FEATURE: The June Playlist: Vol. 2: If I Fall, Forgive Me

FEATURE:

The June Playlist

IN THIS PHOTO: Tricky/PHOTO CREDIT: Erik Weiss

Vol. 2:  If I Fall, Forgive Me

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THIS week’s Playlist…

IN THIS PHOTO: Jehnny Beth/PHOTO CREDIT: @tristane_m

is a particularly busy and interesting one! I think we all need a good dose of quality music to get us into  the weekend! In the mix this week are new tracks from Tricky, Chloe x Halle, Jehnny Beth, Fontaines D.C., Leon Bridges, JARV IS…, Neil Young and Orlando Weeks. There is so much brilliance out there this week, so I know that there will be something in there for everyone! It has been an extremely hard week for many of us, so I reckon that we need to unwind and get a bit of a boost! This Playlist is one of the strongest of the year and it contains so much…

IN THIS PHOTO: Fontaines D.C./PHOTO CREDIT: Daniel Topete

SENSATIONAL music.

ALL PHOTOS/IMAGES (unless credited otherwise): Artists

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Tricky (ft. Marta)  - Fall Please

Chloe x Halle – Forgive Me

Jehnny Beth – The Rooms

IN THIS PHOTO: Leon Bridges/PHOTO CREDIT: Ryan Lowry for GQ

Leon Bridges (ft. Terrace Martin) – Sweeter

Margo Price - Letting Me Down

Liam Gallagher – Stand by Me (MTV Unplugged (Live at Hull City Hall)

Fontaines D.C. - I Don’t Belong

PHOTO CREDIT: Rebecca Cabag/AP

Neil Young – Vacancy

Toots and the Maytals - Got to Be Tough

Orlando Weeks - Blame or Love or Nothing

JARV IS... - Save the Whale

PHOTO CREDIT: Melanie Hyams

Drug Store Romeos - Quotations for Locations

PHOTO CREDIT: Mark Allan Photography

Arlo Parks – Creep

Coach Party – Bleach

PHOTO CREDIT: @ssjnb

Stella Talpo – Mona

Liz Lawrence - Hope (Or Something Like It)

Drab City – Devil Doll

Buddy - Black 2

PHOTO CREDIT: Jamie Nelson

Maren Morris – Just for Now

PHOTO CREDIT: John Chiasson

John Prine - I Remember Everything

IN THIS PHOTO: Kojey Radical

Kojey Radical (ft. Mereba) - Same Boat

Gia Margaret – body

Dirty Projectors - Inner World

Norah Jones – To Live

The Wytches – Cowboy

PHOTO CREDIT: Pedro Mkk

Jorja Smith - Rose Rouge

Gorillaz (ft. Octavian) - Friday 13th

Rufus Wainwright - You Ain’t Big

Pillow Queens – Handsome Wife

Torres - Too Big for the Glory Hole

Ellie Bleach - He Bought Me Nikes

PHOTO CREDIT: Luce Lapadula

Anna Pancaldi – How Do I Live with the Blues

Ella Henderson – Take Care of You

Buzzard Buzzard Buzzard - Double Denim Hop

Anna Clendening – Get Me

FEATURE: A Buyer’s Guide: Part Six: Mary J. Blige

FEATURE:

 

A Buyer’s Guide

Part Six: Mary J. Blige

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FOR this edition…

of A Buyer’s Guide, I am focusing on the tremendous Mary J. Blige. Still producing music nearly three decades since her debut, there is nobody like her in music! Not only does Blige have one of the most distinct and powerful voices around; she is an artist who has inspired so many others, and she is seen as the ‘Queen of Hip-Hop Soul’. Not only has she made the marriage of Hip-Hop and Soul mainstream and accessible, but she has also broken down the male-dominated sphere of Hip-Hop with her viewpoint on black womanhood and femininity. I am saluting one of the greatest artists of our time, and recommending the albums you need to own – in addition to a very good and comprehensive book. Take a look at some of the finest work from…

THE inimitable Mary J. Blige.

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The Four Essential Albums

What’s the 411?

Release Date: 28th July, 1992

Labels: Uptown/MCA

Producers: Sean "Puffy" Combs (exec/.)DeVante Swing/Tony Dofat/Dave "Jam" Hall/Mark Morales/Cory Rooney

Standout Tracks: Reminisce/You Remind Me/Sweet Thing

Buy: https://www.discogs.com/Mary-J-Blige-Whats-The-411/master/78837

Stream: https://open.spotify.com/album/5Q3xLiKnY4ShDuQda7qfg2

Review:

“With this cutting-edge debut, Mary J. Blige became the reigning queen of her own hybrid category: hip-hop soul. The eloquence and evocativeness that comes through in her voice, could be neither borrowed nor fabricated, making What's the 411? one of the decade's most explosive, coming-out displays of pure singing prowess. "Real Love" and the gospel-thrusted "Sweet Thing" (the primary reason for all her Chaka Kahn comparisons) are and will remain timeless slices of soul even after their trendiness has worn off, and "You Remind Me" and the duet with Jodeci's K-Ci ("I Don't Want to Do Anything") are nearly as affecting in their own right. It's nevertheless unclear how much of the hip-hop swagger in her soul was a genuine expression of Blige's own vision or that of her admittedly fine collaborators (Svengali Sean "Puffy" Combs, R&B producers Dave Hall and DeVante Swing, rap beatsmith Tony Dofat, rapper Grand Puba). Certainly the singer comes across as street-savvy and tough -- "real," in the lingo of the day -- and even tries her hand at rhyming on the title track, but never again would her records lean this heavily on the sonic tricks of the rap trade. In retrospect, it is easier to place the album into the context of her career and, as such, to pinpoint the occasions when it runs wide of the rails. For instance, the synthesizer-heavy backdrops ("Reminisce," "Love No Limit") are sometimes flatter or more plastic than either the songs or Blige's passionate performances deserve, while the answering-machine skits, much-copied in the wake of What's the 411?, haven't worn well as either stand-alone tracks or conceptual segues. In fact, those who prefer their soul more stirring, heart-on-sleeve, or close to the bone would likely find her fluid, powerfully vulnerable next recording (My Life) or one of the consistently strong subsequent efforts that followed it more to their liking. For broad appeal and historical importance, though, What's the 411? is an inarguably paramount and trailblazing achievement” – AllMusic

Choice Cut: Real Love

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My Life

Release Date: 29th November, 1994

Label: Uptown

Producers: Sean "Puffy" Combs (exec.)/Chucky Thompson/Nashiem Myrick/Dalvin DeGrate/Herb Middleton/Prince Charles Alexander/Poke

Standout Tracks: You Bring Me Joy/I’m Goin’ Down/Mary’s Joint

Buy: https://www.discogs.com/Mary-J-Blige-My-Life/master/78734

Stream: https://open.spotify.com/album/4jovLVRCu6H0Ce6NHR4eTZ

Review:

“The enduring power of My Life lies in the fact that despite the heartache that pervades the expanse of the album, Blige frames many of its songs—fourteen of which she co-wrote—in universal, empathetic and inspiring terms, which resonated profoundly with listeners grappling with similar hardships and looking for reasons to maintain hope. “When I reached out and said I was hurting so bad, [My Life] was the only place I could say that,” Blige confided during a 2011 Daily Mail interview. “I didn't have a way to express myself, period, in life. I didn't have anyone to talk to. So I reached out and I gained a fan base that was hurting just like me….About four million [people] responded to that and it turned out we were all suffering at the same time and didn't want to be here.”

