FEATURE: You Know You’re Right: Remembering an Icon: The Kurt Cobain Playlist

FEATURE:

 

You Know You’re Right

IN THIS PHOTO: Kurt Cobain of Nirvana performing at MTV Unplugged at Sony Studios in New York City on 18th November, 1993/PHOTO CREDIT: Frank Micelotta

Remembering an Icon: The Kurt Cobain Playlist

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IT is hard to believe…

Kurt Cobain died twenty-six years ago today (5th April). I was ten when the news broke, and I have spotty recollections. Looking back at music from the 1990s, and I think I under-appreciated the brilliance and role of Nirvana. Formed in Aberdeen, Washington in 1987, It was founded by lead singer and guitarist Kurt Cobain and bassist Krist Novoselic. Nirvana went through a succession of drummers, the best known being Dave Grohl, who joined in 1990. I adore Nirvana, and I think the main ingredient in their success is the songwriting and leadership of Cobain. I recall their breakthrough album, Nevermind, dominating MTV and the radio back in 1991. The band were a big part of my childhood, and I still listen to them now. I want to bring in an article that shines a light on the brilliant Cobain:

“With his punk upbringings, Kurt never quite adjusted to the machinations of the music industry; he even appeared on the cover of Rolling Stone wearing a t-shirt that read "Corporate Magazines Still Suck." However, in the same year he died, Aerosmith heralded a sea change by introducing the internet's first free downloadable track. The subsequent rise of file-sharing systems provided an outlet for bands of all stripes, ultimately transforming the industry business model and eroding the influence of traditional radio stations, MTV and Rolling Stone. Kurt no doubt would have enjoyed the freedom to release tracks at his own whim, as well as the opportunities provided to the lesser-known bands he often plugged.

Rockers have long doubled as activists, and Kurt’s stance on societal issues manifested through his calls for equality. His attitude is best summed up in the liner notes for Nirvana’s compilation album Insecticide (1992): “If any of you in any way hate homosexuals, people of different color, or women, please do this one avour for us – leave us the f*** alone! Don’t come to our shows and don’t buy our records.” This strain of progressivism gained steam through the 1990s, and the explosion of the internet and social media provided additional forums for like-minded individuals. Of course, it also opened the door for the backlash to “political correctness” that features prominently in today’s cultural battles.

Like with music, fashion trends come and go on their own, but Kurt left his own indelible mark on the industry. Along with the standard flannel shirts and ripped jeans associated with the grunge movement, the rocker often sported an ensemble that included multiple layers, torn cardigans and oversized sunglasses. Not to mention the occasional dress. A peek at the runway and shop windows reveals that physical reminders of Kurt remain alive and well in the world of fashion”.

I will end with a playlist that brings together the best Kurt Cobain-penned songs. There is this sense of magnetism when you hear Cobain sing. He can bring anger and explosion, but there is so much depth to his emotions. In terms of his lyrics and songcraft, I think he is truly unique.

Whilst so many of us remember the music, and many artists have incorporated elements of Nirvana into their work, so many people overlook Cobain’s passionate support of L.G.B.T.Q.I.A.+ rights and feminism. Here are a few choice quotes from a Rolling Stone article that proves why Cobain was such an inspiration:

“At this point I have a request for our fans. If any of you in any way hate homosexuals, people of different color, or women, please do this one favor for us — leave us the fuck alone! Don’t come to our shows and don’t buy our records.” –Incesticide liner notes

“I definitely feel closer to the feminine side of the human being than I do the male – or the American idea of what a male is supposed to be. Just watch a beer commercial and you’ll see what I mean.” –Rolling Stone, 1992

“Because I couldn’t find any friends, male friends that I felt compatible with, I ended up hanging out with girls a lot. And I just always felt that they weren’t treated with respect, especially because women are just totally oppressed. I mean, the words bitch and cunt were totally common.” –Blank on Blank, 1993

“I even thought that I was gay. I thought that might be the solution to my problem. Although I never experimented with it, I had a gay friend and then my mother wouldn’t allow me to be friends with him anymore because she’s homophobic. It was real devastating because finally I’d found a male friend who I actually hugged and was affectionate to and we talked about a lot of things.” –Blank on Blank, 1993”.

I am only going to scratch the surface here, but I would urge people to watch interviews and read articles pertaining to Kurt Cobain. He is so much more than the big hits and a very narrow impression. He was a complex human; a genius songwriter and it is tragic that he is no longer around. I think Kurt Cobain is one of the finest songwriters who has ever lived, and I know so many people will pay tribute to him today. I want to send out a salute to…

IN THIS PHOTO: Kurt Cobain alongside Krist Novoselic and Dave Grohl of Nirvana

ONE of the all-time greats.  

FEATURE: Together, Apart: Should We Launch a We Are the World-Style Charity Single?

FEATURE:

 

Together, Apart

PHOTO CREDIT: @arstyy/Unsplash

Should We Launch a We Are the World-Style Charity Single?

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AS so many artists are unable to…

IN THIS PHOTO: Sir Elton John

perform gigs, promote records and be out in the world, we are seeing more and more home-streamed gigs and concerts. Some are doing this so they can connect with fans, whilst others are raising money to combat Covid-19. One such event that happened recently was when stars such as Elton John And Billie Eilish performed from their homes:

“LOS ANGELES: Billie Eilish sang on her sofa, Elton John played a keyboard belonging to his children, and the Backstreet Boys sang in harmony from five locations as dozens of musicians put on a fundraiser for the warriors against a coronavirus.

Those who performed from their homes for the "IHeart Living Room Concert for America" also included Mariah Carey, Camila Cabello, Alicia Keys, Shawn Mendes and Sam Smith.

The one-hour show, broadcast on Fox television without commercials”.

It is heartening to see big artists pull together and use their vast platforms in order to raise money and awareness. I like the fact that artists now, more than ever, are utilising the Internet for good. In fact, we have more access to gigs and album listening parties than we used to. Whilst many artists are choosing to stream gigs to entertain their fans, the charity aspect is one I feel more and more people will undertake. Although there are positive signs to suggest the virus is slowing in many parts of the world, there is still a way to go, and we need to get funds and supplies to the front line.

IN THIS PHOTO: Alicia Keys

This sort of urgency, when it comes to the music world, suggests we need to a charity single. It is hard to do that, as artists are isolated and cannot get together in a studio. A report in The Guardian last week highlighted an effort by Lionel Ritchie regarding the 1985 single, We Are the World:

“This week, as citizens in countries across the world isolate themselves to combat coronavirus, Lionel Richie, who co-wrote the 1985 USA for Africa charity mega-single We Are the World with Michael Jackson, told People magazine that he was revisiting the kitsch anthem that reportedly raised more than $75m (£61.1m) for Ethiopian famine relief. Richie is still proud of the central line of World’s chorus, “There’s a choice we’re making – we’re saving our own lives,” which he says has new relevance in the time of Covid-19. “What happened in China, in Europe, it came here [to America],” he said. “So, if we don’t save our brothers there, it’s going to come home. It’s all of us. All of us are in this together.”

To his credit, Richie is leery of openly celebrating the 35th birthday of the song, released on 7 March 1985. “Two weeks ago, we said we didn’t want to do too much [about the song] because this is not the time to sell an anniversary,” he told People. “But the message is so clear … every time I try and write another message, I write those same words.”

Richie’s heart is in the right place – the world could use more supra-national fellow feeling during a pandemic – and he has not yet begun rounding up stars for a new version presumably spliced together from home recordings. Surely such a reboot couldn’t be worse than the recent, awful, multi-superstar video-selfie singalong to John Lennon’s Imagine? But idle hands are the devil’s playthings, and before the stir-crazy, homebound Richie starts texting the luminaries in his phone book, he might want to remember the last time We Are the World was revived, in 2010. Heck, he might want to remember the suspicion that greeted the song in 1985.

From the start, World’s motives were not entirely pure. It was America’s response to an implied dare. As I chronicled in an episode of my podcast Hit Parade about the history of the charity mega-single, the whole reason artist manager Ken Kragen and musician and social activist Harry Belafonte mounted USA for Africa was to imitate – and better – Band Aid’s 1984 UK benefit record Do They Know It’s Christmas? Bob Geldof, co-writer of Christmas? and instigator of Band Aid, made the dare to America plain, by travelling to Los Angeles the night of the We Are the World recording to lecture the Yanks on the horrors of Ethiopian famine and their obligation to record. Reportedly, Geldof’s sermon so freaked out Michael Jackson that he hid in the toilet.

There is little to suggest, 10 years later (there’s another of those nice, round numbers) that a third version of We Are the World would improve on the era of Jamie Foxx and Josh Groban, never mind the logistics of trying to stitch together a recording from soloists recording in place in their mansions and compounds. Richie is absolutely correct that the world needs to come together in spirit at this perilous hour – and I don’t blame him for regarding the timing of Covid-19 and the track’s anniversary as rather cosmic. But he might just want to leave it there, rather than heed a certain call”.

There is always snobbishness when we consider charity singles like We Are the World and the Band Aid efforts. Some say that rich musicians coming together to support those less well-off is hypocritical or lacks empathy; others just don’t like the song that they sing. A while back, a few celebrities got together in various locations to perform a rendition of John Lennon’s Imagine – it was widely panned, and it is a bit cringe-worthy. Whilst their hearts were in the right place, I don’t think we can dismiss the power of a big charity single. I think a new version of We Are the World, if done right, could raise a lot of money. Even if you are not a fan of the song, the fact money is being generated to help those in need is something nobody can object to.

PHOTO CREDIT: @joshsorenson/Unsplash

I guess, if a producer(s) helmed it, we would not need artists to combine via video and record that way. You can get a studio-quality performance remotely, and it would be impractical having a lot of artists in the same studio under normal circumstances. I do feel a newly-written single might be better than trying to adapt a song meant for another cause – and a cover version would seem lazy. It does not need masses of voices in the mix: maybe a dozen so artists on the same track would be just about enough. So many individual artists are trying to raise funds, so a group effort would be welcomed too. The questions come down to who will appear on the single and whether the song – whomever writes it – is specifically about Covid-19 or it is a general message of unity and awareness. I do feel there is an appetite and need for something like this, as we all want this to be over, and a song featuring some big artists (and some smaller ones), if it strikes the right tone, would be popular – this is not a time for being dismissive and critical (although the version of Imagine from a bit back was very odd and misplaced). Whilst so many artists are separated and cannot produce and promote music like they have done, a concerted charity effort, I feel, would join so many people and raise…    

PHOTO CREDIT: @alexmedia/Unsplash

A lot of money for a worthy fight.

FEATURE: Radio Stars: The Comfort of BBC Radio 6 Music

FEATURE:

Radio Stars

IN THIS PHOTO: Mary Anne Hobbs and Shaun Keaveny will present alternate weeks between 12-4 p.m. from Monday, 6th April on BBC Radio 6 Music/PHOTO CREDIT: @BBC6Music/@maryannehobbs

The Comfort of BBC Radio 6 Music

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I have written about BBC Radio 6 Music…

IN THIS PHOTO: Chris Hawkins presents the 5-8 a.m. weekend slot, and he is on from 6-8:30 a.m. weekdays from Monday, 6th April

a fair bit through the years, and I will try and keep this feature (relatively) brief. In past features, I have extolled the virtues of the station as they celebrated big listener figures, anniversaries and, well, just to generally tip my cap! Now, as the nation is in lockdown, many of us are having our routines disrupted; our lives are changed, and we are all looking forward to returning to normal – as much as that is possible. Whilst we are being given a rare opportunity to stay at home, I think a lot of people are struggling – that is perfectly understandable! Not only are people unable to work/earn money; many are suffering in terms of their mental-health. I have been able to work from home, but even that is not enough to give me requisite strength and optimism. I applaud all radio stations around the country, but BBC Radio 6 Music is my chosen station. They have been immense over the past few weeks and, as we are about to enter a new week of lockdown, things are changing at the station. From Monday to Thursday, it will look like this: 6-8.30 a.m.: Chris Hawkins; 8.30 a.m.-12 p.m.: Lauren Laverne; 12-4 p.m.: Shaun Keaveny/Mary Anne Hobbs to alternate/rotate weekly; 4 –7 p.m.: Craig Charles; 7-9 p.m.: Marc Riley; 9 p.m.–midnight: Gideon Coe. On Friday, these changes have come in: 4-7 p.m.: Craig Charles’ Weekend Workout; 7-9 p.m.: Cillian Murphy; 9 p.m.–midnight: Tom Ravenscroft. These changes ensure that the station can broadcast on, and they are protecting the health of their staff.

IN THIS PHOTO: Lauren Laverne is on the air between 8:30 a.m.-12 p.m. weekdays from Monday, 6th April/PHOTO CREDIT: @BBC6Music

I always tune into Lauren Laverne at breakfasts, and she has been getting particular praise for bringing joy and comfort to all of us. I listened in on Thursday, as presenters from BBC Radio 1, BBC Radio 2, BBC Radio 6 Music, BBC 1 Xtra and Asian Network all joined together for a singalong. Each station played a song – voted for by their listeners –, and it was wonderful to see them all unite. On Laverne’s show, we got to sing along to Prince’s Raspberry Beret; listeners were encouraged to sing along and film themselves. Laverne and her team (her skeleton team) have been fantastic. Not only have we enjoyed all the unusual features and great music, but it is nice to hear the breakfast show going strong. Although it starts a bit later from next week, the fact Lauren Laverne is still on air and keeping us all uplifted is wonderful. On usual weekday mornings, she passes to Mary Anne Hobbs – they broadcast from the Wogan House but, as you’d imagine, are in different studios. Hobbs’ show, too, gives us that nice hug and sense of community. I always listen to her show, and I she is moving to a later slot next week – her and Shaun Keaveny are broadcasting alternate weeks. It is great Hobbs remains on air, and her calming tones are a tonic. I have not mentioned Chris Hawkins who, not only does weekday early mornings, but he does the early weekend shift as well!

IN THIS PHOTO: Craig Charles takes over from Shaun Keaveny/Mary Anne Hobbs at 4 p.m. Monday-Thursday from next week (on Fridays, he hosts the Craig Charles’ Weekend Workout in the same time slot)/PHOTO CREDIT: @BBC6Music

I have no idea where the man gets his stamina, but he is this constantly reliable figure. Like all shows on the station, I love Hawkins’ broadcast, and he is an essential part of the BBC Radio 6 Music family. It is that sense of family that really resonates. Rather than feel isolated and completely alone, you get this feeling that we are all part of the same brood. I am looking forward to Shaun Keaveny returning to the station next week – he has been self-isolating. Tom Ravenscroft has been doing a sterling job filling in (as usual), but I am excited Keaveny is coming back. He will reunite with Matt Everitt – who, I think, might be delivering his music news from home (check out his excellent The First Time with… series). Keaveny will be refreshed and ready to go I imagine, and I know he will bring us plenty of laughs. I am mentioning broadcasters from shows that I listen to, but I want to send a salute to each and every person who works for the station. I love tuning into Radcliffe and Maconie on weekend breakfasts, and it will be wonderful hearing Craig Charles in a regular (for now) slot from next week, as he always raises smiles, and is a someone who can lift the mood with his infectious energy. Although, as they’d be the first to admit, the real heroes are the NHS staff, the supermarket workers and those keeping us running, I think BBC Radio 6 Music (and all other stations) should take a bow, as radio is more important now than ever. Without their dedication and all-inclusive, all-in-this-together mantra, so many of us would feel adrift and lost.

I am not sure when things will go back to how they were, though most of us hope there is some positive news in the next few weeks – and it will be nice to think that those at BBC Radio 6 Music can give each other a hug and we can get back to how things were. At this time when we need to stay indoors and be patient, I suggest you listen to BBC Radio 6 Music – you can also check out their Instagram, Facebook and Twitter accounts for information and fun stuff. Jane Garvey (of BBC Radio 4’s Woman’s Hour) recently wrote an article regarding the importance of radio right now. Maybe that is one of the positive that will come out of all of this: a new and strengthened appreciation of radio. None of us are quite sure what the next few weeks will hold but, as we tune into BBC Radio 6 Music, there is that warmth and sense of reassurance. Though the schedule is changing, the fact that so many of our favourite BBC Radio 6 Music voices are broadcasting is hugely rewarding. I – like everyone else – wish them safe health. It is inspiriting to be part of this…

IN THIS PHOTO: Gilles Peterson (left) is on air today (4th April) from 2 p.m./PHOTO CREDIT: @BBC6Music

WONDERFUL family.

