture them live, you’ll get it for yourself, Tyler Bryant is an enigmatic frontman alone but the band as a whole are made up by the sum of its parts, a fine collection of musicians that live and breathe their craft 24/7, 365. As a band, they have been knocking out serious quality recordings for the last few years now, from their 2013 debut album Wild Child to their more recent sophomore self-titled full-length album the progression has been there for all to see.

Fast forward to 2019 and now we have Truth & Lies, one seriously ballsy collection of tracks that are a culmination of years of grafting on the road, playing the sold-out stadium tours in support and back to reality in a dive with 30 people TBSD have seen and done it all, paid their dues and now we are reaping the rewards through these sonic delicacies. The album kicks in with a killer track in ‘Shock And Awe’ with his signature fuzz-guitar being pushed to its limits signature sound and classy vocal delivery you’re immediately thrust into TBSD in all its glory. The ride doesn’t stop there, the album is packed with first-class quality songwriting and guitar wizardry in abundance, but the beauty of Tyler is his understanding of not overplaying, tastefully done he always leaves you begging for more. Overall though the album is beautifully balanced taking you through its peaks and valleys and on a sonic journey that keeps you intrigued from start to finish. From gnarly Rock numbers to slower more melodic tracks there is a storytelling quality to engage and keep you coming back for more again and again.

For sure, their finest work to date, Truth & Lies is a perfect addition to an already impressive catalogue, a decade down the road and these guys really are coming onto their own”.

The band played a few great gigs last month, and I am not sure whether they are going to be playing this month at all. There is a fanbase in the U.K. for the Texas band, so I would not be surprised if they made the cut at a few festivals in the summer. If you want to discover a great Rock band that does not dilute their sound and evokes some of the greats of old, you need to get behind Tyler Bryant & The Shakedown. This year, make sure you…

TAKE a look in their direction!

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Follow Tyler Bryant & The Shakedown

Official:

http://www.tylerbryantandtheshakedown.com/

Facebook:

https://www.facebook.com/TylerBryantAndTheShakedown/

Twitter:

https://twitter.com/tbshakedown

Instagram:

https://www.instagram.com/tbshakedown/

Spotify:

https://open.spotify.com/artist/3Ig1cmnFAUxpTEYVjTRkLo?si=eNSSYpdcTIScHeqctHIW3g

YouTube:

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

FEATURE: The King at Eighty-Five: The Ultimate Elvis Presley Playlist

FEATURE: 

The King at Eighty-Five

The Ultimate Elvis Presley Playlist

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IT is a little unusual…

IN THIS PHOTO: Elvis Presley at the Ellis Auditorium in Memphis in May 1956/PHOTO CREDIT: MPTV

celebrating the birthday of musicians who have departed. I think it is important we keep these artists alive and, when it comes to big birthdays, one cannot help but salute the greats who have left us. Even though The King of Rock and Roll, Elvis Presley, died in 1977, he is one of the most influential artists ever and someone that will always be popular. In honour of The King’s eighty-fifth birthday today, I have compiled a career-spanning playlist that shows The King in all his glory. As we are in a new decade, one would feel the interest and fascination with Presley would have died down a bit. On the contrary, there is a biopic coming next year, and Presley’s eighty-fifth birthday will receive a lot of celebration and attention. Although his later life was dogged by ill health, Presley is the most successful solo recording artist ever and his name and voice are recognised around the world. Before I get to a playlist, I want to source from Biography, as they provide information about The King:

“Elvis Aron Presley was born on January 8, 1935, in Tupelo, Mississippi. (He later changed the spelling of his middle name to the biblical form of Aaron.) Presley was supposed to be a twin, but his brother, Jesse Garon (sometimes spelled Jessie) was stillborn. From very humble beginnings, Presley grew up to become one of the biggest names in rock 'n' roll.

Raised by loving, working-class parents, Presley's family had little money, and they moved from place to place frequently. He was deeply devoted to his parents, especially his mother, Gladys, and was raised to have a strong faith in God. Presley attended the Assembly of God Church with his parents, where gospel music became an important influence for him.

In 1955, Presley began to develop a following with fans being drawn to his unusual musical style, provocative gyrating hips and good looks. That same year, he signed with RCA Records, a deal worked out by his manager, Colonel Tom Parker. Presley was on a roll, scoring his first No. 1 single with "Heartbreak Hotel," as well as his first No. 1 album, Elvis Presley, and signing a movie contract with Paramount Pictures — all in 1956. Despite the uproar that his sexy dance moves caused, he also became a popular guest on a number of television variety shows.

After leaving the Army in 1960, Presley resumed his career and was soon back at the top of the charts with the soundtrack for his film GI Blues. He continued recording music and acting in such films as Blue Hawaii (1961), Girls! Girls! Girls! (1962) and Viva Las Vegas (1964). Though his films were often hit or miss with both critics and audiences, they brought in a profit and the soundtracks usually sold well. By the late 1960s, however, the enigmatic performer appeared to be losing his box office appeal. Proving he was still the "King of Rock 'n' Roll," he recorded his first TV special in 1968, often referred to as the "'68 Comeback." He wowed audiences with his performance, which showcased his talents as a singer and a guitarist.

Around this time, Presley's personal life also seemed to be on an upswing. He and Priscilla wed in 1967 and had a daughter, Lisa Marie, the following year. Unfortunately, this joyous time would not last. By the early 1970s, Presley's marriage was falling apart. The couple divorced in 1973, and Priscilla received custody of Lisa Marie. Presley was also wrestling with other personal problems, including a growing addiction to prescription drugs; the once-thin rock star was battling a weight problem, and his destructive lifestyle caught up with him that fall when he was hospitalized for drug-related health problems. Despite his personal obstacles, Presley remained a popular draw in Las Vegas and on tour. He performed at his last concert in June 1977, in Indianapolis, Indiana. After the concert, he returned home to his Memphimansion, Graceland, to prepare for another tour.

Since his death, Presley has remained one of the world's most popular music icons. Over the years, several documentaries and films have explored the enigmatic performer, including a 2005 television miniseries starring Jonathan Rhys-Meyers as Elvis. In 2018, a two-part documentary, Elvis Presley: The Searcher, was released and explores his early life, rise to fame and his myriad musical influences”.

It is impossible to distill the brilliance and importance of Elvis Presley into a feature so, rather than try, I have compiled a playlist featuring some of his greatest performances and most iconic tracks. Although you always hear reports people have ‘seen’ Presley about, it is nonsense. Rather than spin conspiracies, we need to appreciate a man who, in his forty-two years of live, provided millions of people with joy. Although The King is no longer with us, his spirit and influence…

IN THIS PHOTO: Presley performing during his ‘68 Comeback Special on NBC/PHOTO CREDIT: Gary Null/NBC

LIVES through the music.