Blige’s more sanguine (and spiritual) disposition is best evidenced on the title track, which samples Roy Ayers’ classic “Everybody Loves the Sunshine” by no small coincidence and finds her offering a gospel-tinged clarion call to those confronted with adversity: “Don't you know I know we all are struggling / I know it is hard, but we will get by / And if you don't believe in me, just believe in He, yeah / 'Cause He'll give you peace of mind (Yes, He would) / And you'll see the sunshine (For real, yes, you would) / And you'll get to free your mind / And things will turn out fine / Oh, I know that things will turn out fine” – Albumism

Choice Cut: Mary Jane (All Night Long)

Mary

Release Date: 17th August, 1999

Label: MCA

Producers: Mary J. Blige/Babyface/Rich Harrison/Gerald Isaac/Jimmy Jam & Terry Lewis/Lauryn Hill/Malik Pendleton/Soulshock & Karlin/Chucky Thompson

Standout Tracks: All I Can Say/Deep Inside/Your Child

Buy: https://www.discogs.com/Mary-J-Blige-Mary/release/1188848

Stream: https://open.spotify.com/album/6L4mjZ7Wx0oSQU08alvHbq

Review:

“At first it seems a bit strange: There’s only one MC on Mary J. Blige’s new album, Mary. On her first and third studio albums — the genre-creating What’s the 411? and the merely stellar Share My World — she tapped a host of rhymers: Busta Rhymes, Grand Puba, Lil’ Kim, Nas. On her second album, the emotional autobiography My Life, there was a Keith Murray cameo and a slew of Puffy-produced interpolations. This latest record is her most superstar-packed — she welcomes aboard Lauryn Hill (producing and singing backup, not rhyming), Sir Elton John, Aretha Franklin, Babyface, Eric Clapton and ex-boyfriend K-Ci Hailey of K-Ci and JoJo — but with the late excision of the stunning “Sincerity,” featuring DMX and Nas, there’s a conspicuous void.

Blige seems to have moved away from the Terry McMillan once-again-he’s-breaking-my-heart mantra to, perhaps, an Oprah love-your-spirit ethos. She begins Mary with the lush Lauryn-produced “All That I Can Say,” singing, “Loving you is wonderful / Something like a miracle.” Two songs later, on “Beautiful Ones,” she sings, “With your love, maybe in my life / You know, we can stop the rain,” a direct answer to her classic theme song, “Everyday It Rains.” Of course, there are songs about sadness, like the brilliant strength-in-pain anthem “The Love I Never Had” — where she blares, “I gotta wake up!” while a Jimmy Jam-and-Terry Lewis-produced live band funks behind her — as well as the deep ballad “Your Child” and the spectacular “Memories.” But “Memories,” with its hot Timbaland-inspired track and junglish drum line, doesn’t match the sadness of which Mary speaks. The woman who concluded My Life singing, “All I really want is to be happy” seems to have found strength and happiness on the album’s closer, a remake of the classic disco invocation “Let No Man Put Asunder.” (You may remember the counterhook: “It’s not over between you and me.”)” – Rolling Stone

Choice Cut: As (International Track Listing)

The Breakthrough

Release Date: 20th December, 2005

Label: Geffen

Producers: 9th Wonder/Bobby Ross Avila/Issiah "Iz" Avila/Mary J. Blige (also exec.)/Vidal Davis/Cool & Dre/Bryan-Michael Cox/D'MileRon Fair/Andre Harris/Rich Harrison/Tal Herzberg/Infinity/J.U.S.T.I.C.E. League/Jake and the Phatman/Rodney Jerkins/Jimmy Jam & Terry Lewis/Davel "Bo" McKenzie/Raphael Saadiq/Chucky Thompson/will.i.am/Young Smoke

Standout Tracks: Enough Cryin’/Take Me as I Am/Can’t Get Enough

Buy: https://www.discogs.com/Mary-J-Blige-The-Breakthrough/master/78820

Stream: https://open.spotify.com/album/5cnNuunPepqlcT0VoFdLOh

Review:

“"I'm the soul hip-hop queen, and I ain't goin' nowhere," sings Mary J Blige on The Breakthrough, and she's not wrong. Free of the spoken interludes that spoilt 2003's Love & Life, this eighth album may be her best, the most vivid realisation of her gripping, confessional style. Unlike with most R&B divas, you get the impression that Blige's songs here are rooted in reality, not formula.

That's due in large part to her compelling delivery, the tone and timbre of which recalls Aretha Franklin on tracks such as "Can't Hide from Luv" and the symphonic slow-burner "I Found My Everything". She's the only singer of her era who can seamlessly combine classic gospel-soul's rawness with more clinical modern R&B - as illustrated by the ease with which her voice assimilates the bruised hope lent by the Nina Simone sample in "About You".

Other voices would be intimidated by the association, but Blige's operates on equal terms. Her lyrics draw on her assertive attitude, reclaiming mistakes from shame in "Take Me as I Am", dumping a lover in "Ain't Really Love", and tracing need for male affection to lack of a father in "Father in You", before a duet with Bono on a version of U2's "One" – The Independent

Choice Cut: Be Without You

The Underrated Gem

Love & Life

Release Date: 26th August, 2003

Label: Geffen

Producers: Mary J. Blige (exec.)/Sean "Diddy" Combs (also exec.)/Andy C./Malik Crosby/D-Dot/D-Nat/Dr. Dre/Sean Foote/Majid Hasan/Mechalie Jamison/Stevie J/Kay GeeK/ipper/Cecil Sanchez/Sting/Mario Winans 

Standout Tracks: Don’t Go/Ooh!/It’s a Wrap

Buy: https://www.discogs.com/Mary-J-Blige-Love-Life/master/46486

Stream: https://open.spotify.com/album/14E2CvlcAY07HT9Y9TryxA

Review:

“Mary J. Blige has made it clear in virtually all of her TV appearances and interviews surrounding her sixth studio album that she's happy with the way things have been going for her, both personally and professionally. That's more than apparent -- albeit detrimentally apparent -- throughout Love & Life, an album that sees her linking back up with production from P. Diddy and company. The down side is that you can tell that her heart isn't as into the songs that deal with the nastier aspects of relationships. It's that distance that holds the album back from being one of her best; neither she nor her partners should've felt obligated to cover so much emotional territory, especially when an album's worth of material here (at least 40 of the 70 minutes) beams with joy (and/or desire) and goes along with where she's at right now. Even on the somewhat clunky lead single, "Love @ 1st Sight," Blige's uplifted spirit is as contagious as it has ever been, and just the sound of her voice is enough to get by on. Though her re-pairing with P. Diddy doesn't return her to the glory of What's the 411?, at least half a dozen cuts will vie for slots on a future best-of. For 11 years running, Blige remains a durable and consistent artist, and no one is on the verge of dethroning her” – AllMusic

Choice Cut: Not Today

The Latest/Final Album

 

Strength of a Woman

Release Date: 28th April, 2017

Label: Capitol

Producers: Mary J. Blige (exec.)/BadBadNotGood/Bigg D/DJ Camper/Hit-Boy/Brandon "B.A.M." Hodge/Kaytranada/Lamb/Neff-U/Teddy Riley/William Tyler

Standout Tracks: Love Yourself/Set Me Free/Find the Love

Buy: https://www.discogs.com/Mary-J-Blige-Strength-Of-A-Woman/master/1172926

Stream: https://open.spotify.com/album/4NbiqWISvtpKiWFwpmtzTF

Review:

“The album isn’t just made up of tracks to satisfy old fans, though; numbers like ‘It’s Me’ and ‘U+Me (Love Lesson)’ are refreshing in their use of trap-influenced sub-bass and heavier drum programming, rather than the orchestral swells of a typical Blige production. As evinced by her work with Disclosure and the many remixes of earlier tracks like ‘Real Love’ and ‘You Remind Me’, Blige is equally capable of making songs for the dance floor, as well as for the bedroom and post-breakup come-down. The Missy Elliot-featuring ‘Glow Up’ is a highlight of the record - despite DJ Khaled indiscriminately shouting over the track - as Blige embodies Frank Ocean and Dawn Richard in her rhythmic vocal.