FEATURE: The April Playlist : Vol. 1: California Screaming Until It’s Over

FEATURE:

The April Playlist

IN THIS PHOTO: Liz Lawrence/PHOTO CREDIT: Marieke Macklon

Vol. 1: California Screaming Until It’s Over

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THERE is plenty of new material…

IN THIS PHOTO: Yves Tumor

out there this week, and some cuts from very big artists. There is new material from Liz Lawrence and Hayley Williams; The 1975, Thundercat, Drake, EOB, and Pigs Pigs Pigs Pigs Pigs Pigs Pigs. Not only that, but Biig Piig, Frank Ocean, Mavis Staples, and Yves Tumor have fresh music out. It is another strange week, and, in spite of lockdown, the music world is still providing so much quality. We are going to be indoors this weekend, so it is a perfect excuse to dive into a selection of this week’s best tracks. Relax, immerse yourself in the playlist below and, as always, keep safe, upbeat…

IMAGE CREDIT: The 1975

AND inside.

ALL PHOTOS/IMAGES (unless credited otherwise): Artists

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Liz Lawrence - California Screaming

PHOTO CREDIT: Josh Brasted/WireImage

Hayley Williams – Over Yet

The 1975 (ft. Phoebe Bridgers) - Jesus Christ 2005 God Bless America

Empress Of - Love Is a Drug

Mavis Staples (ft. Jeff Tweedy) - All in It Together

Purity Ring – i like the devil

Drake - Toosie Slide

Jessica Winter – Play

EOB – Olympik

Pigs Pigs Pigs Pigs Pigs Pigs Pigs – World Crust

Kllo - Still Here

Poppy Ajudha – Strong Womxn

Ward Thomas – Painted Legacy

Violet Skies – Lonely

Madison Beer - Stained Glass

Yves Tumor –Dream Palette

The Lovely Eggs - The Mothership

Rina Sawayama - Chosen Family

Jenny Hval - Bonus Material

Thundercat – Unrequited Love

Grimes - You'll Miss Me When I'm Not Around (Chroma Green Video)

Ren Harvieu - Yes Please

Buzzard Buzzard Buzzard – Hollywood Actors

Frank Ocean - Cayendo (Side A - Acoustic)

Orville Peck – Summertime

Beauty Queen - Two of Us

Hanni El Khatib - ALIVE

Georgia Meek – Made of Stone

PHOTO CREDIT: @thedarkroomdon

Biig Piig – Switch

PHOTO CREDIT: Louise Mason

Boy Azooga – U.F.O.

Jess Williamson – Infinite Scroll

PHOTO CREDIT: Holly Whitaker Photography

Happyness – Ouch (Yup)

Eve Owen – Blue Moon

Laura Elizabeth Hughes - For you (Home) - In Aid of Pieta House

FEATURE: Music Isn’t Cancelled: Albums in Lockdown/April Albums to Own

FEATURE:

Music Isn’t Cancelled  

IN THIS PHOTO: Fiona Apple in 2012/PHOTO CREDIT: Sebastian Kim for Interview

Albums in Lockdown/April Albums to Own

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THIS challenging period must…

IN THIS IMAGE: Dua Lipa

be heartbreaking for artists who were due to release their albums round about now and have to put it out into the world without being able to promote as heavily and openly as they’d hoped. Nobody could realistically have seen the coronavirus pandemic coming, so there hasn’t been the time to time to delay things and reschedule. I am going to put links to albums that are due out this month, so that you can see how artists are carrying on and keeping strong. That is the thing right now: music isn’t cancelled, it is merely having to take a bit of a different approach. Whilst gigs are cancelled and there are fewer events taking place this year, there are albums arriving and plenty to look forward to. Newer artists are, as I have said before, finding ways to deliver new music to fans; there are streamed gigs and many of us are spending more time around music than we otherwise would. I am going to mention Dua Lipa a couple of times this weekend but, as Future Nostalgia came out on 27th March, she had to release this huge album whilst in lockdown – an experience a lot of other are going to face in the next few weeks. Dua Lipa was interviewed by the BBC about releasing an album whilst in lockdown:

“Four weeks ago, Dua Lipa flew back to London after playing Sydney's Mardi Gras to discover her flat had flooded.

The singer-songwriter rented an Airbnb while the repairs were carried out. Now, she and her boyfriend are stuck there for the duration of the lockdown.

"I'm really enjoying it," she tells the BBC over the phone. "I'm doing stuff that I don't normally get the chance to do, just sleeping in and reading a book and catching up on TV shows."

Sleeping in wasn't supposed be on the agenda this month.

Dua's second album, Future Nostalgia, was primed for release at the start of April, and her diary for the rest of 2020 was packed - with a world tour, a Glastonbury slot and an appearance on Saturday Night Live all scheduled for the coming weeks.

But while artists like Lady Gaga, Sam Smith and Haim have delayed their albums due to the coronavirus, Dua chose to bring hers forward, giving it to fans a week earlier than planned.

It wasn't an easy decision. The star was in tears as she announced the news in a YouTube livestream, not least because the album had leaked online (a situation she later described as "a pain in the arse").

Ultimately, she thinks it was better to set the record free instead of worrying about the "perfect" release strategy.

"I made this album to get away from any pressures and anxieties and opinions from the outside world," she says.

"Yes, it was made to be listened out in the clubs and at festivals - but at the same time, I wanted to give people some happiness during this time, where they don't have to think about what's going on and just shut off and dance”.

One can understand why artists like Sam Smith and Lady Gaga have delayed albums that were due out very soon; other artists are choosing to keep album release dates set, as they want to give fans a treat at these hard times.

IN THIS PHOTO: Lady Gaga/PHOTO CREDIT: Christopher Polk/NBC/NBCU Photo Bank

Whilst it is difficult for the artists and this is not what they envisaged when they finished their album, it is admirable that there are still some great albums to look forward to this month. One album that I am really looking forward to is Fetch the Bolt Cutters by Fiona Apple. I am a big fan of hers and, following from 2012’s The Idler Wheel…, this is a record so many people have been waiting for – you just know her latest is going to be extraordinary. This NME report shed more light:

“Fiona Apple has finally revealed the release date for her new album ‘Fetch The Bolt Cutters’ after weeks of teasing, and it’s coming sooner than you might have thought.

‘Fetch The Bolt Cutters’ will be released on Friday April 17, which is just over two weeks from today (April 2). It will be Apple’s first full length album in eight years, following 2012’s ‘The Idler Wheel…’

She confirmed that the album was complete earlier this month, revealing so using American sign language in a video posted to the same fansite.

Earlier this week, she teased that she thought she should release it soon in a video posted on Twitter by her friend Zelda Hallman.

In a recent interview with The New Yorker, Apple revealed a selection of song titles from the album, including: ‘Newspaper, ‘On I Go’, ‘The Drumset Is Gon’, ‘Rack of Hi’, ‘Kick Me Under the Table’, ‘Ladies’, ‘For Her’, Fetch the Bolt Cutters’, ‘Shameka’, ‘Heavy Balloon’ and ‘I Want You to Love Me’”.

Aside from Fiona Apple’s new album, there are other records that are worth checking out. On Friday (10th April). The Strokes release The New Abnormal and it is an album that I urge you to buy. Rina Sawayama’s Sawayama is also out that week, and you can pre-order here. Sawayama spoke with Pitchfork recently about her upcoming album:

“SAWAYAMA is also her most personal work yet, a warts-and-all chronicle of the British-Japanese singer’s own story that includes several songs about her parents and her attempts to forgive them. Rina spent months delving into her family’s history while writing songs for the album, pestering her grandparents to share tales of her dad as a child and even flying to Japan to corner her mother with uncomfortable questions.

The songs on SAWAYAMA gleam, strut, and thrash as they take on themes of forgiveness, legacy, and generational trauma. “Making the album so dramatic helped satirize the whole thing and make it feel a little bit lighter, in a weird way,” she says. “It’s kinda like drag, where you’re making so much light and humor out of something that is so painful.” Rina helped produce nearly every song, adding choir vocals and electronic shimmers to make them that much more sweeping.

While much of the album is rooted in Rina’s past, some tracks are anchored by small coincidences. Swaggering single “Comme des Garçons (Like the Boys),” which sends up male privilege, was originally inspired by a conversation she had about the arrogance of would-be presidential hopeful Beto O’Rourke. Rina wrote the heart-tugging highlight “Bad Friend” after checking Facebook for the first time in a while and seeing that a formerly close friend had a new baby. The track details a trip they took to Tokyo in 2012, when they got drunk and danced naked to Carly Rae Jepsen in a karaoke booth. It was ultimately produced by Kyle Shearer, whose resume includes work with Carly Rae Jepsen—“which is wild,” Rina says, shaking her head. “Just what are the fucking chances?”.

On 24th April, Brendan Benson releases Dear Life. I love the songwriting of Benson and, away from The Raconteurs (the band includes former White Stripe Jack White), it is nice to hear him alone – one gets something very personal and engrossing. Here are some more details:

“There's something about this record,” Benson says, describing his Third Man Records debut album DEAR LIFE. “A friend of mine called it ‘life-affirming.’ I thought it was a joke at first but then realized, well, it’s about life and death for sure. I don’t know if that’s positive or optimistic or whatever, but that's what's going on with me.”

Brendan Benson finds himself in an enviable spot as he enters the third decade of a remarkably creative, consistently idiosyncratic career – an accomplished frontman, musician, songwriter, producer, band member, husband, and dad. Benson’s seventh solo album, and first new LP in almost seven years, DEAR LIFE is this consummate polymath’s most inventive and upbeat work thus far, an 11- track song cycle about life,  love, family, fatherhood, and the pure joy of making music.

Produced and almost entirely performed by Benson at his own Readymade Studio in Nashville, the album sees the Michigan-born, Nashville-based artist – and co-founder, with Jack White, of The Raconteurs – reveling in a more modernist approach than ever before, fueled by a heady brew of cannabis, hip-hop, and a newly discovered interest in software drum programming.

There are a few other April-due albums that have been pushed back, and I think it is admirable that artists like Brendon Benson and Fiona Apple are releasing material at this difficult time. Although many artists’ touring plans have changed, we can still look forward to gigs and albums later in the year. It is a challenging time, and one where we need to support musicians more than ever,. Try and buy as many albums you can, and keep an eye out for more new releases. Whilst you can see what is being released in April, things might change - so make sure you keep your eyes peeled. I, and many other people, are thankful that artists are putting stuff out now, as they have to see their album go out into the world whilst in lockdown. Music continues on and, whilst we look around for which cool new albums are out, it is so encouraging that artists are…

PHOTO CREDIT: @annietheby/Unsplash

GIVING fans a real gift.

FEATURE: Director’s Cuts: Is There Material in the Kate Bush Vault Yet to See the Light of Day?

FEATURE:

 

Director’s Cuts

IN THIS PHOTO: Kate Bush in an outtake from the Lionheart (1978) cover shoot/PHOTO CREDIT: Gered Mankowitz/COVER CONCEPT: John Carder Bush

Is There Material in the Kate Bush Vault Yet to See the Light of Day?

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MAYBE that question sounds…

IN THIS PHOTO: Kate Bush in a shot from the Director’s Cut (2011) session/PHOTO CREDIT: John Carder Bush

a bit accusatory, but I do wonder whether, at a time when there are a lot of big artists holding back album releases, there is material in the archives that fans would eat up! Normally, when a big album anniversary comes along, an artist will put out a remastered version with some outtakes or demo versions. I am not sure whether any scheduled anniversary releases this year will go ahead. I know Radiohead’s Kid A turns twenty later in the year, but they have their website/public library which gives one access to so many cool videos, interviews and other Radiohead bits. I have written about the delectable, Kate Bush and the fact that two of her albums have big anniversaries this year: Never for Ever turns forty in September; Hounds of Love is thirty-five in the same month. Both albums are hugely important, and I know there are fans out there who would love to hear some demo versions. If one looks online, you can see some early outtakes and outtakes/footage from her Tour of Life in 1979 (and here). I know there are some demos in various different states, and some early versions can be accessed. I found a Babooshka (from Never for Ever) demo, whilst there are some rare treats I have not seen before. Bush is an artist who does not look back that often, but she did release The Other Sides in 2018 - which combined B-sides and cover versions.

IN THIS PHOTO: Kate Bush (and hounds) in an outtake from the Hounds of Love cover shoot in 1985/PHOTO CREDIT: John Carder Bush

It is a wonderful collection, and a rare chance for people to own these songs. This Woman's Work: Anthology 1978–1990, released in 1990, included some tracks not available on her studio albums to that point, and one has to wonder what else remains. Some will say that releasing every half-formed idea and scrap is creatively worthless, and there is a reason these tracks remain hidden. I know Kate Bush spends a lot of time putting albums together, and so many of these well-loved songs would have gone through multiple takes. Hounds of Love’s The Big Sky was a completely different song at the start to the end! Although Kate Bush herself claims not to be a perfectionist, many of her songs would have gone through so many different takes until she was happy. If there was ever an artist who will have a lot of different versions of songs in the archive, then it is Kate Bush! Maybe there will be some anniversary releases in September of Never for Ever and Hounds of Love but, as things are unsure right now, maybe any plans will be on hold – the same goes for any whisper of an eleventh studio album. I think what is online in terms of demos and outtakes is interesting, and there are so many songs that catch your ear and draw you in. The sound quality is not overly-great, so it would be interesting if these intriguing and important recordings were brought out on vinyl or C.D.

IN THIS PHOTO: Kate Bush and Michael Hervieu in a still from the video shoot of Running Up That Hill, 1985/PHOTO CREDIT: John Carder Bush/VIDEO DIRECTOR: David Garfath

Some might claim a release like this would only appeal to the die-hard Kate Bush fans, but I think it is a terrific way to draw in new support; let people know that she is much more than the singles one hears on the radio – her legacy tends to be compacted to about four of five well-known songs. Bush is an album artist who wants people to hear complete works, rather than people skipping tracks. As much as I love her studio works, I am interested hearing where the songs started life! Maybe we do not need to hear demos and outtakes from all of her albums, but there is that fascination regarding what is left; what we might not have heard and would be wonderful to experience! In the same way as one got a new appreciation for The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band, The Beatles (‘The White Album’) and Abbey Road when remastered editions were released with demos and rarities in 2017, 2018 and 2019 respectively to mark their fiftieth anniversaries, I would love to see a new edition of Never for Ever, The Dreaming, Hounds of Love, or Aerial with some extras; maybe some early versions and outtakes that would add something extra-magical. There was an unofficial album release of rarities in 2000, and, although I would love to buy a record of demos across her career, I believe some demos of early songs were made available to the public via bootleg releases in 1982:

“In 1972 and 1973 Kate recorded several tapes of songs. Reports vary about the amount of songs that were recorded, but there must have been dozens. 20 to 30 of these songs were presented via Kate's brother John Carder Bush's friend Ricky Hopper, first without success to record companies.

IN THIS PHOTO: Kate Bush in 1993/PHOTO CREDIT: Guido Harari

Ricky Hopper then presented the songs to David Gilmour. Gilmour noticed her talent, but also the bad tape recorder quality. This led to one or more recording sessions with David Gilmour present, but with a better recorder. According to Kate: "Absolutely terrified and trembling like a leaf, I sat down and played for him."

At Gilmour's insistance, another recording session took place in the summer of 1973, at Gilmour's farm with two band members from Unicorn: drummer Peter Perrier and bassist Pat Martin, and Dave Gilmour on electric guitar. According to Gilmour, ca. 10-20 songs were recorded. This tape definitely made it to EMI Records. One of the songs recorded during this session was Passing Through Air, which ended up on the B-side of the single Army Dreamers in 1980.

Then, in June 1975, David Gilmour booked a professional studio (AIR London), brought Andrew Powell to arrange and produce the songs and hired top musicians to back Kate. They recorded The Man With The Child In His Eyes, Saxophone Song and Maybe. This tape finally was Kate's breakthrough at EMI. The first two songs from this session appeared on The Kick Inside. With the three demo songs in hand, a recording deal is much discussed between Kate, her family, Gilmour and EMI. In July 1976 it finally comes together: Kate gets £3000 from EMI Records and a further £500 to finance her for a year of personal en professional development.

IN THIS PHOTO: Kate Bush captured by Guido Harari

During that year, Kate makes two further demo tapes. It is believed that from these dates many tracks were eventually released into the public via a radio broadcast in 1982 and various 'bootleg' singles and albums”.