Yet, running at 16 full-length tracks, ‘Strength of A Woman’ can seem overindulgent. Songs that are enjoyable in isolation, or as a smaller subset, become either repetitive or forgettable in the context of the whole. For instance, ballads like ‘Thank You’, ‘Set Me Free’ and ‘Indestructible’ become draining to listen to in one sitting, whilst atypical tracks like the funk-influenced ‘Find The Love’ and the electro-pop ‘Love In The Middle’ become incongruous and even jarring in the midst of so much other material.

Ultimately, Blige’s prolific songwriting is her downfall. The best tracks on ‘Strength Of A Woman’ seem destined to be poached for streaming service playlists and radio play, while the album as a whole potentially goes unnoticed, dragged down by its own weight and fated to settle comfortably only in the back catalogue” – CLASH

Choice Cut: Thick of It

The Mary J. Blige Book 

Real Love, No Drama (American Music Series): The Music of Mary J. Blige

Author: Danny Alexander

Publication Date: 29th March, 2016

Publisher: University of Texas Press

Synopsis:

“Mary J. Blige is an icon who represents the political consciousness of hip hop and the historical promise of soul. She is an everywoman, celebrated by Oprah Winfrey and beloved by pop music fans of all ages and races. Blige has sold over fifty million albums, won numerous Grammys, and even played at multiple White House events, as well as the 2013 Nobel Peace Prize ceremony. Displaying astonishing range and versatility, she has recorded everything from Broadway standards to Led Zeppelin anthems and worked with some of popular music's greatest artists-Aretha Franklin, Eric Clapton, Elton John, Whitney Houston, Sting, U2, and Beyonce, among them. Real Love, No Drama: The Music of Mary J. Blige tells the story of one of the most important artists in pop music history. Danny Alexander follows the whole arc of Blige's career, from her first album, which heralded the birth of "hip hop soul," to her critically praised 2014 album, The London Sessions. He highlights the fact that Blige was part of the historically unprecedented movement of black women onto pop radio and explores how she and other women took control of their careers and used their music to give voice to women's (and men's) everyday struggles and dreams. This book adds immensely to the story of both black women artists and artists rooted in hip hop and pays tribute to a musician who, by expanding her reach and asking tough questions about how music can and should evolve, has proven herself an artistic visionary” – Abe Books

Buy: https://www.abebooks.co.uk/9780292759435/Real-Love-Drama-American-Music-0292759436/plp

FEATURE: Second Spin: Menswear - Nuisance

FEATURE:

Second Spin

Menswear - Nuisance

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THIS will be a little bit shorter…

IN THIS PHOTO: Menswear in 1995/PHOTO CREDIT: Steve Double/Retna UK

than usual because, to be fair, there is not as much information online regarding Menswear’s Nuisance as there should be – considering it is a great album that has been making the news lately. There are a couple of reasons I want to put the album in Second Spin this week. The band just released a ‘lost’ single, Wait for the Sun, and a new 4CD boxset is out soon; a twenty-fifth anniversary edition of their debut album, Nuisance, is out soon, too – I will talk about that near the end. Also, though Nuisance got some good reviews when it was released in 1995, I feel it has been overlooked when we consider the best album of that time. It was definitely part of the Britpop cannon, but Menswear never got quite the same acclaim as their peers – maybe because the band would start to split and deteriorate after that first album. I have not listened to Nuisance for a little while, but I have been revisiting it and I love the tracks on it. There are a couple of filer tracks, but songs like Daydreamer and Sleeping In are classics of the '90s; terrific tracks that warrant greater airplay. For those that say Nuisance is not well know is because it has not sold well would do good to read this NME article from 2012:

“Defunct Britpop band Menswear‘s debut album ‘Nuisance’ has finally gone platinum.

The 1995 release from the Britpop stars reached Number 11 in the UK charts on its initial release, but has only just received this recognition from the British Phonographic Industry (BPI). Guitarist Chris Gentry took to Twitter to express his delight. He wrote: “‘Nuisance’ by Menswe@r goes WW Platinum. Thx to everyone who made it possible”.

I think the 1995-released album is one that should be reinvestigated almost twenty-five years after its release (Nuisance arrived on 24th October, 1995). I remember the band breaking out and I was hooked on songs like I’ll Manage Somehow. Maybe Menswear did not feature as prominently in my school conversations as bands like Blur, Pulp and Manic Street Preachers, but I think Menswear are more than just a Britpop band. Nuisance peaked at number-eleven in the U.K. charts, and Daydreamer and Stardust climbed into the top-twenty single chart. I will bring in some articles, reviews and timely links but, before then, I would encourage people to have a listen to Nuisance, as it is a great album that is not given as much love as it deserves. Go and check it out on streaming services, as it is a brilliant listen, and I guarantee there are songs on there that will stick in the head and stay with you! I have seen some negative and mixed reviews for Nuisance, but this review from AllMusic is a lot fairer:

“Perhaps Menswear was always destined to be a footnote in pop history, a product of the heady good times of London in 1994 and 1995. Reportedly signed after only three shows, the band was never given the chance to fully develop before they recorded their debut album, Nuisance. At the time of their first single, they appropriated the sound of Blur and the style of Pulp; by the time Nuisance was released, they also incorporated the sound of Elastica and Oasis, making the band a virtual Cliff Notes of Brit-pop. Naturally, Menswear doesn't quite have the skills or panache of any of their idols, but that doesn't mean they are lacking in charm.

Like Oasis and Blur, Menswear appropriates sections of pop history, claiming them as their own. However, they aren't half the songwriters that Noel Gallagher and Damon Albarn are, which means many of their ideas are never developed. Nevertheless, when they assimilate them fully -- like the intoxicating rush of "Around You Again" or the sweeping ballad "Being Brave," which lifts the intro to Pink Floyd's "Comfortably Numb" -- the band is an undeniable guilty pleasure. When pressed, the 'swear can come up with irresistably infectious pop gems, from the frazzled Monkees pop of "Sleeping In" to the flat-out great single "Daydreamer," which sounds more like Wire than Elastica, only funnier, even if it may be unintentional. Even funnier are Johnny Dean's lyrics, from the groupie saga of "125 West 3rd Street" to "Stardust," a silly attack on Primal Scream's Bobby Gillespie. In all, Nuisance is the perfect product from a band that is better known for being seen than being heard”.

I think Nuisance is one of those classic ‘lost’ albums that people are starting to come back to you. I have been spinning it a bit lately, and I am not sure why I did not give it more time back in 1995. I saw Menswear on Top of the Pops, and I would have seen Nuisance in the record shops. I think 1995 was such a busy and phenomenal year, so maybe it was just a case of it being hard to be heard above all the other great artists of that year.

I located a fantastic article from Pop Junkie that throws praise the way of Menswear’s Nuisance and how the band might have influenced The Libertines:

“Yep, back in the mid ’90s, when Pete Doherty was still a record company marketing man’s (crack)pipe dream, these youthful Britpop socialites had it all – good looks, massive hype and, unlike The Libertines, fantastic tunes. Menswear appeared on Top of The Pops performing I’ll Manage Somehow before they had even released a single and signed a record contract after only five gigs.

Their debut album, 1995’s Nuisance serves as a great reminder of the heady days when freaky Japanese girls would visit Camden pub The Good Mixer in the hope of getting a glimpse of floppy-haired Menswear frontman Johnny Dean and his razor-sharp cheekbones. From the guitar and Hammond mod stomp of 125 West Third Street to the pounding piano and blaring horns of Stardust – rumoured to be a dig at Primal Scream’s Bobby Gillespie (“He’s a superficial fucker,”) – Nuisance is a fantastically cocky Britpop classic that has more hooks than a second hand clothes stall on Camden market.

Check out The One. If Pete Doherty didn’t nick that sound and that tune for a track or two on the first Libertines album, then my name is not Carl Barat.

Daydreamer, the first song the band ever wrote, is awesome – a menacing, robotic New Wave stutter that sounds more like Wire than Elastica ever did. PopJunkie’s favourite however is the lovely summery ballad Being Brave, which ushers in warm evenings with its sweeping strings and epic, sing-a-long chorus. We’re also partial to the groovy Monkees sound-a-like Sleeping In, which is basically Last Train To Clarksville diverted via the Northern Line, and the Blur-like Little Miss Pinpoint Eyes – a cautionary tale of a posh bird from Hampstead who ends up strung-out on heroin and disco tunes. It really deserves to sell for more than the pitiful £2 or so you can get it for now.

After Nuisance, Menswear returned with a new single, the Beach Boys influenced We Love You, but nobody seemed to care – all except those freaky Japanese girls, that is. The band’s second album, the Japanese-only release, Hey Tiempo, was a massive success in the Far East. Shortly afterwards, the group disbanded. Where are they now? Well, guitarist Chris Gentry was last seen modelling Fred Perry menswear. Ah, the sweet irony….”.

With Wait the Sun out in the ether and some great releases on the horizon, there is going to be a new appetite for the band; younger listeners will discover this excellent band of the 1990s. ¡Hay Tiempo!, the band’s second album, was released in Japan only, so I view Menswear as a one-album band; one can chart their birth, life and death in the record, and sort of wonder what could have been. Frontman Johnny Dean spoke with NME recently and talked about Menswear and regrets regarding the departure of Matt Everett (the band’s drummer left the band after the debut album; he now works on BBC Radio 6 Music and BBC Radio 2 and is a successful journalist and writer):

“How do you feel about Britpop now?

“All Britpop was, was indie bands – and a lot of them had nothing in common with each other. Matt once accurately said ‘You’re not Britpop until you’ve denied being Britpop’. The term horrified us. Everyone looks at it as this laddish notion of having a beer on your head and watching the football, when one of the few common threads in the bands at the start was going to art school. That quickly mutated into this horrible laddism, where girls were only seen as cool if they behaved like boys – the ladette phenomenon. It was totally out of order, but people didn’t think twice about it then. It was a very white, male scene. Garage, trip-hop, dance music, they all sold far more singles than the guitar bands did. From the beginning, I sensed it was dodgy that the black music being made wasn’t being recognised. There were a lot of problems, but at the same time it was exciting for young kids outside of the major cities and I do get that.

When did it start to go wrong for Menswear?

“Not taking so many drugs would have helped. At 22, I was the oldest when Menswear started – Chris was just 17. I felt responsible for everybody, but I was off my tits most of the time and permanently confused. I was diagnosed with autism 12 years ago, and it didn’t help matters that nobody knew it then. That would have obviously made a massive difference to me then, but I don’t think it would have made any difference to Menswear.

Why not?

“One of my biggest regrets is that was Matt was forced out after ‘Nuisance’. The wheels fell off very quickly after he left. Matt was always the sensible one, and it was the first sign to the record company that we were beginning to lose it, which I agree with. Matt left due to differences in personality with other band members. ‘Being Brave’ had just gone Top 10 and, in the middle of that, you do whatever you can to keep it going. Looking back, it would have been funny if we’d split up then, as we’d have done what the Manics always said they’d do: make one record and piss off”.

There have been whispers whether the original line-up will reform and play any gigs – when we are able to see bands play – to commemorate their debut album turning twenty-five. It would be awesome seeing Menswear return to Camden and play a small gig in front of adoring fans. One other big reason for this feature was to sort of tie in with the upcoming anniversary release of Nuisance. If one visits the Rough Trade website, then they can find out some details regarding Nuisance’s twenty-fifth-anniversary release:

“On sale online from 18.00 hours August 29th.

This is a Record Store Day 2020 item. It will be available to purchase from our stores from 8am on either Aug 29th, Sept 26th or Oct 24th. Remaining stock will be available to purchase from this page at 18.00 on those respective dates..

Menswear were the 90s Britpop band who formed in Camden and signed a record deal after their fifth gig. The album reached no 11 in 1995 with three top 20 hits - the biggest single Being Brave at no 10 in 1996. Other singles include Daydreamer (UK14) Stardust (UK16), Sleeping In (UK24) and We Love You (UK22) and I’ll Manage Somehow which received good reviews in NME and Melody Maker. They had regular appearances on Top Of The Pops and were the first band to ever appear ahead of the first single being released. To celebrate the 25th anniversary of the original release, this special edition RSD release is presented on Orange coloured 180 Gram vinyl, original artwork and additional single We Love You”.

I have brought in some articles and information, as it not only gives you more detail regarding Nuisance, but one can look ahead as the album celebrates twenty-five years in the world. I do think we will hear the rumours of reformation rumble as we approach the autumn, and I would not bet against Menswear getting back onto the stage. I would recommend people seek out Nuisance, as it is an interesting and satisfying listen – Nuisance has plenty of nuance! Nuisance got a lot of attention in 1995, but I have read some stuffy reviews and those writing off Menswear as a lesser version of other Britpop bands. In years since, Nuisance has not faded away, but I also think it has been under-listened-to and exposed. I think Nuisance is getting the sort of focus it deserves…

ALMOST twenty-five years after its release.

FEATURE: The Lockdown Playlist: New Wave Bliss

FEATURE:

 

The Lockdown Playlist

PHOTO CREDIT: @dihrosa/Unsplash

New Wave Bliss

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IN this edition…

PHOTO CREDIT: @taylorannwright/Unsplash

of The Lockdown Playlist, I am moving onto New Wave tracks to help get you in the mood. I am keen to project some energy and uplift, so hopefully there will be something in the playlist for everyone. It is a strange and worrying time right now, and many of us are looking ahead and hoping things get better. I have loved sifting through some New Wave classics and riding their incredible sounds. I hope that you enjoy the playlist and are happier for listening to it. As we move through the weeks, I am going to be exploring more genres until we are…

PHOTO CREDIT: @maltewingen/Unsplash

FULLY out of lockdown.

FEATURE: No Possibly Maybe About It… Björk’s Masterpiece, Post, at Twenty-Five

FEATURE:

  

No Possibly Maybe About It…

Björk’s Masterpiece, Post, at Twenty-Five

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SOME albums…

IN THIS PHOTO: Björk in 1995/PHOTO CREDIT: Anton Corbijn

hit you like a sledgehammer when they first come out and they seem to get more extraordinary and genius the more time ticks on! Björk’s Post was released on 13th June, 1995 and, as it is twenty-five on Saturday, I wanted to talk about a very special and important album. Her second album – after Debut came out in 1993 -, it is amazing to think there were some in 1995 who were not completely sold on Post! I love Björk’s music and think that everything she does is wonderful. Post is one of those albums that has picked up a lot more attention and praise years down the line - maybe Björk was ahead of her time or Post was a bit too different-sounding to anything that was around that year. Post saw Björk expanding her palette and taking on most of the production duties (through she did work with other producers) – Nellee Hooper was in charge on Debut. Debut is a phenomenal album with a range of sounds, but I think Post is even more eclectic, daring and consistent. A lot of artists who throw so much into the mix can come off a bit muddled and it all sounds a bit too busy and disconnected. Post is an album that sports everything from Trip-Hop and Dance to Jazz; Björk moved to London at the time and, in many ways, her second album was a sonic representation of London’s scenes, clubs and people. Though Post did receive a lot of acclaim in 1995 – and topped a lot of ‘best of’ lists -, I still think some overlooked the album or wrote it off as a bit of an oddity with no real substance or appeal. Björk always had an ear on the U.K. Dance scene, and you can hear that cropping up a lot in Debut.