I guess we do not see as much bootlegging as we used to and, if Bush is putting out material in the future, she might want to focus on the new. At a time when there is a bit of delay and re-shifting, I think an unexpected release of demos and rarities would be a great idea. I think other artists, either online or physical releases, will put out some of their lesser-heard back catalogue whilst we wait to get back to normal. Every time I hear a Kate Bush album, you just know the songs have gone through a lot of change; Bush searching for that perfect take – not all of the songs, but a lot of them. Perhaps she would feel uneasy putting out material that is not album-worthy or ‘finished’. It is a hard one to debate, but I just know there is magic and some awesome version of her studio tracks that so many would welcome. Let’s hope, as I keep saying, there is something new from Kate Bush in the future, as it would be a shame to think 2011’s 50 Words for Snow is her final studio album. A treasure trove (or single album) of some Kate Bush gold-dust would be…   

PHOTO CREDIT: Gered Mankowitz

SUCH a thrill.

FEATURE: Vinyl Corner: Lenny Kravitz – Mama Said

FEATURE:

Vinyl Corner

Lenny Kravitz – Mama Said

___________

BECAUSE Lenny Kravitz’s Mama Said…

IN THIS PHOTO: Lenny Kravitz in 1991/PHOTO CREDIT: Lynn Goldsmith

has its birthday today (2nd April), I wanted to put it into Vinyl Corner. If you can get the album on vinyl, then do so. It is a great album that did not get the acclaim and respect it deserved in 1991. I remember the sensational Let love Rule coming out in 1989, and I was excited when Kravitz released his second album. Of course, the huge single that is It Ain't Over 'til It's Over came out in June 1991, and I was addicted to that song! It still sounds amazing now, but there is so much more to enjoy on the album. From Always on the Run to Stop Draggin’ Around, there are some really great tracks! I think a lot of reviewers in 1991 concentrated too much on the singles, or they felt that Kravitz lacked his own identity – taking too much from the 1960s and other artists. When Mama Said was reissued in 2012, Kravitz spoke about the time around the album and what life was like for him:

“Just off touring to support his debut album, "Let Love Rule," Kravitz tells Billboard.com that, "It was a crazy time. My ex-wife (actress Lisa Bonet, who he divorced in 1993) and I were going through issues. I just had my child the year before ('Let Love Rule' came out). I was adjusting to success and...fame. It was a lot to deal with. I ended up kind of going into hibernation, 'cause at that point I went through a pretty serious depression. I just let all these feelings out onto the songs. It was very cathartic for me."

The venting struck a chord with Kravitz's burgeoning audience, of course. "Mama" made it to No. 39 on the Billboard 200 but more importantly gave Kravitz a No. 2 Hot 100 single in "It Ain't Over 'til It's Over" and a Top 10 Alternative Rock hit in "Always on the Run," with guitar by high school pal Slash. "That changed things," he notes. "That was the first time I would walk outside and hear the songs coming out of people's cars and out of stores in New York City. I was happy about that; I grew up wanting to get a record deal and make records people listened to, and now it was happening. But it did change the perspective".

It is a shame that there was some dismissal of Mama Said; some critics overlooked it but, as an album, I think it is a fantastic work. Before Mama Said, I think Kravitz was known, but not the star he would become. The album pushed him into so many households, and so many more people turned onto him. Although there is s a touch of Jimi Hendrix here and some Prince elsewhere, Kravitz created his own sound and identity. There has been a lot of praise aimed the way of Lenny Kravitz’s second album. When Ultimate Classic Rock assessed the album they talked about Mama Said’s eclectic nature and how it resonated:

“On April 2, 1991, a charismatic multi-instrumentalist and singer named Lenny Kravitz took significant strides towards becoming a household name with the release of his sophomore album, Mama Said. Thanks to Kravitz, the future of music's past had never looked so bright.

With his 1989 debut, Let Love Rule (a striking blend of classic rock, soul, funk and psychedelia), Kravitz had already established both his retro-rock obsessions and credentials with discerning fans of all those genres. Then, with Mama Said, he honed these influences to an even sharper focus and made it fit for mass consumption by the mainstream music-buying public at large.

Not that this meant predictability. Rather, Lenny's new material covered a lot of ground, from the folk-to-hard rock build of "Fields of Joy," to the technology-accented church hymns of "Stand by My Woman," to the unapologetic Jimi Hendrix worship of "Stop Draggin' Around" to the stylish orchestrated Philly soul of "It Ain't Over 'Til it's Over."

And, despite their sometimes forced eclecticism, most all of these songs were careful to prioritize infectious hooks as they walked a fine line between grit and polish. The album only lost steam over the album's second half which, like many in the CD era, simply ran too long with 14 songs.

But all that was gravy, because Mama Said's true catalyst was already in the bag, way back in the track listing's second slot, in the shape of groovy first single "Always on the Run," which saw Guns N' Roses star Slash roped in to provide a searing solo for their co-write.

Mama Said built upon the commercial potential Kravitz displayed on Let Love Rule. "Always on the Run" reached Billboard's Alternative and Mainstream Rock charts, and "It Ain't Over 'Til It's Over" peaked at No. 2 on the Hot 100. The success of the singles pushed the album towards double-platinum status.

Looking back, it seems like Kravitz was almost working a timeline, precisely 20 years before its time, with Let Love Rule harking back to 1969, while Mama Said reined reality in for the more practical 1971. Any way one wishes to look at it, though, the plan sure worked, and Lenny would soon be enjoying an even bigger smash with his third LP, Are You Gonna Go My Way, in 1993”.

IN THIS PHOTO: Lenny Kravitz in 1991/PHOTO CREDIT: Lynn Goldsmith

Maybe Kravitz produced something more complete and his own on 1993’s Are You Gonna Go My Way, but I have a lot of love for Mama Said. It was part of my childhood, and I still listen to it now. Because there are so many different styles and sounds on offer, you find certain songs hit you years down the line; one can never say Mama Said is predictable or boring! I will bring in a couple of reviews before finishing this feature off. In their review, AllMusic provide a considered and constructive take:

“Moving forward a couple years from the psychedelic fixations of his debut, Mama Said finds Lenny Kravitz in the early '70s, trying to graft Curtis Mayfield and Jimi Hendrix influences to his Prince and Lennon obsessions. This time around, he synthesizes his influences better; it's essentially a seamless record, with all of its classic rock homages so carefully produced that it sounds as if it could have been released in 1972. Kravitz's songcraft has gotten better as well, with the swirling Philly soul of "It Ain't Over 'Til It's Over" and the rampaging Sly Stone-meets-Hendrix "Always on the Run" standing out as instantly addictive singles. Still, some of the joy that informed Let Love Rule has worn off, largely because it's more polished and studied than its predecessor. That, however, doesn't prevent Mama Said from being another thoroughly enjoyable guilty pleasure -- its sweet soul and fuzzy hard rock are slyly seductive. Ironically for such an inviting record, Mama Said is Kravitz's divorce album, yet it never quite conveys any true pain or emotion, since he puts sound over substance. Essentially, the lyrics are afterthoughts, but with a record as immaculately produced and sonically pleasurable as Mama Said, it doesn't really matter that it's talking loud and saying nothing, because it sounds good while it's talking”.

Twenty-nine years after its release, Mama Said is a remarkable record that took Lenny Kravitz to new heights. I think it is one of his best albums, and one of the most underrated releases of the 1990s. When the good folk at Albumism celebrated twenty-five years of Mama Said in 2016, they looked back at how people judged the album in 1991:

“The problem with the majority of the reviews of Mama Said is how the opinions actually overlooked the raw emotion the then 26-year-old Kravitz displays on record about six minutes shy of an hour. Here is a man baring his soul without being too revealing about his personal life. The sounds reflect the artist born to late actress Roxie Roker, who portrayed Helen Willis on The Jeffersons, and Sy Kravitz, a Jewish NBC television producer, working through conflict and his feelings about love. Furthermore, he’s an incredible, multi-talented performer who takes no issue with showing respect for his sonic forefathers, while determining how to repurpose those engagements with his vinyl collection or radio dial.

“It Ain’t Over Til It’s Over” earned Kravitz his highest pop chart position, peaking at Number Two. The single marries his Curtis Mayfield-inspired falsetto with chunky Stax Records guitars and a lush MFSB-flavored (possibly Love Unlimited Orchestra) string arrangement. “More Than Anything In This World,” like many of Kravitz’s latter recordings, presents his knack for laying down echoing vocals, specifically with an ambient Sunday morning feel. “What Goes Around Comes Around” revisits Mayfield and could’ve easily been placed on the Superfly soundtrack.

Kravitz channels the blues on “The Difference Is Why” and “When the Morning Turns to Night.” “Stop Draggin’ Around” pours Jimi Hendrix’s guitar effects underneath a harmonious Sly Stone groove and vocal arrangement. The lullaby-resembling “Flowers for Zoe” is a tender ditty Kravitz sings to his daughter, now an incredible young actress and singer herself. A mesmerizing reprise of “Fields of Joy” comes off as a creeping, four-minute acid trip. The echoing “All I Ever Wanted,” co-written by Sean Lennon, is an auditory rendition of an empathetic Kravitz on bended knees, filtering Al Green’s spirit through Robert Plant’s screeching pipes.

In the Chicago Tribune’s review that year, writer Greg Kot disparagingly stated, “Until Kravitz begins transforming his influences instead of just copying them, he’ll remain a promising but minor artist.” Borrowing those said musical elements, however, clearly worked to Kravitz’s advantage. Mama Said became the entertainer’s first Top 40 album on the Billboard 200, peaking at #39. The album was certified platinum in the U.S., eventually selling over three million units worldwide.

Mama Said was rereleased as a Deluxe Edition on June 5, 2012. The repackaged collection is a double album including 21 bonus cuts of demos, remixes, instrumentals, and live versions recorded in Japan and The Netherlands, proving that Kravitz is the type of artist who likes to have a lot to work with before settling on a final product”.

If you are searching for an album to investigate whilst we have a lot of time free, you cannot go wrong with Mama Said. It is a personal, stunning and fascinating album from one hell of a musician! I am going to spin it again today. Grab a copy of Mama Said (or you can stream it), and immerse yourself in…

A wonderful record.

FEATURE: A Slow Rush and Future Nostalgia: 2020’s Finest Albums So Far

FEATURE:

 

A Slow Rush and Future Nostalgia

PHOTO CREDIT: @mensroom/Unsplash

2020’s Finest Albums So Far

___________

SADLY…

IN THIS PHOTO: Dua Lipa

a lot of albums that were due in the next few weeks and months have been held back. There is not a lot we can do, but artists are having to think about sales, and there is little point releasing an album when they can do little promotion and we are all stuck inside. Regardless, there have been some great albums released this year so far so, if you are looking for albums to enjoy whilst you wait for more big ones to arrive, I have compiled the ten finest of the year – including a link where you can buy that particular album. I am going to write quite a few features that relate to albums, as we have a great chance to sit down and really investigate them. This year has been a pretty exciting one for music, and some sensational L.P.s have been released. Here are the very best of a year where we will see…

IN THIS PHOTO: J Hus/PHOTO CREDIT: Crowns & Owls/CRACK

A lot more tremendous albums.

_____________

Dua Lipa – Future Nostalgia

Release Date: 27th March

Label: Warner

Producers: Jeff Bhasker/Jason Evigan/KozIan Kirkpatrick/SG Lewis/Lindgren/The Monsters & Strangerz/Stuart Price/Take a Daytrip/TMS/Andrew Watt

Standout Tracks: Don’t Start Now/Physical/Love Again

Review:

“She demonstrates an unfaltering ability to hook the listener in with enticing earworms like ‘Hallucinate’ and ‘Break My Heart’, while her biting wit shines through on ‘Good In Bed’, a ballsy and amusing song reminiscent of Lily Allen circa 2008. ‘Boys Will Be Boys’ is a track that deserves a special mention for being Dua Lipa’s ‘Beychella moment’ for female empowerment. It is a fitting finale with its composed attitude and eloquent lyrics, dismissing the outdated misogyny that has long permeated society as she finishes with the line: “Boys will be boys, but girls will be women.”

Her decision to release this album early could not be more perfectly timed. ‘Future Nostalgia’ is just what’s needed in this time of social distancing – whether it’s dancing around the house, answering emails or during your chosen outdoor exercise of the day, this record will uplift and power listeners through. Dua Lipa has created a pop record that is equally perfect for being homebound alone, and for accompanying the endless jaeger bombs that’ll eventually be had when the bars and clubs reopen.

‘Future Nostalgia’ is exactly what this record conveys, chiming with the current collective consciousness, longing for past freedoms that we’ll be reacquainted with soon. It’ll keep us going in the meantime, and will surely be the soundtrack to a safer summer once this is (hopefully) all over” – CLASH

Key Cut: Break My Heart

Buy: https://www.dualipa.com/

Tame Impala – The Slow Rush

Release Date: 14th February

Labels: Modular/Island Australia/Interscope/Fiction/Caroline

Producer: Kevin Parker

Standout Tracks: One More Year/Posthumous Forgiveness/Lost in Yesterday  

Review:

“That same song showcases Parker's wizardry on various keyboards. Whether he's pounding out cheesy classical-meets-disco chords -- Silvetti's "Spring Rain" seems to be a major influence here -- or dialing up fat sounds from a vintage synth, he shows the same skill level here that he did on guitar in the band's early days. Guitar also shows up on "One More Hour," a powerful song that delves deep into Parker's fears and hopes while serving up majestic chords, soaring leads, and Zeppelin-sized wallop; it's one of the emotional pillars of the record. Another is "Posthumous Forgiveness," a heartbreaking ode to Parker's dad that sees him pouring out his soul and lamenting all the things his dad isn't around to experience, like a phone call with Mick Jagger for one. It's not all big emotions, though, as there are quite a few songs that either dip into a kind of languorous twilight groove ("Breathe Deeper"), bop hard as steel like the tightly wound "Is It True," which sees Parker at his most Pharrell-like, or lope along peacefully ("Borderline"). The Slow Rush is the final nail in the coffin as far as Tame Impala being a guitar rock band goes; the psychedelia is more diffuse now, softer and more likely to bring a tear with a lyrical turn or a synth wash instead of raising goose bumps with wild guitars. The change began on Currents, where it was handled inelegantly. Here it's brought about smoothly and with great skill, and the album's a comeback that once again makes Tame Impala an artistic force equal to their commercial appeal” – AllMusic

Key Cut: Borderline

Buy: https://shopuk.tameimpala.com/

Waxahatchee – Saint Cloud

Release Date: 27th March

Label: Merge

Standout Tracks: Can’t Do Much/Hell/Witches  

Review:

“Because Saint Cloud is so fresh and budding on the outside, Crutchfield can hide her anger and fear inside it. This new contrast gives great dimension to her storytelling, allowing all the sourness and rot at the fringes of her songs to come and go at will. “War” takes on a rambling ’60s Dylan feel, that lets her talk about how she’s prone to “come in hot” and “fill up the room,” but she’s quick to add—as we all do in heated moments—that it has “nothing to do with you.” The trauma buried at the heart of “Arkadelphia Road” is so palpable that the slow-burn tempo makes it glow white. She sings softly, “If we make pleasant conversation/I hope you can’t see what’s burning in me.” Crutchfield is still the patron saint of emotional chaos, but her songs suggest that she’s becoming more of a protector, a homebody, looking to take everything out of storage and either throw it away or keep it safe in a home.

The climax of the record, “Ruby Falls,” is where all of the ambition and aesthetics come together. As she walks down 7th Street in Manhattan, Crutchfield’s wisdom collects into buckets: “Real love don’t follow a straight line/It breaks your neck, it builds you a delicate shrine,” and, “You might mourn all that you wasted/That’s just part of the haul.” Her pen moves ornately across the page, the aperture of her songwriting flies open. The unsparing indie style of Chan Marshall or Liz Phair remains, but Saint Cloud is something far bigger. It isn’t just talking to Lucinda Williams’ 1998 album Car Wheels on a Gravel Road, it pulls up right beside it, a vivid modern classic of folk and Americana. It’s a record that suggests maybe if you slow down, life slows down with you, and everything is in bloom” – Pitchfork 

Key Cut: Fire

Buy: https://www.mergerecords.com/waxahatchee

Grimes – Miss Anthropocene

Release Date: 21st February

Label: 4AD

Producers: Grimes/Dan Carey/i_o/Hana/Chris Greatti

Standout Tracks: So Heavy I Fell Through the Earth/Violence/My Name Is Dark  

Review:

“There’s brilliance here, but it’s when the album slows down that it becomes transcendent. “So Heavy I Fell Through the Earth” is a perfect storm of the slinky and the tortured, Grimes urging a lover to “weigh me down”. “You’ll Miss Me When I’m Not Around” is a gloomy synth-pop ballad that brings to mind Til Tuesday and Bauhaus.