On Post, that continues, but we get influence from bands like Massive Attack and Portishead; no doubt, she would have gravitated their way and been intrigued by what was coming out of cities like Bristol in 1993 and 1994. Although Björk is Icelandic, I think England was very special to her at a young age. In terms of the image and sound of Post, it owes more to England than it does to Iceland. I do think Debut is a remarkable album, but Post was the album where she broke through and transitioned from this unique singer for The Sugarcubes and become this global star. Nellee Hooper – the amazing British producer – was asked to produce Post, but he initially refused and felt it best Björk produce it. The two did produce together on Post, but there is much more of Björk’s input on Post compared with Debut. I do love the fact that, as it is rumoured, she went to some strange places to record some vocals. I think Cover Me’s first verse was recorded from a cave, whereas Possibly Maybe was recorded nude – so they say, anyway! I guess Björk did record vocals for There’s More to Life Than This at the Milk Bar Toilets on Debut, and she was always seeking that special and unique sound! If Debut was a little reserved (for Björk!), Post is the artist immersed in England and embracing all these wonderful and urgent sounds.

Post is such a colourful and brilliant record that is defined by Björk’s world-straddling voice! I can imagine Björk’s eyes being opened to all the sounds coming from the radio and clubs in England before she wrote Post. If Björk’s soundscape would become a little more minimal and icier on future releases, Post is the opposite: a bubbling and joyous blend that still sounds completely intoxicating twenty-five years on! I do want to bring in a few articles, just to give you a sense of how the media perceives the album and why Post resonates. In their review, AllMusic had this to say:

“After Debut's success, the pressure was on Björk to surpass that album's creative, tantalizing electronic pop. She more than delivered with 1995's Post; from the menacing, industrial-tinged opener, "Army of Me," it's clear that this album is not simply Debut redux. The songs' production and arrangements -- especially those of the epic, modern fairy tale "Isobel" -- all aim for, and accomplish, more. Post also features Debut producer Nellee Hooper, 808 State's Graham Massey, Howie B, and Tricky, who help Björk incorporate a spectrum of electronic and orchestral styles into songs like "Hyperballad," which sounds like a love song penned by Aphex Twin. Meanwhile, the bristling beats on the volatile, sensual "Enjoy" and the fragile, weightless ballad "Possibly Maybe" nod to trip-hop without being overwhelmed by it. As on Debut, Björk finds new ways of expressing timeworn emotions like love, lust, and yearning in abstractly precise lyrics like "Since you went away/I'm wearing lipstick again/I suck my tongue in remembrance of you," from "Possibly Maybe."

But Post's emotional peaks and valleys are more extreme than Debut's. "I Miss You"'s exuberance is so animated, it makes perfect sense that Ren & Stimpy's John Kricfalusi directed the song's video. Likewise, "It's Oh So Quiet" -- which eventually led to Björk's award-winning turn as Selma in Dancer in the Dark -- is so cartoonishly vibrant, it could have been arranged by Warner Bros. musical director Carl Stalling. Yet Björk sounds equally comfortable with an understated string section on "You've Been Flirting Again." "Headphones" ends the album on an experimental, hypnotic note, layering Björk's vocals over and over till they circle each other atop a bubbling, minimal beat. The work of a constantly changing artist, Post proves that as Björk moves toward more ambitious, complex music, she always surpasses herself”.

I have a few favourite tracks from the album. I love the cover of It’s Oh So Quiet, as Björk makes it her own, and it is such a burst of sunlight and energy! Army of Me (co-written by Graham Massey) is this intense and stunning opener, and its Michel Gondry-directed video (the two collaborated a lot) added new layers to the song – the fact that Björk’s videos were as evocative and mesmeric as the songs helped make albums like Post so enduring and singular. I also love The Modern Things, Isobel and Possibly Maybe but, to be fair, every track is a winner!

I think the retrospective acclaim Post has received has pushed it into the hands of new listeners. Pitchfork wrote a review back in March, and they gave it a perfect ten:

 “With Post, Björk set the bionic foundation for one of the most consequential careers in pop history. Here is where Björk became a perennial gateway drug, not to one sound but to the unknown, which is to say the future. She would soon leave London for the south of Spain and then New York, recording her two towering masterpieces—1997’s Homogenic, which Missy Elliott once gleefully likened to “Mozart at a rap show,” and the introverted microbeats of 2001’s Vespertine—crystallizing the totality of her vision. What other artist could successively collaborate with Wu-Tang Clan, interview Estonian minimalist legend Arvo Pärt, and appear on “MTV Unplugged” accompanied by a man playing a table of drinking glasses? In another era, maybe Bowie, which is just right—it was Bowie, after all, who inspired Björk’s immortal swan dress. By the end of the ’90s, the world would know the only answer: Björk”.

I do hope that Post gets a lot of celebration on its twenty-fifth anniversary, as it is one of the greatest albums ever, and one I felt that I had to celebrate and nod to. Post was an evolution for Björk, but one where she kept her personality and sound intact. On its twentieth anniversary, Stereogum wrote a fascinating article and underlined why Post was such a huge revelation:

“In a lot of ways, Post was the platonic ideal of a sophomore album. It had enough Debut-era dance-pop in it that it still sounded like the work of the same person, and those pop moments were strong enough to prove that Debut wasn’t a fluke. But the album also blew Björk’s previously-established sound out into something way, way bigger and more impressive. In its 11 tracks, it presented 11 completely different images of what Björk could do.

And it established Björk’s persona in ways that Debut simply couldn’t do. The videos were a big part of that. I can’t think of a single album that inspired a better set of music videos than Post. Björk was working with visionary-genius types like Michel Gondry and Spike Jonze when they were at their peak, and she was getting all their best ideas and still getting her own enormous personality across completely. The videos for “It’s Oh So Quiet” and “Hyper-Ballad” were the sort of things you’d be hoping to come across if you stayed up all night watching MTV, and when Jonze and Gondry released those Directors’ Label DVDs a few years later, they were some of the best reasons to buy the things. After Post, every single Björk album has focused hard one some particular idea, some shade of her sound. And that’s fine, since she proved with this one that she could do just about anything”.

I have been listening to Post a lot lately, and I have been blown away in new ways by the stunning songs and how much ground Björk covers through the eleven tracks! Post is so important, as there were not that many artists pushing chart and radio music to new place. There was so much safe and similar music in 1995; Post is hard to label and define, and Björk definitely changed the game and provided inspiration to artists at the time. Post continued to compel and influence past 1995, and it is clear the album has affected so many people and helped reshape music. As it turns twenty-five, I am still being dumbstruck and fascinated by…

SUCH a spellbinding album.

FEATURE: "Rosabel, believe!" Kate Bush’s Houdini: An Inescapable Work of Brilliance

FEATURE:

 

"Rosabel, believe!"

PHOTO CREDIT: John Carder Bush 

Kate Bush’s Houdini: An Inescapable Work of Brilliance

___________

NOW and then…

IN THIS PHOTO: Kate Bush captured by Janette Beckman in 1981

I spend an entire feature writing about a Kate Bush song but, more often than not, I’ll look at entire albums or periods of her career. The reason I am spotlighting Houdini from The Dreaming is because it is my favourite Kate Bush track. Although one of the song’s most beautiful elements, the swooning string arrangement, was put together by Dave Lawson & Andrew Powell (who produced her first two albums), I think the other strengths of the song are Bush’s incredible vocals, the vivid and astonishing story, and the way she commands your attention from the first to last note. As you could imagine, Houdini was inspired by Harry Houdini - the escapologist who was famed for being the ‘Handcuff King’ who could escape from almost impossible situations to the disbelief of his audiences. Houdini was also renowned for his debunking of spiritualists, and he is someone who fascinates me – clearly, Kate Bush felt the same! Look at the cover of her album, The Dreaming, and you see a key in her mouth, as she clasps the head of a man who is leaning in for a kiss – she is portraying Houdini’s wife, Bess, and Del Palmer is playing the role of Houdini. The idea was that the key is passed through a kiss, allowing Houdini to secretly receive the key and, when lowered in chains into the water, he can unlock the shackles and free himself.

After Houdini died in 1926, Bess attempted to contact him via seances. It was a little odd, as Houdini was a sceptic, so it would have been hugely ironic if he was actually able to contact Bess in the afterlife! During his time debunking spiritualist fraudsters, Houdini had devised a code, ‘Rosabel, believe’, so that she would know that it was him. Bess thought that she had successfully contacted Houdini in 1929, but it turned out to be a hoax. For an artist who wrote a masterpiece debut single after watching the last ten minutes of a BBC adaptation of Emily Brontë’s Wuthering Heights, how could she resist the supernatural epic that was Houdini’s life and death?! I love the fact that most artists would simply hear about Houdini’s story and just leave it at that. There is a small selection of artists whose minds are geared a different way; they think differently and do not just merely grab at the personal, obvious, and commercial when it comes to song inspiration. The vision of Bush scribbling Houdini and casting herself as the loyal wife - or looking at things in third-person - is something that opens my eyes and makes me smile. I will not discuss The Dreaming at length, but it is amazing to look at that record, and the sort of subjects Bush explores throughout. It is such a broad album in terms of its themes and sounds.

I am surprised that Houdini was not released as a single, as I think it would have charted better than The Dreaming (which only got to 48), There Goes a Tenner (a limp number-93), or maybe even the album’s first single, Sat in Your Lap (which got to 11 in the charts). Night of the Swallow was a single released in Ireland only, and Houdini appeared as a B-side – I think it is a shame that such a majestic song was sort of buried away as it was! I was looking at the Kate Bush Encyclopaedia, and I found an article where Bush discussed her motivation behind writing Houdini:

“The side most people know of Houdini is that of the escapologist, but he spent many years of his life exposing mediums and seances as frauds. His mother had died, and in trying to make contact through such spiritual people, he realized how much pain was being inflicted on people already in sorrow, people who would part with money just for the chance of a few words from a past loved one. I feel he must have believed in the possibility of contact after death, and perhaps in his own way, by weeding out the frauds, he hoped to find just one that could not be proven to be a fake. He and his wife made a decision that if one of them should die and try to make contact, the other would know it was truly them through a code that only the two of them knew.

IN THIS PHOTO: Kate Bush photographed by Anton Corbijn in 1981

His wife would often help him with his escapes. Before he was bound up and sealed away inside a tank or some dark box, she would give him a parting kiss, and as their lips met, she would pass him the key which he would later use to unlock the padlocks that chained him. After he died, Mrs. Houdini did visit many mediums, and tried to make contact for years, with no luck - until one day a medium called Mr. Ford informed her that Houdini had come through. She visited him and he told her that he had a message for her from Houdini, and he spoke the only words that meant for her the proof of her husband's presence. She was so convinced that she released an official statement to the fact that he had made contact with her through the medium, Ford.

It is such a beautiful and strange story that I thought I had very little to do, other than tell it like it was. But in fact it proved to be the most difficult lyric of all the songs and the most emotionally demanding. I was so aware of trying to do justice to the beauty of the subject, and trying to understand what it must have been like to have been in love with such an extraordinary man, and to have been loved by him. I worked for two or three nights just to find one line that was right. There were so many alternatives, but only a few were right for the song.

Gradually it grew and began to piece together, and I found myself wrapped up in the feelings of the song - almost pining for Houdini. Singing the lead vocal was a matter of conjuring up that feeling again and as the clock whirrs and the song flashes back in time to when she watched him through the glass, he's on the other side under water, and she hangs on to his every breath. We both wait. (Kate Bush Club newsletter, October 1982)”.

I am a big fan of The Dreaming, and it is definitely in my top-five Kate Bush albums. The final two tracks on the album, Houdini and Get Out of My House, I think, are the two strongest albums enders she ever put out – topping Army Dreamers and Breathing from her previous albums, 1980’s Never for Ever. I do also really love the fact that Bush, against rationale and convention, wanted to give her voice a rawer and more mucus-y vocal for Houdini. Her more guttural and impassioned voice can be heard on songs like Get Out of My House, but there is something possessed about her voice at various points in Houdini – some people have, without irony, suggested the song might have been a precursor for Death Metal, as there is almost this death growl (albeit, one not quite as extreme as you might find in modern Metal!). The vocal is extraordinary, but eating bars of chocolate and drinking milk, whilst it gives her that mucus in the throat, could have taken a bigger toll; it is impressive how she managed to shift between the rawer voice and heavenly-sweet in the same track, without much pause for breath or any sort of recovery and rest!

The string arrangement adds a Classical, Baroque edge that she sort of flirted with in other songs; I think Houdini’s strings are spellbinding, and it is a shame that Bush did not use orchestration and strings as explicitly before Houdini (the odd song here and there, but none as impactful, in terms of the strings’ sound, as you get in Houdini). She would use stringed instruments a lot more after The Dreaming; Hounds of Love (1985) and Aerial (2005) are fantastic examples of how Bush can use strings in an incredibly original and powerful way! With Stuart Elliott on drums, Eberhard Weber deploying some stunning bass, and Kate Bush on piano and Fairlight, Houdini manages to use few musicians, but it says so much! Apart from Kate Bush’s voice, we hear Gordon Farrell say “Houdini” and Del Palmer sings “Rosabel, Believe!” – beautifully deployed, they act as these characters in this incredible drama. With Palmer’s theoretical Houdini having received the key through a kiss, Bush’s Bess looks on – “Through the glass/I'd watch you breathe/("Not even eternity")/Bound and drowned/And paler than you've ever been/("will hold Houdini!")”. It is impossible to listen to Houdini and not cast yourself in the story and imagine him going into the water. From the early scenes of Bush breaking a spiritual/séance circle (“The tambourine jingle-jangles/The medium roams and rambles”), to the intense and passionate moment a key is slipped to Houdini (“I'd pass the key/And feel your tongue/Teasing and receiving”), it is such an incredibly detailed and wonderful song.

The song switches between the mysterious – I always wonder whether “I'd catch the cues/Watching you/Hoping you'd do something wrong” is Bess hoping Houdini fails in his escape?! – to the humorous – “Not even eternity/Can hold Houdini!” -, and it is fascinating picturing the possible expressions on Bush’s (Bess) face as she watches Houdini lowered into the water. In terms of chronology, I always think the first verse or two concerns Bush/Bess trying to make contact with Houdini after he has died, and then she sort of talks about his escape tricks prior to his death and how, even when Houdini looked pale and near to death, there was hope and a deep love between them – “With your life/The only thing in my mind/We pull you from the water!”. One can unpick the lyrics and have their own take, but I think the best thing to do is to listen to the song. Sandwiched between the emotional and incredible All the Love and The Shining-inspired Get Out of My House on The Dreaming, Houdini is this mini-masterpiece that, oddly, takes on a different life when you listen to it on its own - as opposed experiencing it as the penultimate track when you listen to The Dreaming all the way through. In future Kate Bush features, I am going to explore broader subjects and topics, but the past couple have been reserved for an incredible album (last time out, I extolled the virtues of her 2011 album, 50 Words for Snow) and this magnificent song. The Dreaming’s Houdini has this incredible pull and magic and, after just one listen, you’ll find that…

IN THIS PHOTO: Kate Bush shot by Janette Beckman in 1981

IT is impossible to break free from its spell.