New single “Delete Forever” is akin to a fresh bruise. Inspired by the death of rapper Lil Peep, along with a number of friends who have succumbed to opioid addiction, it finds Grimes’ voice cracking, her sticky vocal placed over banjo, guitar and strings. It’s a song that marks Miss Anthropocene at its most emotionally potent, and Grimes at her most human. She might consider that an insult, long having adopted the public image of a demonstratively wacky robot-girl on the arm of a madman. For her more wavering fans, however, it’ll be a blessed relief” – The Independent

Key Cut: Delete Forever

Buy: https://4ad.com/releases/907

Baxter Dury – The Night Chancers

Release Date: 20th March

Label: Heavenly

Standout Tracks: I’m Not Your Dog/Carla’s Got a Boyfriend/Daylight  

Review:

“Where its predecessor was concerned with Dury’s collapsing relationship, The Night Chancers – as its title suggests, is more character-driven. “He’s just a slobby spiv / With an open shirt, scales breath / And high level bronzer / Covering up what you campaigned against,” he intones on Saliva Hog. Or there’s the man in Carla’s Got a Boyfriend, who’s got “Horrible trousers / And a small car / Bit of designer hair / Sloppy facial looks”. It’s dependent on Dury’s narration and peculiarly downbeat charisma – the music (written with guitarist Shaun Paterson and co-produced by Craig Silvey) is designed to serve the voice: you’re not coming to The Night Chancers for big hooks and singalong choruses.

Dury carries it off. His phrasemaking and delivery is immaculate: he plays with accents, albeit within a limited palette, and you listen to The Night Chancers believing it to be a real world” – The Guardian

Key Cut: Slumlord

Buy: https://www.roughtrade.com/gb/baxter-dury/the-night-chancers

Georgia – Seeking Thrills

Release Date: 10th January

Label: Domino Recording Company

Standout Tracks: About the Dancefloor/24 Hours/Feel It  

Review:

“Seeking Thrills’ is front-loaded with the fun-but-cool Robyn-influenced bangers that saw Georgia tipped to inherit 2020, and it’s true that a few more muted tracks cause the pace to slacken in the second half. The languid minimalism of ‘Ultimate Sailor’, despite its haunting, Lynchian lyrics (“I’d travel the world for you… I’d jump from the waves in high heels”) can’t help but feel flat after the breakneck romanticism of ‘Never Let You Go’. Closer ‘Honey Dripping Sky’ is similarly anticlimactic, Georgia lamenting the end of the party, watching in dismay as that sense of community retreats.

Overall, though, her second album leaves you with the overwhelming sense of a music buff whose work transcends its influences through its author’s evangelical self-belief and faith that the dancefloor can bring people together. There’s a quicksilver quality to a track like ‘Feel It’, which morphs from pop confection to something much more jagged.

Georgia knows her dance music history, and what she wants a rave to look like in 2020: inclusive, celebratory and communal. She’s immersed but, with a chip of ice in her heart, watches on in a writerly fashion. It’s not quite picture perfect, but ‘Seeking Thrills’ is” – NME

Key Cut: Never Let You Go

Buy: https://georgiauk.com/

Lanterns on the Lake – Spook the Herd

Release Date: 21st February

Label: Bella Union

Standout Tracks: Baddies/Swimming Lessons/A Fitting End  

Review:

“Even in the quietest moments on Beings, it felt as if there was always something ringing out, from Angela Chan’s violin to Wilde’s effect-laden vocals. There were no gaps left unfilled, as if there was anxiousness on the band’s part about giving the sound too much room to breathe, tomeander. That’s dissipated on Spook the Herd, and they sound so much freer as a result; if there’s a throughline, it’s Ol Ketteringham's drumming, which has always had a cascading, jazzy feel to it but this time out, he anchors the group in a way he hasn't previously.

The overarching effect is one of the calm during the storm, as if the realisation of some of the band’s worst fears has cleared their heads, sharpened their senses, and compelled them to look for the light breaking through the clouds, however dim. The results are musically elegant, emotionally eloquent, and absolutely vital” – The Line of Best Fit  

Key Cut: Every Atom

Buy: https://www.lanternsonthelake.com/

The Big Moon – Walking Like We Do

Release Date: 10th January

Label: Fiction Records

Producer: Bern H. Allen

Standout Tracks: Dog Eat Dog/Don’t Think/Barcelona   

Review:

“This collection of songs take far deeper meaning. They constantly reference life’s relentlessness. ‘Why’ questions the longevity of love. From the early perfections of a relationship’s honeymoon period comes uncertainty and crossroads. ‘Waves’ builds on this, with its reflective air and exceptional lyricism. How does one react to the collapse of eternal love? In many ways, tracks such as these act as the thematic antithesis to fan favourites such as ‘Sucker’ and ‘Cupid.’

However, in such uncertainty comes release. There is an overbearing sense of hope and empowerment throughout the album. ‘Holy Roller’ traverses the negatives of modern life (porno sites, contour kits, payday loans, etc), its chorus offers joy in the face of emptiness. ‘A Hundred Ways To Land’ is the album’s greatest act of resilience. “When the leaves drop down It doesn’t mean the trees are dead” will echo through a listeners mind with every listen. It is this unparalleled hopefulness which will define the album in years to come.

In thirty years time we will look back at Walking Like We Do as a true reflection of youth in the 2020s. By considering themes such as love, social injustice and all round perseverance, it is both mature and engaging. The Big Moon are constantly breathing new life into a genre which sometimes runs stale. For that we should be eternally grateful” – CLASH

Key Cut: Waves

Buy: https://www.thebigmoon.co.uk/

Poppy – I Disagree 

Release Date: 10th January

Label: Sumerian

Producers: Chris Greatti/Zakk Cervini

Standout Tracks: Concrete/Bloodmoney/Fill the Crown   

Review:

“From there, the listener is sent toppling down a rabbit-hole of bewitching strangeness. BLOODMONEY seethes with heavy electro and hip-hop sensibility, similar to what we heard on last year’s Scary Mask collaboration with FEVER 333. Elsewhere, Fill The Crown sounds like Nine Inch Nails jamming with Swedish pop singer Robyn, Sit/Stay balances sublime melody and looming menace, and Bite Your Teeth veers between juddering metalcore and nursery-rhyme playfulness. It’s like Code Orange filtered through a fever dream. Even when the madness subsides and ultra-sugary pop bleeds through, as on the almost cloying Nothing I Need and Sick Of The Sun, it feels cracked, repurposed to skin-crawling effect. Repetition reveals many similarly inspired sleights of hand, and repeat listens are a must.

As we learned when we spoke to her last week, it’s hard to truly know Poppy. Where does the creation end and its creator begin? Strain hard enough and can you find the line between artist and art? The answer, even after the most focussed plays of this album, remains tantalisingly unclear. But therein lies the thrill of straying into her Poppyverse. For every comparison you can make of individual moments, there is little here that you can honestly say you’ve heard before, and little that can be judged on traditional terms. But that’s what makes her such a fascinating force. Pop is dead – long live Poppy” – KERRANG!

Key Cut: I Disagree

Buy: https://poppy-uk.myshopify.com/products/poppy-i-disagree-black-and-white-side-ab-merge-vinyl-ppy

J Hus – Big Conspiracy

Release Date: 24th January

Label: Black Butter

Producers: J Hus (exec.)/Jae5 (also exec.)/IO/Levi Lennox/Maestro/Nana Rogues/Scribz Riley/Sunny Kale/TSB

Standout Tracks: Play Play/Repeat/No Denying

Review:

“What hasn’t changed is his ability to switch between an array of musical styles – the Afrobeats-flavoured Love Peace and Prosperity; Repeat’s collaboration with current dancehall queen Koffee; the mesh of live guitar and bass that underpins Helicopter. More impressive still is that the album’s musical transitions never jar. As on his debut, they feel natural and unforced, an expression of growing up in London surrounded by an array of different cultural influences, tied together not just by J Hus’s flow, but his pop smarts – he has an unfailing ability to come up with earworm choruses. The latter skill is among his more overlooked, but it means that no matter how sombre his meditations on race, crime and identity get, virtually everything here feels like a single. The latest one is No Denying, and the ability to make something radio-friendly out of samples of high-tension soundtrack strings, scrabbling sax improv and divebombing bass is not to be sniffed at.

When the news of the album’s leak initially broke, J Hus seemed to take it hard, announcing that if he couldn’t be in control of his own music, he might give up making it entirely and concentrate on developing his fashion line. After you hear Big Conspiracy, that seems very rash. For one thing, he sounds completely in control throughout. For another, it would be a waste: the charts are currently packed with British rappers, but not all of them have their own niche quite as clearly delineated as his. Big Conspiracy leaves you wanting to hear even more” – The Guardian

Key Cut: Must Be  

Buy: https://www.jhusmusic.com/

FEATURE: Spotlight: Gia Ford

FEATURE:

Spotlight

Gia Ford

___________

A lot of artists…

will be struggling at the moment and will have plans disrupted. Whilst it is sad to see big artists lose out, I feel extra sorry for the smaller, less well-known artists whose financial stability is especially fragile at the moment. It is hard to know how best to help everyone but, through the weeks, I will spotlight a few artists that warrant some serious focus. I think Gia Ford is an artist you definitely need to know more about. I love her POSTER BOY E.P. and it is a confident and original work from one of music’s brightest new talents. I will bring in a couple of interviews Ford conducted, as I think it is illuminating and important to learn more about Gia Ford. It seems slightly odd highlighting artists who will define 2020, as we are not sure how many months of the year we will get to see gigs and have albums released. In any case, Ford is a fantastic artist who is going to be a bigger name very soon. The first feature I will source from is a feature in The Line of Best Fit from  October:

 “Ford is only at the beginning of career and has a lot she wants to achieve on her bucket list. “I’ve always been picky and do my own thing from start to finish, so that’s first...I want to know what would come out of my own influence. I’d also want to expand my live element. I’d like for people to sing my songs back to me because I’ve never had that happen before.”

She hopes to write with Mark Ronson and Lady Gaga someday and she already has a feature from a big name just on her debut: “Writing with Dev Hynes of Blood Orange was really memorable. I was massively into their records as a teenager and now I’m about to put out music that I’ve worked on with him. That’s just unbelievable to me”

Picking up the call for her first ever interview while away on holiday, 22-year-old Gia Ford, is an undeniable star. Coming across equal parts impressively confident and charmingly nervous, we dive straight into the topic of debut single "Turbo Dreams" and her debut tape Poster Boy from which it was taken.

Ford, who recently signed to The 1975's label Dirty Hit as a solo artist, made a strong impact with the dreamy single, prompting a lot of anticipation for what was to follow. But putting the seven-track tape was no easy or short-lived task. She explains. "It’s been a long process to make this tape. It’s a product of a few years of finding my sound. I had to settle on a few of the million ideas I have. The album is a reflection of all the influences I’ve grown up with. It’s a snapshot of the 22 years of my life – my childhood, teen years and now.”

Working with Spector’s Fred Macpherson, who Ford credits as the person central to bringing out the story-telling aspect of her music, Poster Boy is a brilliant showcase of not only the young Londoner’s powerful voice but also of her experimental creative side.

This artsy aspect of her music-making process is made clear when she reveals her personal favourite track from the tape: “I gravitate towards ‘High Class Tragedy’. It’s about the meta pretentious parties you attend. The attitude of, 'why are you here?' I wrote it off a visual of a penthouse party in which people seemed to be very self-involved”.

There are a lot of great artists emerging right now, and I think the industry is as diverse and exceptional as it has ever been. I, like many people, first heard of Gia Ford when she released her debut single, TURBO DREAMS, back in August of last year. It was an intriguing and memorable release from the young musician:

“The latest Dirty Hit recruit, 22-year-old Londoner Gia Ford, has just shared her dreamy debut track and get ready to be mesmerised.

“The song kind of came out of a general feeling I had at the time; in its final form, it has only a vague connection to the real life situation that owned those feelings,” Gia explains. “I wrote the hook first, and then it became this song of contradictions - of opposing feelings - a little microcosm of the rest of my mind at the time. Perhaps all the time. So to have a video that almost directly contradicted the narrative of the song felt fitting in a weird way”.

In future editions of this feature, I am going to look at some of the great bands emerging and those that are offering something different. Right now, I am discovering so many great solo female artists who stick long in the mind. This is a time to explore new music, so spend some time around Gia Ford. I am not sure what else she has planned for this year, but it would be nice to think there is some music coming and a few dates a bit later on.

Certainly, so many people are reacting to her music, and she is building up quite an impressive fanbase. When she spoke with The Love Magazine last December, we learned more about Ford’s start:

“LOVE: Do you remember the first piece of music that you heard that changed your perception and defined your music style?

GF: It’s one of those things you realise in hindsight. Both of my parents are massively into music, my mum was into Portishead, BJÖRK, and Queens Of The Stone Age, and my dad was into Electric Light Orchestra and Duran Duran. I can’t remember listening to it and feeling inspired but now I look back on it and think, ‘I get it.’ Portishead literally changed my perception of music. But no, there isn’t one particular moment when I realised I wanted to do music because I liked a band, it wasn’t really like that, I was just constantly surrounded by it. But Electric Light Orchestra really changed my perception because they build their music so well and they’re really overlooked by people who like The Beatles, who forget about people like that. Now we look back on it actually, they were so theatrical with what they did, and I loved that about them. It was visual, and they built music from the visual and made it kind of spacey and I love that.

LOVE: What was your starting point for the new EP?

GF: My manager found me 2 years ago through Instagram. I had a SoundCloud link and it was the shittiest thing ever, but he thought it was cool, so a lot of it has been about development for me. I’ve collected songs that I have reworked, I produce my own stuff with Fred and someone else sometimes, so I’ve had to kind of come to a realisation about what I wanted my sound to be, because I couldn’t settle on that for so long. The first one, Poster Boy, was me realising this whole thing and Poster Boy, the name, encapsulated that because I wanted to be like a boy when I was a kid and then I realised there was women like that as well ­– Grace Jones, Marlena, some characters from films ­– who had the same energy the boys had, that Leonard DiCaprio had, who I wanted to be like when I was a kid. So that was the realisation of that stylistically.

LOVE: How long did that take you to come to?

GF: It’s not like every day I thought, ‘alright what what do I want?’ It just happened gradually. My girlfriend really helped me because she’s such a visual person so she was able to translate the audio side bits, so now people can understand it. Whereas before, I didn’t know how to convey that. For the second one or the third EP which I think might happen, I want them to be just, like the interludes on the first one, where it happened to be listening to at the time, what movies I was watching, even the conversations I was having, so the second is a slight growth from that and me realising stylistically who Gia Ford is.

PHOTO CREDIT: Melony Lemon

LOVE: Do you like having fans?

GF: Yes, for now. I don’t know if I will in the future or if I’ll even get more. It’s sweet and it’s really nice. The first video was basically a fantasy that I had as a kid and I never saw on TV, so we made it happen in real life and loads of young girls told me it was so beautiful and got really emotional about it which was amazing. So it’s nice to have fans in that way. It’s an identity thing, it’s not just art, it’s what I missed as a kid. I finished Poster Boy and then everyone was like it's ready to go out now. I think the social media presence is so strong, but I think if I can successfully put that on stage, because I’m lowkey doing this because I want the experience of singing and performing, I’ve only ever performed in open MIC nights which is such a powerful experience. That’s what I’m missing now, I really want to go on stage and bring it because that will solidify my persona even more”.

It would be great if people could follow Gia Ford (links are down below) and show some love for a great artist! As we start to adapt to a (temporary) new way of life, music will play and even bigger roe. I have been listening to Gia Ford’s music since her debut single, and you just know she will achieve so much. I will leave things there; dig into her music and get behind someone who, not long from now, will…

BE playing some pretty big stages.