FEATURE: Spotlight: Eve Owen

FEATURE:

 

Spotlight

Eve Owen

___________

THE remarkable Eve Owen…

PHOTO CREDIT: Chris Almeida

is an artist you might not have heard of but, not only has she contributed to The National’s I Am Easy to Find, she also comes highly recommended and praised by the band’s Aaron Dessner! With a rising social media fanbase, Owen is an artist who you will definitely want to check out! I have known about her music for a little bit but, as she has been played on BBC Radio 6 Music a fair bit lately, I have got more into her brilliant sound. I will talk about her debut album, Don’t Let the Ink Dry, in a bit. It is a sensational record that has picked up some incredible reviews – as I shall prove by quoting from one. I am keen to bring in a few sources of information to flesh out this feature but, before I carry on, here is some biographical information about the wonderful Eve Owen:

“Eve Owen is a London based singer-songwriter. While growing up in London, Eve first explored songwriting as a form of catharsis, adopting the stream-of-consciousness style that still informs her music today. “I usually start out playing whatever I feel, even if it sounds horrible, like just bashing the piano keys,” says Owen. “I follow that feeling and write down everything that comes to me in the moment, and I don’t really edit much afterward.”

With her graceful musicality honed in part by taking up violin at a young age, Owen started composing on guitar and piano at age 13, and later recorded a number of songs with esteemed producer Guy Chambers in his London studio. Although Owen names her ukulele-playing grandfather among her main influences—“He doesn’t care what anyone thinks, and just plays because he loves doing it, which is exactly what I aspire to”—she also notes that finding artists like Bob Dylan and Joan Baez at age 14 indelibly altered her musical path. “Everything took a turn for me at that point, because I’d never heard so much truth in lyrics before.”

Her debut single “She Says” produced by The National’s Aaron Dessner, and released by 37d03d Records, is an intimate portrait of loneliness and longing, nearly devastating in effect but infinitely softened by the warmth of Owen’s vocals, the unbreakable hope in her delivery. In addition to her work with Dessner on “She Says” Eve is also contributed lead vocals on The National’s song "Where Is Her Head" from their album, I Am Easy To Find”.

She Says is a particularly potent example of Owen’s talent. There are little shades of Fiona Apple in her voice, I think, but it would be unfair to compare Owen with anyone else. I love her voice, and how much emotion and beauty she conveys!

There are a lot of great singer-songwriters around at the moment, but I feel Owen is one of the very best; she has an amazing future ahead, and she has already made such an impression. Eve Owen is only twenty, and I cannot wait to see how her career blossoms over the years. I was eager to source from a great interview from The Line of Best Fit, where she was speaking in lockdown about her new album:

 “You may already be familiar with Eve Owen’s delicate tones from her guest vocals on The National’s last record I Am Easy To Find, but you can get even more familiar with her through emotive debut Don’t Let The Ink Dry, released today.

The record has been a long time coming for the 20-year-old London-born Owen - some of the songs have been reverberating around her head since childhood: “This album for me is a collage of different material from over the years," she tells me. "Songs were never set in stone – themes branch out into different songs, and I just mix them together”.

Owen was only at the end of primary school when she first remembers using song-writing as catharsis. “Something had bothered me at school and it makes more sense in my brain to turn it into music. To be honest, I still can’t really do that when talking.” Even now, she describes song-writing as a very exciting and wholesome experience.

On this record, Owen has made a new imprint on folk music, taking its foundations and twisting it together with electronic elements. On album opener “Tudor”, which she says “encapsulates the whole album”, the song uses five notes with a very simple structure, which has then been produced into “a type of chant”. “You can sort of imagine dancing to it by a fire”, Owen says, “it’s got the instincts of a folk song, but the way it’s been translated is so new to me. I really am in love with that one.

Speaking from lockdown in North London, Owen displays a mix of childlike enthusiasm and wise-beyond-her-years insight when describing pretty much anything, and becoming friends with her favourite band is no exception. She describes Dessner has her mentor “before I even met him” due to her deep personal love of The National’s music: “I look up to their discography like the Bible”.

“They are my friends and they are my idols”, she says. There is a giddiness about her when she talks about them, evoking images of Owen as teenager lying in her bedroom in the middle of the night listening to their lyrics. It’s a beautiful story to hear, of a person relating to and being comforted by music she now gets to sing onstage: “I’m meeting them again in a whole different way”, she says”.

Make sure you listen to Don’t Let the Ink Dry, as it is one of this year’s best albums. In a way, the songs are like diary entries, or different sides of this extraordinary human and artist. I have listened to the album a few times, and songs like For Redemption and Blue Moon are truly stunning! Right through the album, one is moved by the incredible songwriting. I want to bring in a great review that was written about the album but, before then, there is a great feature from NME, where Owen explained more about the album:

“Your debut album ‘Don’t Let The Ink Dry’ – what’s that all about then?

“The songs are like a kept record of a lot of different phases I went through during my teenage years. As the album had no particular deadline, it meant that Aaron and I had the time and space to sieve through ideas and get to the core of what we wanted to create. The album is made up of the markings of my and Aaron’s friendship. I can hear my voice finding comfort and opening up more each time in the studio.

So perhaps over the span of three years, themes came and went because each time we recorded we were both in different places in our lives. The record deals with longing, loneliness, celebration, acceptance, freedom and chance.”

It must feel strange to be preparing to drop an album in to the middle of a global crisis?

“I had live shows planned, which have changed, but if I’m honest now seems like a really important time for art and its healing powers. I didn’t make this record not to say ‘I get it’ or ‘I know what you’re going through’, but to say ‘I will listen and try to understand’. Each and everyone’s pain and hurt occur and heal in different ways. I was in a quiet, dark place writing these songs and they helped me – so hopefully they will continue to do this for others during these quiet dark times.”

Would you say that the album has taken on new meaning or offers any newfound comfort during these trying times?

“Hopefully this album will help people feel whatever it is they need to feel. Going through intense waves of worry is scary. I hope this record brings some good company to all the isolated people”.

I will wrap things up soon. I implore people to follow her on social media and, when we can go out to see gigs again, catch her on the road. She is one of our brightest talents and, as I said, she is going to go a very long way! Don’t Let the Ink Dry is among this year’s best debut albums, and it is a record that seems to get stronger and more amazing the more you listen to.

CLASH were among many who were eager to praise Don’t Let the Ink Dry:

“It’s hard not to draw comparisons to Mazzy Star with ‘So Still For You.’ The guitar chords are similar to Star’s song with a similar name, ‘Fade Into You,’ but Owen’s voice is more fleeting, as she howls and shakes, reflecting on the lasting impact words can have on a relationship.

Owen showcases her range throughout the record, proving she’s truly a one to watch in the industry. The album might have roots in folk music, but that doesn't mean it lacks any colour or vibrancy. Soaring vocals take the lead in ‘Blue Moon,’ a grittier track with elements of classic rock as she introduces electric guitar, while songs like ‘Lover Not Today’ display twittering and bright vocals from the singer.

‘Don’t Let The Ink Dry’ is complex and rich in emotion, dazzling with every song. Owen’s talent was evident when she sang alongside The National, but her solo work is truly wonderful as she tells captivating stories through electro-folk music. Every song is a welcomed listen, with something for every mood. The singer-songwriter has mastered heartbreaking ballads like ‘For Redemption,’ but proved she can also create strong folk-pop tracks like ‘Mother.’