_______________

Follow Gia Ford 

PHOTO CREDIT: Melony Lemon

Facebook:

https://www.facebook.com/giafordmusic/

Twitter:

https://twitter.com/gia__ford

Instagram:

https://www.instagram.com/gia__ford/

YouTube:

https://www.youtube.com/channel/UCGcZG1dWwXphNKKyICYFcZQ

Spotify:

https://open.spotify.com/artist/238uE9s8BDKrIYbzpxIgOX

FEATURE: Saluting Slowhand: Eric Clapton at Seventy-Five

FEATURE:

Saluting Slowhand

IN THIS PHOTO: Eric Clapton in 1985/PHOTO CREDIT: Guido Harari

Eric Clapton at Seventy-Five

___________

IT seems strange that we are celebrating…

PHOTO CREDIT: Getty Images

musicians’ birthdays, as we are all inside and not socialising. Nevertheless, music is continuing, and we have a lot more free time to dig deep and discover something new. I was flicking through some articles recently, and I noticed that Eric Clapton was mentioned. I have always been a fan of his, but I forgot that his seventy-fifth birthday was today. Although some doubt the legacy of Clapton, one cannot deny he is a wonderful guitar player and a musician that many people look up to. This article addresses the importance of Eric Clapton and how he has changed Rock music:

“One of the most influential guitarists of all time, Eric Clapton got into music in his early teens. In the over 50 years of his music career since, he hasn’t put down the guitar. Out of a long list of famous guitarists, music greats such as Eddie Van Halen, Brian May, Lenny Kravitz and Mark Knopfler have all named him as one of their key influences.

Clapton himself was heavily influenced by 1930s guitarist Robert Johnson, whom he described as “the most important blues musician who ever lived … I have never found anything more soulful than Robert Johnson”. His other influences include BB King, Muddy Waters and Hubert Sumlin as well as Chuck Berry.

Apart from being named Rock God on the guitar in the 1960s due to his incredible guitar skills, he has created a whole new way of using the modern rock guitar. Before Eric Clapton, the rock guitar was used for the rockabilly sound or the Chuck Berry method, which was later modernised by Keith Richards. Eric studied both methods and infused them with BB King’s electric blues. This new sound formed the fundamentals of how the lead guitar is used in Rock and Roll today.

Eddie Van Halen in an interview about his main influence, Eric Clapton:” There was a basic simplicity to his playing, his style, his vibe and his sound. He took a Gibson guitar and plugged it into a Marshall, and that was it. The basics. The blues. His solos were melodic and memorable – and that's what guitar solos should be, part of the song”.

Whether you are in the Clapton camp or not, clearly, he has laid down some truly marvellous songs and, on his seventy-fifty birthday, I think Slowhand deserves a salute. The playlists goes to show that Eric Clapton is…

IN THIS PHOTO: Eric Clapton in the 1970s/PHOTO CREDIT: Patti Boyd

ONE of the greats.

FEATURE: From Some Friendly to Parklife: The Online Album Listening Party

FEATURE:

From Some Friendly to Parklife

IN THIS PHOTO: @johnschno/Unsplash

The Online Album Listening Party

___________

IN a couple of my features…

I focus on particular albums, and I get deep and see why they are so great. I love albums in general, and it is wonderful having a bit more time to investigate them at the moment. What is especially good about albums is that you get to hear this whole story. I think so many people listen to single tracks, or they do not spend the time properly dipping in and giving an album a proper go. Album listening parties are nothing new but, as we are not going out to gigs and people are finding new ways to keep entertained, I am seeing more and more album listening parties – in addition to D.J. sets and live-streamed gigs. Tim Burgess (The Charlatans) is one such person who is hosting album listening parties. Last week, he had albums by Franz Ferdinand, Oasis, and Blur spun, and there were tweets by members of the bands who made them. Rather than just put the album on Twitter and have people listen, there was this interactive nature where we learned more about the albums from people who were there at the time. Liam Fray of the Courteeners has also hosted an album listening party, and it is a wonderful way for artists to use this downtime to share albums with people that might have been passed by. At any rate, one can re-examine and discover a record that they were familiar with quite a few years ago.

(What’s The Story) Morning Glory listening party.
Saturday April 4th.
10pm (UK time)
Hosted by @BoneheadsPage pic.twitter.com/nCMnI5ulFy

— Tim Burgess (@Tim_Burgess) March 28, 2020

Normally, with album listening parties, one is in a room with a few select others, and they are treated to an exclusive play. I have never been, but I understand it can be quite formal, and I have never really understood why artists would want a certain amount of people to hear an album before the general public – it always struck me as being a bit ego-stroking. Of course, journalists often get a chance to listen to an album before others so they can review it, but the concept of having a party gathering for an album’s launch strikes me as odd. I think the online listening party makes a lot more sense. How often does one get to hear from a terrific band/artist as they discuss a legendary album?! I love the idea of hearing a properly good album from top to bottom, as it forces us to absorb everything and, whereas we are usually rushed and hurrying about, this is people listening to albums how they should be heard: not skipping tracks and taking some time to consider the songs. I think album listening parties are more than fun distraction and a way for artists to keep busy. With Record Store Day postponed (it was due to happen on 18th April), and so many artists holding back their album releases, I do wonder how many people are listening to albums in general. There are signs that suggest streaming is down, and physical sales are going to be lower.

PHOTO CREDIT: @priscilladupreez/Unsplash

With album listening parties, you get to hear a classic record in full, and I think it would encourage people to buy that album. In a wider sense, one will appreciate the album format more, and they might seek out other albums that have been collecting dust. Connecting fans and artists now is more important than ever and, ironically, I feel we are more together and unified than we were before lockdown – I hope the strong bond continues when things calm down. I am not sure whether there is a database with all the album listening parties happening, but Tim Burgess’ series is worth exploring. There are more to come, but I do hope he and other artists keep going, as lots of people who would otherwise keep to themselves are dropping in and getting involved. If you have an album that you would like to see exposed and discussed by the artist(s) who made them, it is always worth getting in touch; maybe new artists who have had their album release postponed could host an exclusive album listening party for a few of their fans. As we must adapt to a more confined and online existence for a few weeks at least, I do feel we will see lots of exciting music-based innovations pop up online. I will wrap up now, but I was keen to spotlight album listening parties, as many of us might be unfamiliar with them. At a time when we all need to pull together, embrace music and have our spirits lifted, I think album listening parties are…  

PHOTO CREDIT: @sickhews/Unsplash

WHAT we really need right now.

FEATURE: Let It Rain: The Genius of Ringo Starr

FEATURE:

Let It Rain

IN THIS PHOTO: Ringo Starr performs with The Beatles in 1965/PHOTO CREDIT: Michael Ochs Archives/Stringer/Getty Images

The Genius of Ringo Starr

___________

THIS might not seem timely or…

PHOTO CREDIT: Michael Putland/Getty Images

connected to anything relevant, but I think there are still people out there who doubt the drumming brilliance of Ringo Starr (although he has postponed his All Starr Band tour because of the coronavirus). Whilst Starr (Richard Starkey) has drummed outside of his work with The Beatles on his solo material, I am going to focus on his work with the legendary band as I feel his finest performances were laid down there - apologies if he or any fans feel differently. There are articles that select his top-ten drumming performances but, as I will show in the playlist at the end, one cannot limit Ringo Starr. His genius is evident from some of the earliest Beatles recordings right to the end! Starr turns eighty on 7th July, and I hope he gets a salute and nod from every musician and fan out there. Whilst so much attention, in Beatles terms, is given to Paul McCartney and John Lennon, one cannot underestimate the importance and role Ringo Starr played. I actually (briefly) met Ringo Starr when I was at school. He used to own an estate in Cranleigh, Surrey, a couple of miles away from where I grew up and went to school. I worked after school at a health food shop, Natural Life (which is still there), on Cranleigh high street. It must have been 1999, and in walked Ringo Starr with his wife, Barbara Bach. He had a baseball cap on and they were with their dog – who, rather unfortunately, bit someone (though the man who was bitten didn’t mind; quite a claim to fame!). I digress, of course! I have been listening a lot to a Beatles-related podcast, I am the Eggpod (helmed by Chris Shaw) that studies and dissects Beatles records and solo records from the four members of the band.

I have been listening to a lot of the episodes, but I have recently marvelled listening to Matt Everitt (BBC Radio 6 Music/BBC Radio 2) discuss The Beatles / 1967-1970 (a.k.a., ‘The Blue Album’) - I urge you to listen to part one and two. I previously listened to Shaw and Everitt examining Rubber Soul – back last year – and, on all occasions, Ringo Starr’s drumming excellence was extolled – Everitt is a drummer himself (having been a member of Menswear and The Montrose Avenue) and made me aware of the nuances, techniques and sheer wonder of Ringo Starr. There has been this unfair, long-running joke that Ringo Starr is not a very good drummer, and I am not sure where that comes from! One only needs to listen to songs like Rain, Tomorrow Never Knows, and In My Life to realise that Starr not only can blow you away with his fills and sheer octopus-limbed tenacity and technique…he also does subtle brilliantly; elevating a song with delicacy and tenderness. Back in 2016, Rolling Stone compiled their list of the top one-hundred drummers ever: Ringo Starr came in fourteenth place:

"I remember the moment, standing there and looking at John and then looking at George, and the look on our faces was like, 'Fuck you. What is this?'" said Paul McCartney, looking back on the Beatles' first time playing with Ringo Starr. "And that was the moment, that was the beginning, really, of the Beatles." Though he was often underappreciated during the flamboyant late Sixties that produced Keith Moon and Mitch Mitchell, Ringo didn't just ground the greatest band of all time, he helped give their music shape and focus — listen to the ecstatic rolls that open "She Loves You," the crisp buoyancy of "Ticket to Ride," the slippery cymbal work and languid concision of "Rain," or the way he threw cute, memorable "rhythmic hooks" into many more of the Beatles beloved tunes.

Personally, his good natured geniality made him the band's most approachable member. "John would go up and down and all that," said Yoko Ono, "but Ringo was always just very gentle. And he really believed in peace and love." As a left-handed drummer playing a right-handed kit, Starr came up with his own unique style of creating crisp exuberant "funny fills," and his steady reliability became an early gold standard for no-nonsense rock players, serving each song with feel, swing and unswerving reliability. "Ringo was the the king of feel," Dave Grohl has said. Says Jim Keltner, "He was the guy that we all tried to play like in the studio”.

Whilst I have always preferred the songwriting of Paul McCartney to John Lennon, I have never really given too much thought to the vitalness of Ringo Starr’s drumming when it comes to those classic songs. I love The Beatles’ videos, as Starr always plays the role of the cool jester; the dude that captures your eyes and stays in the mind. From I Feel Fine to Paperback Writer, you cannot stop looking at the drummer. It is hard to really define Starr’s style, as he could shift from the wild and in tense to the composed and emotional. Everyone has their favourite Ringo drumming turn but, to me, it is the B-side to my favourite Beatles song, Paperback Writer: Starr’s performance on Rain is out of this world! I love the fact that Paperback Writer was released as a single in 1966 and not even included on an album – it could have sat on Revolver and made it even better!

Not only that, but Rain was included as a B-side! How many bands release a song as good as Rain as a single?! The track is a Lennon-penned one, but it is Starr’s immense and out-of-this-world drumming that makes it! How did he even manage to make the sounds he did?! It seems a shame that one-quarter of the world’s greatest band does not quite get the respect he deserves. Back in 2017, The Guardian published a great feature that highlighted how, in fact, Ringo Starr is one of the best drummers ever:

“…Most drummers recognise this. “Define ‘best drummer in the world’,” Dave Grohl said in a tribute video for Starr’s Rock & Roll Hall of Fame presentation. “Is it someone that’s technically proficient? Or is it someone that sits in the song with their own feel? Ringo was the king of feel.”

What this means is that many of Ringo’s best performances go unnoticed. These are beats designed to enhance the song rather than show off the drummer’s abilities. Take She Loves You, the song that kicked off Beatlemania. Ringo’s brief introductory tom roll is the shot of adrenaline that gets the heart of the song thumping; it is teen mania in sound, and one of the most important drum rolls in recorded music history.

IN THIS PHOTO: Ringo Starr (second from the right) with the rest of The Beatles filming A Hard Day's Night/PHOTO CREDIT: United Artists/Kobal/REX/Shutterstock.com

On Can’t Buy Me Love, Ringo’s drumming is the primal force that drives the song’s hormonal energy, all whipcrack snare and floor-tom bombast, wrapped up in Ringo’s signature sound: a wall-of-sound hi-hat thrash that sounds like five drummers at once. His drumming here is not complicated but – as numerous live versions of the song attest – it is lethally exact with not a note out of place, giving the lie to the notion, repeated by John Lennon in a 1980 Playboy interview, that Ringo was “not technically good” as a drummer.

Consider Tomorrow Never Knows, one of the most influential Beatles songs. How would it sound without Ringo’s beautifully lopsided breakbeat, his unexpected twitching snare pattern emphasising the song’s feel of psychedelic discombobulation? How would Strawberry Fields Forever feel without Ringo’s fantastically weary tom fills, which seems to drag the listener down into Lennon’s nostalgia?

Some people consider Ringo to be a terrible drummer because he doesn’t play solos. But who, apart from other drummers, really enjoys a solo? Ringo knew this and for years resisted all attempts to get him to play them, eventually giving in for the 15-second break on Abbey Road’s The End. It’s not flashy or difficult, but it has an understated funky charm and when it turned up on Beastie Boys’ The Sounds of Science 20 years later, it was hard to resist a smile”.

I think we need to erect a plinth or statue to Ringo Starr when he turns eighty in the summer. Although Starr has said how people only focus on his eight years with The Beatles, he will forgive me for honing in on the band, as I am looking at his drumming and, when putting out his solo stuff, Starr is predominantly at the front - though he is behind the kit quite a bit. It seems bizarre that we almost have to ‘defend’ Starr as a drummer, as he did not do or really like solos (except for the mighty solo on The End from Abbey Road in 1969); he was not a Keith Moon-like figure who was all about intensity and smashing the crap out of the kit! Starr’s drumming is often seen as a bit watered-down or secondary (…or territory) to the combination of Lennon-McCartney and George Harrison’s guitar work.

Apart from Kate Bush (and Macca himself), Ringo Starr is the one musician who I want to interview and get to grips with. Nearly sixty years after Starr joined The Beatles (he replaced Pete Best in 1962), I think Starr’s drumming can be heard in so many sticksmen and women of today. In 2014, the BBC asked whether it was time to re-evaluate Ringo Starr:

“Starkey was a sickly child and a ‘no hoper’ student, in Lewisohn’s telling, but he grew into an accomplished girl magnet and one of the best dancers in Liverpool – a guy who could flip, flop and fly the girls on the dancefloor. He ran with a rough crowd − a gang of Teddy boys – and he could play the drums. At one point, he was playing with as many as three bands a night, so in demand were his skills as a musician who helped bridge the gap between the short-lived skiffle era and rock ‘n’ roll. In 1960, with Ringo Starr on drums, Rory Storm and the Hurricanes were the city’s biggest band. The Beatles coveted Starr’s skills but were somewhat intimidated by him; “he looked the nasty one,” Harrison once said.

“He was the guy the Beatles always wanted,” Lewisohn told me in a recent interview. “He was everything Pete Best wasn’t … He was rock steady, he could play all the styles…. [His style] was sympathetic to everything they did … It brought an extra element to their songs that was in complete tune with what they were thinking.”

Starr’s work on the Beatles recordings is astonishing, even if it didn’t jump out in the way the drumming of other ‘60s icons did – the nonstop fury of The Who’s Keith Moon, the African-inspired virtuosity of Cream’s Ginger Baker, the thunderous swing of Led Zeppelin’s John Bonham. Ringo almost never gets name-checked as an innovator, in part because he didn’t play solos (except for the exquisite drum break on The End from the 1969 Abbey Road album). But consider how he makes the complicated shifts in etier sound effortless on Here Comes the Sun, the rolling, proto-metal tom-tom groove of Rain, the tribal dance thump of Tomorrow Never Knows, the hi-hat work on Come Together, the syncopated propulsion of Ticket to Ride.

Starr gave each song exactly what it needed, but he didn’t call attention to himself while doing it. The only thing flash about Ringo were the rings on his fingers, which inspired his nickname, and the mega-watt grin he wore on stage”.

The fascination with The Beatles will never end and, when Abbey Road’s fiftieth anniversary last year (as a side-note: check out the Abbey Road Studios website) was met with a re-issued/remastered edition of the album (by Giles Martin – son of the late Beatles producer, Sir George Martin – and his team), I picked out the drumming of Starr. I think the remastered version puts the drumming more to the fore, and one is staggered by the sheer range and dazzling genius of the man! Before finishing with a Ringo Starr (Beatles-era) drumming best-of, I want to bring in an interview Starr conducted with GQ last year.

IN THIS PHOTO: Ringo Starr in Los Angeles, 7th July, 2019/PHOTO CREDIT: Scott Dudelson/Getty Images

Why is Starr’s drumming so original and different to anything that has come and ever will come? Is it the fact that, through life, he has been so laid back, full of love and open to what life brings?

“Throughout your career, you could have conveyed any message you’d wanted to. But the message you chose, the one you still promote, is of peace and love.

Well, the other side of that story is “Back off, bugaloo!” [Laughs.]

In a recent interview you said, “This is why I love life, things just arrive.” Do you feel like things are predestined?

In a way, yes. But I also feel that every day is a good day, but I can drag it down. I live a life now that if I’m in a great space and having a good day, I think that it will go on forever. And if I’m on a bummer, I’ll say, “This too shall pass.” I try to be honest through the day. But sometimes, things don't work out. Sometimes something happens and your plan gets changed. Somebody told me, which was great: “It’s great to have plans, but when they change, don’t get upset.” But what about me, I’m going to miss the flight! Okay, so get the next one! All of your cryin’ and moanin’ is not gonna stop the plane from taking off.

It seems like you know what’s truly important to you. Where does that instinct come from?

I think you get it by living life. I feel I’ve always been more of an optimist than a pessimist, and so there’s always a donkey in the room. [Laughs.] You know, you grow old and you go through certain experiences. I think the ‘60s and the introduction of... well now most of them are legal, but medications. And [people like psychedelic drug proponent] Timothy Leary.. things like that open your mind”.

Although The Beatles’ final-record album, Let It Be, does not turn fifty until 8th May – and the Peter Jackson-produced/directed documentary around the album, The Beatles: Get Back, is out on 4th September -, I think we should take this period of lockdown and isolation to dig the awesome beats of one Ringo Starr. Do some exploring and have a listen to the playlist below to realise that, beyond all reasonable doubt, Ringo Starr is one of the greatest and most inspiring drummers…

THE world will ever know

FEATURE: Second Spin: Beck - Guero

FEATURE:

 

Second Spin

Beck - Guero

___________

I have run a feature concerning…

Beck’s album, Guero, but I think it is very underrated and deserves new attention. Guero is fifteen today (29th March), and I think it is Beck’s best album. Sure, most people would highlight Odelay as being his defining moment, but I prefer the sounds and range on Guero. It is hard to pinpoint, but it is that combination of Odelay’s experimentation and the new, exciting Brazilian influences on Guero that makes things sizzle and pop! The album is awash with different moods and sides. Produced with the Dust Brothers and Tony Hoffer, Beck stepped away from the more desolated and personal sound that we heard onSea Change (2002), and he showed why he is such an innovative and unpredictable artist. So many critics overlooked Guero when it came out, and others unfavourably compared it with Odelay. Although his 2005 gem did get a lot of positive reviews, it is not mentioned alongside his all-time great albums – that is an oversight and shame. Guero warrants a second spin on its fifteenth anniversary. From the rush and electronic crunch of opener, E-Pro, to the bouncing Girl; the shimmering Black Tambourine to the Jack White-feature Go It Alone (he plays bass), Guero has it all! I will bring in a few reviews soon enough but, before then, one needs to look at Beck’s discography and marvel at his brilliance! Most artists stick to a certain style, but Beck never stands still! Indeed, each album provides something fresh, and I think Guero is its own boss and deserves a lot of love.

I remember buying the album in 2005, and I was not sure what to expect. When I played it the whole way through, I had to sit back and take it all in! One is treated to shifts and turns that you do not anticipate; there are some wonderfully-sung songs whilst others rely more on the composition. I think Beck wanted to return to a more fun and freewheelin’ sound after Sea Change, and a lot of the anxiety and gloom that lingered in the air following the terrorist attacks in America in 2001. In their positive review, this is what AllMusic had to say:

“Ever since his thrilling 1994 debut with Mellow Gold, each new Beck album was a genuine pop cultural event, since it was never clear which direction he would follow. Kicking off his career as equal parts noise-prankster, indie folkster, alt-rocker, and ironic rapper, he's gone to extremes, veering between garishly ironic party music to brooding heartbroken Baroque pop, and this unpredictability is a large part of his charm, since each album was distinct from the one before. That remains true with Guero, his eighth album (sixth if you don't count 1994's Stereopathetic Soul Manure and One Foot in the Grave, which some don't), but the surprising thing here is that it sounds for all the world like a good, straight-ahead, garden-variety Beck album, which is something he'd never delivered prior to this 2005 release.

In many ways, Guero is deliberately designed as a classicist Beck album, a return to the sound and aesthetic of his 1996 masterwork, Odelay. After all, he's reteamed with the producing team of the Dust Brothers, who are widely credited for the dense, sample-collage sound of Odelay, and the light, bright Guero stands in stark contrast to the lush melancholy of 2002's Sea Change while simultaneously bearing a knowing kinship to the sound that brought him his greatest critical and commercial success in the mid-'90s. This has all the trappings of being a cold, calculating maneuver, but the album never plays as crass. Instead, it sounds as if Beck, now a husband and father in his mid-thirties, is revisiting his older aesthetic and sensibility from a new perspective. The sound has remained essentially the same -- it's still a kaleidoscopic jumble of pop, hip-hop, and indie rock, with some Brazilian and electro touches thrown in -- but Beck is a hell of a lot calmer, never indulging in the lyrical or musical flights of fancy or the absurdism that made Mellow Gold and Odelay such giddy listens. He now operates with the skill and precision of a craftsman, never dumping too many ideas into one song, paring his words down to their essentials, mixing the record for a wider audience than just his friends. Consequently, Guero never is as surprising or enthralling as Odelay, but Beck is also not trying to be as wild and funny as he was a decade ago.

He's shifted away from exaggerated wackiness -- which is good, since it wouldn't wear as well on a 34 year old as it would on a man a decade younger -- and concentrated on the record-making, winding up with a thoroughly enjoyable LP that sounds warm and familiar upon the first play and gets stronger with each spin. No, it's not a knockout, the way his first few records were, but it's a successful mature variation on Odelay, one that proves that Beck's sensibility will continue to reap rewards for him as he enters his second decade of recording”.

Even if you are not a big Beck fan, you can appreciate Guero, as it is a blend of the more contemplative and upbeat. I don’t think there is a weak track on the album, and Guero gets stronger and more compelling by the spin! I never tire of the album, and I think more people need to hear it. When they reviewed the album, here is what Rolling Stone had to say:

 “Throughout Guero, Beck dips deeply into Latin rhythms, reveling in the street culture of the East L.A. neighborhood where he grew up. “Que Onda Guero” is a walk through the barrio, with traffic noises and overheard Spanglish voices over Latin guitars and hip-hop beats. Guero is slang for “white guy”; Beck’s an outsider here. The song ends with some stranger saying, “Let’s go to Captain Cork’s — they have the new Yanni cassette!” “Hell Yes” and “Black Tambourine” sound like they were knocked off in a session that began, “Hey, let’s do some of those wacky, zany numbers we used to do,” but they’re still pretty great.

Guero will get Beck accused of copying Odelay, but it has a completely different mood. Tune in “Missing” or “Earthquake Weather,” and you can’t miss the melancholy adult pang in the vocals. The closest he comes to a funny line on the album is “The sun burned a hole in my roof/I can’t seem to fix it.” Which isn’t too close. Beck is thirty-four now and can’t pretend to be the same wide-eyed, channel-surfing kid who buzzed with wiseass charisma on Mellow Gold, Odelay and Stereopathetic Soulmanure. On Guero, he sounds like an extremely bummed-out dude who made it to the future and discovered he hates it there. The lyrics are abstractly morbid — lots of graves, lots of devils. Nearly every song has a dead body or two kicking around. At times, Guero feels as emotionally downbeat as Mutations or Sea Change. But there’s a crucial difference: The rhythmic jolt makes the malaise more compelling and complex, with enough playful musical wit to hint at a next step. Beck isn’t trying to replicate what he did ten years ago; instead, on Guero he finds a way to revitalize his musical imagination, without turning it into a joke”.

I will wrap up in a second, but I wonder where Beck will head next. His current album, Hyperspace (2019), was another wonderful step, and it seems like this music great will never tire and stop producing genius music. If you are not sure where to start with Beck, I would say Guero is as good a place as ever.

As the album is fifteen today, I will definitely be playing it again and diving into its alluring and colourful waters. Before ending this feature, I just want to bring in one more review:

“There's a seriousness to many of the lyrics on Guero -- "E-Pro" is supposedly the return to happy dance music, yet it ends with the line, "There's too much left to taste that's bitter." Other songs find Beck feeling taunted by harsh memories, and anticipating death. But that isn't anything new. Even his earliest recordings were fascinated with death, discord and disappointment. But the tone and approach have changed; he's not inquisitively wondering about death, he's singing about feeling absolutely devestated and run-down, feeling like the end of the line is near. And even when the lyrics are playful, his voice has a solemnity to it which says that he's not just kidding around.

On one level, Guero is the quintessential Beck album, incorporating aspects of everything he's done. The music feels like the funky hip-hop-flavored pop music that everyone associates with him, yet there's also elements of at least some of the other styles of music in which he dabbles. "Missing" picks up on the bossa nova feeling which Beck indulged in on 1998's Mutations, "Black Tambourine" resonates with the echos of the lusty Prince jones that Beck exorcised so thoroughly on Midnite Vultures, and blues guitar pops up on tracks like "Broken Drum" and "Farewell Ride".

Yet in tone these songs all carry with them the heaviness of Sea Change, whether it's right on the surface or buried inside the sounds of his voice. This is the changed Beck: even when he's having fun he sounds serious about it. There's sadness in his voice even when he's being playful. One of the lightest songs in tone, the melodic, sounds-like-a-hit "Girl", balances infectious, breezy music with Beck singing darkly about making his girl die, stealing her eye”.

Guero is a wonderful album, and it – as I said – gets overlooked by many people and critics. If you are wondering what albums you should be spinning to keep you occupied at the moment, you cannot go wrong with…

THE sensational Guero.

FEATURE: Rhythm Is a Dancer: A Kitchen Disco Playlist

FEATURE:

 

Rhythm Is a Dancer

PHOTO CREDIT: @juantures12/Unsplash

A Kitchen Disco Playlist

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AS a lot of us…

PHOTO CREDIT: @honeyfangs/Unsplash

are adapting from gig-going and being sociable to having to entertain themselves from home, many of us are listening to music at home. It is a strange time but, by the day, we are becoming more used to things. From live-streamed gigs to playlists doing the rounds, music and radio and playing more of a role than ever, I think. I have been dipping more into older music and especially Dance and Pop. Rather than put together a Pop playlist, I thought I would compile a selection of great tracks that are suitable for bedroom and kitchen discos. From Disco music itself through to some classic cuts from the 1990s, here are some songs that should hopefully lift the mood and get you moving a bit – as it is harder to get as much exercise as we are used to! No matter where everyone is, I think the power of music is more potent and important than ever. Put the playlist on, clear some space and let the tunes…

PHOTO CREDIT: @alekzanpowell/Unsplash

GET the energy levels flowing.

FEATURE: Be Here Now: Could an Oasis Reunion Really Happen?

FEATURE:

Be Here Now

IN THIS PHOTO: Oasis in 1994/PHOTO CREDIT: Kevin Cummins

Could an Oasis Reunion Really Happen?

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WITH so many of us stuck indoors…

IN THIS PHOTO: Oasis captured in Paris, France in November 1995/PHOTO CREDIT: Jill Furmanovsky

and looking for some entertainment, we are turning to music more and more. Whilst we are spinning more music, inevitably, our minds turn to bygone albums and classic times. One of the rumours that always flies around is that Oasis are getting back together. The brothers Liam and Noel Gallagher have been waring since the band broke up in 2009. Every now and then, one of the Gallagher brothers has a shot at the other – normally, it is Liam poking at Noel! I first heard Oasis when their incredible debut album, Definitely Maybe, arrived in 1994. The album is still being poured over, and Oasis ruled the 1990s. Whether they were battling Blur for the number-one spot in 1995 – Blur’s Country House triumphed over Oasis’ Roll with It to the top spot – or rocking Knebworth in 1996, Oasis were one of the finest and coolest bands around. Really, there is nobody like them today. Although various members have come and gone - Liam Gallagher, Noel Gallagher, Paul Arthurs, Paul McGuigan, Tony McCarroll, Alan White, Gem Archer and Andy Bell have all been in the band -, it is that central core of the Gallagher brothers that people are fascinated by. Because of the coronavirus and the hard work the NHS are doing, Liam Gallagher has taken to Twitter and demanded an Oasis reunion. This article explains in more detail:

“Liam Gallagher has vowed that an Oasis reunion concert to raise funds for the NHS will go ahead - "with or without" his brother Noel.

On Tuesday, the singer had set out a "demand" for the band to reform - adding that he was "sick of pleading" for the reunion to happen.

Wanna clear a few things up oasis gig for NHS charity as in all money raised goes to NHS not to me will happen with or with out Noel Gallagher it may not be the same but trust me it’ll still blow you knickers off as you were LG x

— Liam Gallagher (@liamgallagher) March 26, 2020

With his brother yet to respond, Liam Gallagher wrote on Thursday: "Wanna clear a few things up.

"Oasis gig for NHS charity as in all money raised goes to NHS not to me will happen with or without Noel Gallagher.

"It may not be the same but trust me it'll still blow your knickers off".

There are a couple of questions that have arrived off the back of Liam Gallagher’s statement. For one, is it possible for the band to get back together? For a start, I guess Noel Gallagher would need to approve a reunion, if he was a part of it or not. The second question is whether Liam and Noel will ever share a stage together. One would hope they’d bury the hatchet for a one-off gig, but Noel has yet to respond. A lot of people would love to see Oasis reform permanently, but that seems unlikely. Both Liam and Noel have successful solo careers, and I don’t think they could enjoy a professional relationship at all. What many of us would like is to see Oasis take to the Knebworth stage again and put on a gig for thousands of fans. When we are all allowed to be back out and go to gigs, it would be perfect to see Oasis on a big stage and blasting out their anthems. Maybe it would be near the end of the year we’d see a gig, so it might be a slightly colder gig than many of us hope!

Noel Gallagher has quashed any rumours of a reunion. Last year, as this article reveals, it appears Noel and Liam will never share the same stage:

“In an interview with The Big Issue, Noel said: "It’s strange behaviour for someone who is gagging for me to pick up the phone and say let’s do it.

"He’d put his whole life on hold to get Oasis back together. But every tweet he sends out, it’s another nail in the coffin of that idea.

"If you think for one minute I am going to share a stage with you after what you’ve said you are f**king more of a moron than you look."

The comments come after Noel recently admitted that he'd rather have Boris Johnson than Liam for a brother. “I would say Boris is more entertaining," he said. "His use of the English language is more superior."

Even if the Gallaghers cannot repair their relationship, a Liam Gallagher-led Oasis could still deliver the goods. He would need to think about who would take Noel’s role but, really, I think things could change in the next few months. I think there is a definite desire to see the band thrill the masses, and to raise money for the NHS in the process. Surely Noel Gallagher could not turn the chance to do one last gig for a very worthy cause?! In any case, I think Liam Gallagher will go ahead and get the band fired up regardless. If he can get permission to use Oasis’ songs without Noel, then it could mean a very welcome return. I know Liam Gallagher sprinkles in Oasis classics when performing solo, but a dedicated Oasis set would be fantastic! I have ended this feature with an ultimate Oasis playlist that shows why we need to get the band reunited and back on the stage. There are definitely…

NO maybes about it!

FEATURE: A Trusted Companion: The Good Podcast Guide

FEATURE:

 

A Trusted Companion

The Good Podcast Guide

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MAYBE this is not so much a guide…

PHOTO CREDIT: @austindistel/Unsplash

as a traditional rundown of the best podcasts - but I wanted people to realise the sheer range and brilliance of podcasts available. This is a period where a lot of us are seeking out great diversions and stuff to keep us entertained. I have written about radio, and how important it is to support musicians when they need it most. There are some upsides to be taken from what is happening now. Whilst we can only get some limited time outside, I think there is a lot of options if you want some audio company. Whilst I am planning my own podcast – and figuring out whether it will be possible at all -, there are enough out there to keep as us all lifted and informed. If you have your favourites and need some more expansion and guidance, there are a few websites and links that will guide you to some wonderful podcasts. I think we all need a laugh and some brightness in our life, so where do you go if you need to have your spirits raised? This article from Good Housekeeping makes some excellent points:

“When the world feels like a perpetually cold place, your boss is breathing down your neck, the kids seem possessed by demons, and nothing goes your way, you need a good laugh. One of those can't stop, can't breathe, can't speak, lose time for a few minutes kind of laughs feels like a workout for your soul. But if you think you've got to save the merriment for a special occasion, you're clearly not listening to enough podcasts. Our favorite comedy podcasts deliver those moments while commuting, when you need a distraction from mindless tasks, at the gym, or really any time you can pop on those headphones and get out of your own head.

Some of the funny podcasts we love come courtesy of comedians you may already love, like Nicole Byer and Sasheer Zamata, Marc Maron and Jason Mantzoukas. Others are basically audio versions of your favorite TV shows, complete with zany sound effects and theme songs. Then there are those that cover not-so-silly topics in more lighthearted ways. Of course, not everyone has the same sense of humor. What makes me cackle won't even get a snicker out of you. That's why we found a wide selection of hilarious podcasts, so every funny bone gets the same chance at a tickle”.

There are some great podcast recommendations there, and I think the excellent My Dad Wrote a Porno, and How Did This Get Made? are the two I would select particularly. The BBC – who I shall come back to later – are great when it comes to comedy podcasts. This link gives you some tips, but certainly investigate The Adam Buxton Podcast.

“From the jingles to the comedy royalty guests, Adam’s chats with comedians always start normal and work their way through surrealism to genuine mental health concerns and back to a delightful song. Previous guest highlights include Iain Lee and Kathy Burke – well worth a scroll back through the archive. You can also download old Adam & Joe highlights from their time at BBC 6 Music as a podcast – Black Squadron assemble!”

If you are more into your history podcasts, there are plenty of treats to check out. The BBC have you covered on that front and, when you look at their directory, there are plenty to select from! If you, like me, want a cool music podcast, sites like this can poke you in the right direction. There are two from the pack that I would handpick for special consideration:

“Explaining the creative process can be, well… a process, but hit podcast Song Exploder has succeeded in explaining the origins behind the biggest hits without getting lost in the weeds. Often copied but never replicated, Song Exploder lets the artists themselves break down their songs without getting in the way. Since 2014, musician and composer Hrishikesh Hirway (now musician Thao Nguyen) host and produce the show, revealing the creative process of artists as diverse as Lorde, The Mountain Goats and John Carpenter, to name a few.

Listen on Apple Music and Spotify”.

“It may be called Popcast, but the New York Times’ music podcast covers a wide scope of music. Hosted by music critic Jon Caramanica, you can count on the roundtable of critics to tackle every subject matter with rigorous enthusiasm, from the rise of Post Malone to Chris Cornell’s legacy, the bootleg merch trade, the future of jazz and the unfair hand dealt to Ashley Simpson. While each episode usually includes an expert guest (or guests) on the topic at hand, the dream team of writers Joe Coscarelli, Caryn Ganz, Jon Pareles and Caramanica each offer diverse expertise in genres and eras to keep the discourse piping hot.
Listen on Apple Music and Spotify”.

I would also recommend The First Time with… Matt Everitt, as he chats with some chats with some music icons in a funny, thoughtful and deep way.

There are enough options if you like true crime, but if you want a more general list of the very best podcasts, here is some instruction. No matter what genre and thing you are into, there is a podcast out there for you. It is a perfect time to explore; not just for amusement and to keep yourself occupied, but you can learn quite a lot and have your eyes opened. I am thinking about whether I can realistically create my own podcast, and I and I am getting inspiration from some truly excellent music podcasts. As a massive Beatles fan, I have been listening to the wonderful I Am the Eggpod, and I would encourage other people to listen too. If you are tempted to start your own podcast, there are guides that can help you on your way. Although there are a lot of steps involved, most of us can start our own, if we have a good idea. Whether you want to make your own, or you need some pointers regarding new podcasts and the very best out there, here is the time to explore. We are relying on avenues like podcasts to keep us all busy and, with that in mind, let us all…

PHOTO CREDIT: @austindistel/Unsplash

GET listening!

FEATURE: The March Playlist: Vol. 4: Foul Murder and Witches

FEATURE:

 

The March Playlist

IN THIS PHOTO: Bob Dylan

Vol. 4: Foul Murder and Witches

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ALTHOUGH things are getting quieter…

IN THIS PHOTO: Dua Lipa/PHOTO CREDIT: Zeit Magazin

in terms of album releases, there are still some great singles out there. In fact, with terrific new albums from Dua Lipa and Waxahatchee out, there is plenty to get excited about! In this week’s selection of hot new tracks, we have new material from Bob Dylan, Pearl Jam, M.I.A., and Nadine Shah. There are also cuts from Childish Gambino, and Bright Eyes. Some seriously big artists have come to play, and it means we have plenty of treats to keep us occupied whilst we are inside and confined. Get your weekend off to a flying start with some seriously big songs that should give you energy and motivation. Although it is a hard time, we still have some tremendous music to…

PHOTO CREDIT: Danny Clinch

KEEP us upbeat!

ALL PHOTOS/IMAGES (unless credited otherwise): Artists

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Bob Dylan – Murder Most Foul

M.I.A - OHMNI W202091

Waxahatchee – Witches

Dua Lipa - Break My Heart

Car Seat Headrest – Martin

Childish Gambino – 12:38

Bright Eyes – Persona Non Grata

Nadine Shah – Trad

PHOTO CREDIT: Vogue

Rosalía – Dolerme

PHOTO CREDIT: Danny Clinch

Pearl Jam - Alright

Bad Honey – Stillness

Run the Jewels -Yankee and the Brave

PHOTO CREDIT: Ariana Molly

Braids - Snow Angel

Nothing But Thieves - Is Everybody Going Crazy?

Yazmin Lacey – Own Your Own

PHOTO CREDIT: Maria Muriedas

Belako – The Craft

Little Mix – Break Up Song

Maisie Peters – Daydreams

Bishop Nehru – EMPEROR

Anne-Marie – Her

Pretenders – Hate for Sale

PHOTO CREDIT: Holly Whitaker

Squid – Sludge

IN THIS PHOTO: Sufjan Stevens

Sufjan Stevens, Lowell Brams – Agathon

Emily Burns – Terrified

Grace Ackerman - Blame

Little Dragon – Where You Belong

Sody – Charlotte

Hannah Jane Lewis – Love Letters

All Time Low – Melancholy Kaleidoscope

Vanessa Carlton – I Can’t Stay the Same

Natalie McCool – Closure

PHOTO CREDIT: Ellen Offredy

Natalie Shay – Owe it to You

April – The Impossible Task of Feeling Complete

FEATURE: The Second Arrangement: Could I Be Doing More to Help Artists Out?

FEATURE:

 

The Second Arrangement

PHOTO CREDIT: @elishavision/Unsplash

Could I Be Doing More to Help Artists Out?

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MORE and more…

PHOTO CREDIT: @patrickian4/Unsplash

I am getting emails from artists asking I would consider reviewing or premiering their music. It is a tough time where exposure and connection is vital in order for musicians to survive and get heard. It is always heartbreaking when I turn people away because, with a heavy workload and a sense of conferment, I am only able to accommodate so much. Music journalism is one of the areas that can continue to run and get to people. A lot of sites offer subscriptions, so they can keep some money coming in, but a lot of sites do not charge readers. It can mean they have to rely on adverts or raise their own money. I am not sure how they are doing right now, but a lot of the bigger sites can publish features and do telephone interviews. We will see fewer articles out there, which gives everyone an opportunity to look away from the concerns of the mainstream and album releases, and spotlight new artists. Music journalism will survive and return to normal, but there is this weird period where journalists are having to hunt around for ideas and decide how best to use their platform. Whilst I am writing features – like this one -, it makes me aware that there are countless artists who have to perform from home and are in a sticky situation. It is not just me feeling a little helpless, but I guess there are things journalists can do in order to assist artists.

PHOTO CREDIT: @jmuniz/Unsplash

I have been thinking about a weekly Spotify playlist whereby a selection of tracks from new artists is included; sort of like the New Music Friday on Spotify but focusing on those with fewer followers and subscribers. It is always hard to know what can be done and whether enough is being done. I have so much respect for everyone in the music industry, as it is hard enough surviving with the amount of competition around as it is. Not only do sites like Spotify need to do more to help artists now, but I feel this is a perfect opportunity for music journalists to produce features, playlists and recommendations of great artists. I have rejected submissions for a while, as I have not had the time to accommodate them, and it was becoming overwhelming. As things are quieter regarding big releases and events, there is time to retune and help those who need it. I am wracking my brain as to the most effective way of assisting, because there are so many artists out there whose music deserves to be heard; who need financial aid and help. As this article explains, musicians have already lost so much already:

“UK musicians have already lost an estimated £13.9m in earnings because of coronavirus, according to a Musicians’ Union survey.

The organisation, which has 32,000 members and is the main trade union for the sector in the UK, surveyed its members over the impact of the outbreak, and received more than 4,100 responses. Ninety per cent of respondents said their income had already been affected.

The MU’s general secretary, Horace Trubridge, announced a new hardship fund that will pay grants of £200 to out-of-work musicians, saying: “We hope this fund goes some way to providing a small amount of relief to our members, but we urgently need the government to provide clarity on what wider support will be available, and we call on the record industry to play its part, too.”

Musicians being affected by the closure of live venues and schools, as well as other social distancing measures, with many making at least part of their income through teaching”.

It is tragic seeing information like this, and so many out there want to do more and wonder what can be done. It would be interesting to get some feedback (on social media) as to the best way people like me can best serve artists. Our wonderful artists – in all genres – give so much through the year (often for free), so going some way to repaying them is…

PHOTO CREDIT: @nickmorrison/Unsplash

THE least I can do.

FEATURE: Vinyl Corner: Culture Club – Colour by Numbers

FEATURE:

 

Vinyl Corner

Culture Club – Colour by Numbers

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WHILST there is concern and stress…

IN THIS PHOTO: Mikey Craig, Jon Moss, Boy George, and Roy Hay of Culture Club in 1983/PHOTO CREDIT: Ebet Roberts/Redferns

regarding the coronavirus pandemic, there is not as much music news as there usually is. In terms of thins to write about, I am looking at existing features and I will sprinkle in some features that recommend music/things to keep you occupied at this time. I am keeping Vinyl Corner rolling, as there are loads of albums that one needs to get on vinyl. Today’s entry is from 1983; it is Culture Club’s Colour by Numbers. Grab it on vinyl if you can as it is a wonderful album. I was born in 1983, so I have a special fondness for music released from that year. I am not a massive Culture Club fan, but I have a lot of respect for their second studio album. The hit single, Karma Chameleon, is one of the best songs ever, and its irresistible chorus stays in your head forever! That track reached the top spot in several countries, whilst Colour by Numbers topped the charts in the U.K. and sold more than ten-million copies worldwide. Whilst their 1982 debut, Kissing to Be Clever, has many fine moments – including Do You Really Want to Hurt Me -, I think its follow-up is a more satisfying and broader listen. Colour by Numbers is frequently viewed as one of the best albums of the 1980s, and it is a record that can lift, move, and inspire at the same time. You can stream the album, but there are rewards to listening on vinyl.

We think of the 1980s, and many sort of think it was cheesy and overrated. Others love the sheer quality of Pop music during the decade. I think Culture Club were at the forefront of the Pop movement. Led by Boy George – a singer with charisma, and a blue-eyed Soul voice -, Culture Club were a huge force in the 1980s – they are still performing today and look set to record for a long time to come. When we think of the biggest albums of the 1980s, maybe you consider artists like Madonna, The Smiths, and Michael Jackson, but Culture Club’s Colour by Numbers should definitely make everyone’s top-ten. I want to bring in a couple of reviews for the album, but this fascinating article from Classic Pop Magazine gave some great background to Colour by Numbers:

“This next album is going to prove that we’re very musical,” George said in an interview with The Tube in early 1983. “It’s a lot more mature and sophisticated than Kissing To Be Clever. We work very closely with Steve Levine, who is almost the fifth member of Culture Club. We all have the same idea of what we want the end result to be, which is essentially a well-structured pop song, and we have developed our own sound now. A lot of bands are wanting to work with Steve to achieve the ‘Culture Club sound’ but it’s not possible, because it’s a collaboration – it’s not a situation like a lot of bands who don’t know what they want to sound like, so the producer ends up taking over.

“Roy and Mikey love the new machines – the Fairlights, and the computers – while Jon and I prefer an acoustic sound, really rough and soulful. So we mix both to get a fine balance.”

Achieving that result had proved anything but smooth. “We’re very adult in our approach to the studio, but we fight a lot in the rehearsals,” George said. “There’s a lot of throwing coffee over each other and guitars being thrown, that sort of thing.” Years later, an insight into the machinations of Culture Club at this time was revealed when a recording taken during the making of Victims, in which the band tore into each other, was leaked onto the internet. Finding it hilarious in retrospect, the argument was entitled Shirley Temple Moment and released as a track on the band’s 2002 career-retrospective boxset.

While Culture Club’s music was a collaborative effort, the song’s lyrics were strictly George’s domain. “I write all the lyrics,” he said. “I never sing anyone else’s lyrics – they all come from a very personal basis and are about what’s going on in my life, in my relationships at the time – they’re deeply personal.”

Although George and drummer Jon Moss’ relationship wasn’t public knowledge by this point, their tempestuous union was the basis for much of Culture Club’s material. As millions of fans unwittingly sang along, their biggest hit, Karma Chameleon was a visceral depiction of a volatile relationship with lyrics such as: “I heard you say that my love was an addiction/ When we cling, our love is strong/When you go, you’re gone forever, you string along” and “Everyday is like survival, you’re my lover, not my rival”, a theme prevalent throughout the rest of the record”.

I have recently picked Colour by Numbers up after a bit of a spell, and it is full of wonderful performances and terrific songs. I have not seen a bad review for Colour by Numbers – one or two are not as euphoric as they should be! -, and this is what AllMusic said in their assessment:

“Colour by Numbers was Culture Club's most successful album, and, undoubtedly, one of the most popular albums from the 1980s. Scoring no less than four U.S. hit singles (and five overseas), this set dominated the charts for a full year, both in the United States and in Europe. The songs were infectious, the videos were all over MTV, and the band was a media magnet. Boy George sounded as warm and soulful as ever, but one of the real stars on this set was backing vocalist Helen Terry, who really brought the house down on the album's unforgettable first single, "Church of the Poison Mind." This album also featured the band's biggest (and only number one) hit, the irresistibly catchy "Karma Chameleon," its more rock & roll Top Five follow-up "Miss Me Blind," and the fourth single (and big club hit), "It's a Miracle" (which also featured Helen Terry's unmistakable belting). Also here are "Victims," a big, dark, deep, and bombastic power ballad that was a huge hit overseas but never released in the U.S., and other soulful favorites such as "Black Money" and "That's the Way (I'm Only Trying to Help You)," where Boy George truly flexed his vocal muscles. In the 1980s music was, in many cases, flamboyant, fun, sexy, soulful, colorful, androgynous, and carefree, and this album captured that spirit perfectly. A must for any collector of 1980s music, and the artistic and commercial pinnacle of a band that still attracted new fans years later”.

A lot of us are in a position where we need to stay in and will have more time on our hands when it comes to music. There are loads of great albums you should investigate, and I would add Culture Club’s Colour by Numbers to the pile! It is a tremendous album that sounds relevant and inspiring in 2020. I wonder whether new Pop artists pay as much attention to bands like Culture Club as they should. The power of the band’s work and how wonderful the music still sounds…there is a lot in there that artists can learn from! I will wrap things up soon. In their review, SLANT had this to say:

“Boy George sounded equally at ease whether singing flashy, upbeat numbers or somber ballads, and while his voice wasn’t the strongest in the world, he was able to find his inner Motown soul when necessary, especially when trading vocals with backup singer Helen Terry, whose captivating, gospel-infused voice is a highlight on “Black Money” and “That’s the Way (I’m Only Trying to Help You).” Boy George’s charisma and confidence as a frontman had grown remarkably since Culture Club’s debut, allowing him to carry songs like “It’s A Miracle,” a piece of sweet pop candy that, in another band’s hands, might have come off as a lightweight embarrassment. The same can be said of the album’s first single, the rousing “Church Of The Poison Mind,” in which a carefree Boy George sings, “Watch me clinging to the beat/I had to fight to make it mine/That religion you could sink in neat/Just move your feet and you’ll feel fine.” 

Flamboyant, vibrant and fun, “Church,” like the rest of Colour By Numbers, fits the very definition of what pop music is supposed to be, and there were few better pure pop albums made in the 1980s. Part dance, part new-wave, part white-boy soul, Colour By Numbers helped establish the blueprint for the boy-bands that would follow in Culture Club’s wake (the group disbanded in 1986 amid rumors of Boy George’s heroin addiction and his break-up with Moss). The album was re-released last year for its 20th anniversary, with five bonus songs, including the title track, which curiously did not appear on the original record. But, in the end, Colour By Numbers is an album that needs no tinkering”.

Go and grab a copy of Colour by Numbers – or stream the album if you like -, and you will discover an album that is brimming with genius. Life – credited to Boy George and Culture Club – was released in 2018, and it was the first album for the band since they reformed in 2014. I think there will be more albums, and there is a big demand for the legendary Culture Club. They have recorded several stunning albums, but Colour by Numbers is their finest hour. Enjoy this ace album as it is…

PERFECT if you want to unwind and feel uplifted.

FEATURE: Sat in Your Lap: Albums, Songs, Books and Videos: The Kate Bush Collection

FEATURE:

 

Sat in Your Lap

IN THIS PHOTO: Kate Bush during filming of The Line, the Cross and the Curve in 1993/PHOTO CREDIT: Guido Harari

Albums, Songs, Books and Videos: The Kate Bush Collection

___________

WHILST I am writing a bit more…

IN THIS PHOTO: Kate Bush at her home in September 1978/PHOTO CREDIT: Getty Images

than I normally would, I am going to include more Kate Bush features. Rather than pretend that I am going to limit my Kate Bush posts – and ensure there are not too many -, I feel there are relevant things to discuss and uncover. I have looked at Bush’s back catalogue before and pointed you in the direction of her best work. Today, I thought I would list her essential albums; the most underrated, and my personal favourite. I will also end with a complete playlist but, before, there are a few books that I can recommend - in addition to pointing to the very best Kate Bush videos. This is a little more expansive than previous, similar Bush pieces - to guide new fans and the diehards to avenues they might not have explored before. If you have some time and are not sure where to start with Kate Bush, I have focused down to the essential bits and bobs. Have a look and spend some time exploring…

IN THIS PHOTO: Kate Bush shot for the Babooshka single in 1980/PHOTO CREDIT: John Carder Bush

AN absolute icon.

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Must-Own Albums

The Dreaming

Release Date: 13th September, 1982

Label: EMI (U.K.)

Length: 43:25

Buy: https://www.amazon.co.uk/Dreaming-2018-Remaster-VINYL/dp/B07HQ14CLD/ref=sr_1_1?crid=1RBVTN6XM78HO&keywords=kate+bush+the+dreaming&qid=1585139846&sprefix=kate+bush+the+dreas%2Caps%2C183&sr=8-1

Standout Tracks: Sat in Your Lap/Suspended in Gaffa/Get Out of My House

Key Cut: Houdini

Review:

“The Dreaming was the real game-changer. Back in 1982, it was regarded as a jarring rupture. "Very weird. She’s obviously trying to become less commercial," wrote Neil Tennant, the future Pet Shop Boy, still a scribe for Smash Hits. He echoed the sentiments of the record-buying public. Even though the album made it to number three, the singles, apart from 'Sat In Your Lap', which got to 11 a year before, tanked. The title track limped to number 48 while 'There Goes A Tenner' failed to chart at all. It was purportedly the closest her record label, EMI had come to returning an artist’s recording. Speaking in hindsight, Bush observed how this was her "she’s gone mad" album. But The Dreaming represents not just a major advance for Bush but art-rock in general. Its sonic assault contains a surfeit of musical ideas, all chiselled into a taut economy.

And like that modernist masterpiece, The Dreaming glimpses at a very metropolitan melancholy. Bush would never make an album in London again, a city she felt had an air of dread hanging over it’. 'All The Love', a forlorn musical sigh, features percussive sticks imitating Venetian blinds turning shut. It climaxes with messages from Bush’s actual malfunctioning answerphone: all very modern alienating devices, straight from the same world of Bowie’s 'Sound & Vision'. This was after all, the year Time magazine voted the computer as person of the year. Palmer’s ECM-like drowsy bass almost sobs with regret.

Throughout The Dreaming, sound speaks. 'All The Love' is subdued relief. But its constituent parts hover desolately in the mix, pitching a ‘lack of love’ song with a choirboy, somewhere between Joni Mitchell’s road trip jazz on 'Hejira' and the void of Nico’s 'The End'. Full of space & loneliness” – The Quietus

Hounds of Love

Release Date: 16th September, 1985

Label: EMI (U.K.)

Length: 47:33

Buy: https://www.amazon.co.uk/Hounds-Love-2018-Remaster-VINYL/dp/B07HQ352CN/ref=sr_1_1?crid=1NCVDFW9MSB6I&keywords=kate+bush+hounds+of+love+vinyl&qid=1585139872&sprefix=kate+bush+hounds%2Caps%2C166&sr=8-1

Standout Tracks: Running Up That Hill (A Deal with God)/Cloudbusting/Hello Earth

Key Cut: The Big Sky

Aerial

Release Date: 7th November, 2005

Label: EMI (U.K.)

Length: 79:58

Buy: https://www.amazon.co.uk/Aerial-2018-Remaster-VINYL-Kate/dp/B07HPYHL17/ref=sr_1_1?keywords=kate+bush+aerial+vinyl&qid=1585139893&sr=8-1

Standout Tracks: King of the Mountain/How to Be Invisible/Nocturn

Key Cut: Mrs. Bartolozzi

Review:

“Domestic contentment even gets into the staple Bush topic of sex. Ever since her debut, The Kick Inside, with its lyrics about incest and "sticky love", Bush has given good filth: striking, often disturbing songs that, excitingly, suggest a wildly inventive approach to having it off. Here, on the lovely and moving piano ballad Mrs Bartolozzi, she turns watching a washing machine into a thing of quivering erotic wonder. "My blouse wrapping around your trousers," she sings. "Oh, and the waves are going out/ my skirt floating up around my waist." Laundry day in the Bush household must be an absolute hoot.

Aerial sounds like an album made in isolation. On the down side, that means some of it seems dated. You can't help feeling she might have thought twice about the lumpy funk of Joanni and the preponderance of fretless bass if she got out a bit more. But, on the plus side, it also means Aerial is literally incomparable. You catch a faint whiff of Pink Floyd and her old mentor Dave Gilmour on the title track, but otherwise it sounds like nothing other than Bush's own back catalogue. It is filled with things only Kate Bush would do. Some of them you rather wish she wouldn't, including imitating bird calls and doing funny voices: King of the Mountain features a passable impersonation of its subject, Elvis, which is at least less disastrous than the strewth-cobber Aussie accent she adopted on 1982's The Dreaming. But then, daring to walk the line between the sublime and the demented is the point of Kate Bush's entire oeuvre. On Aerial she achieves far, far more of the former than the latter. When she does, there is nothing you can do but willingly succumb” – The Guardian

The Underrated Treasure

Never for Ever

Release Date: 7th September, 1980

Label: EMI (U.K.)

Length: 37:16

Buy: https://www.amazon.co.uk/Never-Ever-2018-Remaster-VINYL/dp/B07HQ7HW19/ref=sr_1_1?crid=3VHQMLQCPOIQW&keywords=kate+bush+never+for+ever+vinyl&qid=1585139919&sprefix=kate+bush+never+f%2Caps%2C157&sr=8-1

Standout Tracks: All We Ever Look For/The Wedding List/Breathing

Key Cut: Babooshka

Review:

“If you think about it, Kate Bush could have gone in any direction after promoting Lionheart. Her second album had some high points and some cute vocal deliveries but ultimately came up short in quality. Kate's third album could have been another decline in quality. It could have just been Kate treading water with more adorable pop singles. Instead, the follow up was an important step into new territory. Never For Ever shows Kate Bush at a much more mature stage. While Lionheart had embraced maturity quite well in comparison to The Kick Inside, it didn't help Kate break out of her cute pop singer shell. Most people were still infatuated with her first single, Wuthering Heights. A new direction was something Kate needed to assert. She managed to do that just enough with Never For Ever.

The album features plenty of single worthy pop hits as usual but does offer much more collectively. Babooshka and Army Dreamers are examples of Kate exercising more of her descriptive lyrical style. On this record, Bush explores more concepts in her lyrics than previously. It's easy noticing the lyrical contrast with the album's opening and closing tracks. The opener, Babooshka is about a distrustful wife who ruins her marriage through seducing her husband under a pseudonym. The closer, Breathing finds Kate writing about her nervous actions through a more Bowie influenced style. From this point, Kate Bush adds even more variety to the mix. Musically, Never For Ever naturally expands thanks to a more layered sound. The album features a vibrant mix of wet fairlight synths, pianos, fretless bass and layers of strings. The performances of the album fit smoother than on previous records as Bush goes for a more varied final product.

Kate's third solo album was no masterpiece but a fascinating and necessary step in her discography. Bush's writing had finally evolved enough to the point where she could write without relying too much on image or style. Whether it's experimenting with her remarkable vocal range, creative arrangements, or vivid lyrics, Never For Ever shows Kate Bush improving in all the right ways” – Sputnik Music

My Favourite Kate Bush Album

The Kick Inside

Release Date: 17th February, 1978

Label: EMI (U.K.)

Length: 43:13

Buy: https://www.amazon.co.uk/Kick-Inside-2018-Remaster-VINYL/dp/B07HPZWG1R/ref=sr_1_1?crid=EJGS2R8KCB2Q&keywords=kate+bush+the+kick+inside+vinyl&qid=1585139947&sprefix=kate+bush+the+kick+vinyl%2Caps%2C166&sr=8-1

Standout Tracks: Moving/Strange Phenomena/The Man with the Child in His Eyes

Key Cut: Wuthering Heights

Review:

“She only fails to make a virtue of her naivety on “Room for the Life,” where she scolds a weeping woman for thinking any man would care about her tears. The sweet calypso reverie is elegant, and good relief from the brawnier, propulsive arrangements that stood staunchly alongside Steely Dan. But Bush shifts inconsistently between reminding the woman that she can have babies and insisting, more effectively, that changing one’s life is up to you alone. The latter is clearly where her own sensibilities lie: “Them Heavy People,” another ode to her teachers, has a Woolf-like interiority (“I must work on my mind”) and a distinctly un-Woolf-like exuberance, capering along like a pink elephant on parade. “You don’t need no crystal ball,” she concludes, “Don’t fall for a magic wand/We humans got it all/We perform the miracles.”

The Kick Inside was Bush’s first, the sound of a young woman getting what she wants. Despite her links to the 1970s’ ancien régime, she recognized the potential to pounce on synapses shocked into action by punk, and eschewed its nihilism to begin building something longer lasting. It is ornate music made in austere times, but unlike the pop sybarites to follow in the next decade, flaunting their wealth while Britain crumbled, Bush spun hers not from material trappings but the infinitely renewable resources of intellect and instinct: Her joyous debut measures the fullness of a woman’s life by what’s in her head” – Pitchfork

Stunning Books

The Photo Collection: Kate: Inside the Rainbow

Release Date: 22nd October, 2015

Author: John Carder Bush

Publisher: Little, Brown Book Group

Buy: https://www.waterstones.com/book/kate/john-carder-bush/9780751559903

Synopsis:

“KATE: Inside the Rainbow is a collection of beautiful images from throughout Kate Bush’s career, taken by her brother, the photographer and writer John Carder Bush. It includes outtakes from classic album shoots and never-before-seen photographs from sessions including The Dreaming and Hounds of Love, as well as rare candid studio shots and behind-the-scenes stills from video sets, including ‘Army Dreamers’ and ‘Running Up that Hill’.

These stunning images will be accompanied by two new essays by John Carder Bush: From Cathy to Kate, describing in vibrant detail their shared childhood and the early, whirlwind days of Kate’s career, and Chasing the Shot, which vividly evokes John’s experience of photographing his sister” – Kate Book

The Biography: Under the Ivy: The Life & Music of Kate Bush

Release Date: 11th April, 2012

Author: Graeme Thomson

Publisher: Omnibus Press

Buy: https://www.waterstones.com/book/under-the-ivy/graeme-thomson/9781780381466

Synopsis:

“The first ever in-depth study of Kate Bush's life and career, Under The Ivy features over 70 unique and revealing new interviews with those who have viewed from up close both the public artist and the private woman: old school friends, early band mates, long-term studio collaborators, former managers, producers, musicians, video directors, dance instructors and record company executives. It undertakes a full analysis of Bush's art. Every crucial aspect of her music is discussed from her ground-breaking series of albums to her solo live tour, her pre-teen poetry and scores of unreleased songs. Combining a wealth of new research with rigorous critical scrutiny, Under the Ivy offers a string of fresh insights and perspectives on her unusual upbringing in South London, the blossoming of her talent, her enduring influences and unique working methods, her rejection of live performance, her pioneering use of the studio, her key relationships and her gradual retreat into a semi-mythical privacy” – Waterstones

The Lyrics: Kate Bush: How To Be Invisible

Release Date: 6th December, 2018

Author: Kate Bush/David Mitchell (foreword)

Publisher: Faber & Faber

Buy: https://www.waterstones.com/book/how-to-be-invisible/kate-bush/9780571350940

Synopsis:

“Ivor Novello winner Kate Bush has long forged her love of literature with music. From Emily Brontë through to James Joyce, Bush has consistently referenced our literary heritage, combined with her own profound understanding of language and musical form.

How to Be Invisible: Selected Lyrics draws from her superlative, 40-year career in music. Chosen and arranged by Kate Bush herself, this very special, cloth-bound volume will be the first published collection of her work.

Accompanying the collection is an expansive introduction from Cloud Atlas author David Mitchell. ‘For millions around the world Kate is way more than another singer-songwriter: she is a creator of musical companions that travel with you through life,’ he said. ‘One paradox about her is that while her lyrics are avowedly idiosyncratic, those same lyrics evoke emotions and sensations that feel universal” – Waterstones

The Useful Addition: Homeground: The Kate Bush Magazine: Anthology One: Wuthering Heights to The Sensual World

Release Date: 10th March, 2013  

Authors: Krystyna Fitzgerald-Morris (editor), Peter Fitzgerald-Morris (editor), Dave Cross (editor)

Publisher: Crescent Moon Publishing

Buy: https://www.waterstones.com/book/homeground/krystyna-fitzgerald-morris/peter-fitzgerald-morris/9781861714800

Synopsis:

“HOMEGROUND: THE KATE BUSH MAGAZINE: ANTHOLOGY ONE: 'WUTHERING HEIGHTS' TO 'THE SENSUAL WORLD'

HomeGround is a magazine devoted to Kate Bush (born in 1958), a British pop star best-known for hits such as 'Wuthering Heights', 'Wow', 'Hounds of Love' and 'Running Up That Hill'.

This book is pure heaven for music fans. The HomeGround anthology includes material inspired by all periods of Kate Bush's musical progression. It is a book about the reaction to her work and how her unique music has touched the lives of so many people.

This is a unique book, a labour of love for hundreds of music fans who have contributed to HomeGround over its thirty-year existence. The book includes an enormous amount of information about Kate Bush, accounts of every release, album, single, pop promo and appearance, as well as memories and accounts of music fandom (such as conventions, meetings, hikes, stage door encounters and video parties). It also includes material on many other pop acts and events. It features poetry, stories, letters, reviews, interviews, memoirs, cartoons, drawings, paintings and photographs.

This is the first book of a two volume set, totalling over 1200 pages. The first book covers Kate Bush's career from 'Wuthering Heights' to 'The Sensual World' (from the late 1970s to the late 1980s). The second book runs from 'The Red Shoes' album to the present day.

The first issue of HomeGround appeared in 1982, four years after Kate Bush's dramatic debut with 'Wuthering Heights'. Starting with an ancient manual typewriter, and a pot of glue paste, the editors mounted articles on recycled backing sheets and added hand-drawn artwork to fill the gaps. The first issue was photocopied, the pages hand-stapled together and twenty-five copies were given away to fans they knew. Only later did they discover the magic of word processing, and desktop publishing.

From those beginnings HomeGround became a cornerstone of the 'Kate-speaking world', the editors going on to organise four official fan events at which Kate Bush and members of her family and band appeared, arrange at Bush's request a team of fans to be extras in two of her videos and organise informal fan gatherings at Glastonbury and Top Withens, the storm-blown ruin on Haworth Moor. Years before the internet, HomeGround became a place where fans could discuss Bush's music, and a place where they could publish creative writing and artwork that music inspired” – Abe Books

The Podcast

Who They Are: The Kate Bush Fan Podcast

Official Website: https://katebushnews.libsyn.com/

About: “A show for fans of the music artist Kate Bush put together by the people behind www.katebushnews.com and HomeGround Magazine! Chat, interviews, reviews and more on all things Kate and her amazing work” (The Kate Bush Fan Podcast)

Twitter: https://twitter.com/katebushnews

Facebook: https://www.facebook.com/katebushnews

Her Finest Videos

The Definitive Playlist