Eve Owen has only just started her journey, but there’s clearly a bright future ahead for the artist as her mature and accomplished album proves she’s indie music’s rising star”.

This year is a bit of an odd one for Eve Owen. Like quite a few artists, she has released an album whilst we are in lockdown and has not been able to tour it and promote in the manner she would have liked! I can imagine she will be busy gigging when that is a possibility, and I am going to try and go see her if she plays in London. Make sure you listen to the amazing Eve Owen and support…

HER every way you can.

_____________

Follow Eve Owen

PHOTO CREDIT: Jen Long

Official:

https://www.eveowenmusic.com/

Facebook:

https://www.facebook.com/EveOwenMusic/

Twitter:

https://twitter.com/eveowenmusic

Instagram:

https://www.instagram.com/eveowenmusic/

YouTube:

https://www.youtube.com/channel/UCqI2DbZHkaCtGcWvibwMbwA

Spotify:

https://open.spotify.com/artist/5K9H52DBfvfMzrskJkU4An

FEATURE: Vinyl Corner: SZA - Ctrl

FEATURE:

 

Vinyl Corner

SZA - Ctrl

___________

FOR this edition of Vinyl Corner…

I wanted to look at an album that turns three on 9th June. SZA’s Ctrl is a phenomenal album, and one that was included in pretty much every ‘album of the year’ list in 2017. If you can get it on vinyl, then make sure you do. It is the debut album of he American artist and, after it made an enormous impact in 2017, many people are anticipating a second album and wondering if we might see that soon – there have been rumours of a second album, and SZA discussed the idea of putting out twenty unreleased songs ahead of a full studio project. Ctrl, apparently, was the result of tireless work and obsession from SZA who, having immersed herself in the songs so much, had to have her hard drive taken away by the record label; maybe fearful that they would not get an album. It is clear that anxiety was fuelling creativity but, at the same time, it was hard for SZA to disconnect. The album was originally slated for 2015, but I guess that extra time paid off: Ctrl is considered one of the best albums of the 2010s. Working with a range of producers, SZA delivered this incredibly broad album that mixes Neo-Soul and R&B with various genres. That blend of personal and relatable lyrics with these incredible performances and compositions meant that the album resonated with many. Singles like Drew Barrymore, The Weekend and Broken Clocks are staggering. Ctrl and tracks were nominated for four Grammys; the album has sold over one-million copies.

It is amazing to think that the original album sessions began in 2014. I know there were personal reasons for the delay, but it also clear SZA was putting her everything into the album! Taking inspiration from music across various decades, she was adding in these great sounds and disparate tones to great effect. The legendary producer Rick Rubin was a useful guide during the initial phases, and he suggested stripping stuff away and editing a bit more – SZA was used to adding layers and packing a lot in. What resulted is an album that has plenty to say and is full, yet SZA is at the front and she is not buried low in the mix. Rather than me discuss the ins and outs of the album, I wanted to bring in a couple of reviews that show what a huge impact the album made – and then urge people to listen to the album. In their review, this is what AllMusic had to say:

“Solana Rowe's proper debut album, due to its title, invites comparisons to Janet Jackson's 1986 personal and commercial breakout. It's an individual statement, however, one distinct from even the contemporary likes of Kehlani's SweetSexySavage. Placed beside only Z, its three-year-old prelude, Ctrl is the work of a considerably less-inhibited songwriter. Rowe likewise truly fronts these frank songs that wield power as they lament lonesomeness, insecurity, and inertia. She neither projects slight wisps nor obscures herself inside swirling synthesizers, yet she oversells not a single thought. On screen, a slight shrug from her would probably devastate an expectant admirer.

In the slow-motion hip-hop soul of "Doves in the Wind," featuring a hectoring verse from fellow TDE artist Kendrick Lamar, Rowe schools inapt and inept male behavior, offering intimate counsel and acerbic derision in a uniquely offhanded style. As assured as she is in this mode, she's not too proud to test a partner ("Call me on my bullshit, lie to me and say my booty gettin' bigger even if it ain't"), express personal dissatisfaction ("All alone still, not a thing in my name"), or plainly grieve ("Do you even know I'm alive?"). The production crew here is almost completely different from the one involved on Z, with TDE regular Tyran Donaldson (aka Antydote and Scum) the lone holdover, present on seven tracks. For every overdone trap trick, there's a couple of sly wrinkles, like the thick, chiming groove in "Go Gina," where Rowe brilliantly illustrates a specific kind of fatigue ("Picking up a penny with a press-on is easier than holding you down") and the woozy, decayed synthesizer line in the Travis Scott-assisted single "Love Galore," ideal for a song about rekindling a dead-end affair. This is a marked improvement, a distinctive statement, and an indication of more great work to come”.

I find myself coming back to Ctrl, as it keeps offering up new details and joys. It is such a nuanced album that hits you right away but, as I say often in these features, comes back and surprises you. The Irish Times discussed Ctrl being this deep and immersive listen:

 “Welcome to a gritty, soulful and widescreen new R&B landscape. SZA has previously flouted her credentials as a performer and songwriter, but this debut album is a much more striking affair than earlier releases as the New Jersey singer shows both tough and vulnerable sides with remarkable results.

Her first person confessionals and eye witness accounts about love, feminism, control and relationships in the age of social media, coupled with some sweet and rich musical textures, ensure that this an album with many layers to peel back and reward a deep listen.

She’s certainly got a great ear for how language can soothe and sting, a quality which makes her songwriting really connect on Normal Girl and Love Galore.

She’s also strong enough not to be dominated by such A-list guests as Kendrick Lamar (Doves In the Wind) or Travis Scott. It’s clear to see who’s in control on this record”.

That blend of the extraordinary musical backing and these very direct and important lyrics is why the album sounds so important and brilliant now – I don’t think its power will ever dim! As the world awaits new music from the brilliant SZA, have a listen to Ctrl and all that it offers. It is a brilliant album to buy on vinyl; sit down, let it sink in and blow you away. Go out and buy the album – or stream it if you can’t -, and experience a truly dazzling artist who is…

IN a league of her own.

FEATURE: The Lockdown Playlist: Seriously Good R&B

FEATURE:

The Lockdown Playlist

PHOTO CREDIT: @lucaslenzi/Unsplash

Seriously Good R&B

___________

EVEN though…

PHOTO CREDIT: @jmuniz/Unsplash

we are sort of easing out of lockdown, most of us are still not able to travel far and are largely limited to home. Because of that, I am keeping the Lockdown Playlist series firm until things change. In this edition, I wanted to put out some great R&B tracks that should lift the energy levels, but also provide something quite sensual, smooth and sassy. It has been a tough week for us all, and I feel like music is needed more than ever. If you need some brilliant music that will help ease the stresses around and provide some great jams, then take a listen to the playlist below. In this selection are classics, brilliant cuts and…

PHOTO CREDIT: @mahiruysal/Unsplash

SOME real gems.

FEATURE: Flying the Flag: A Pride Month 2020 Playlist

FEATURE:

 

Flying the Flag

PHOTO CREDIT: @brnkd/Unsplash

A Pride Month 2020 Playlist

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ALTHOUGH lockdown has…

PHOTO CREDIT: @brnkd/Unsplash

prohibited coming together and community cheer, it is Pride Month, and it is important to provide a bit of information and awareness. I am going to finish this feature with a Pride playlist but, as June is a month to celebrate the L.G.B.T.Q.I.A.+ community, here is some more information about Pride Month:

“An Annual LGBT Pride Celebration

Every year, during the month of June, the LGBT community celebrates in a number of different ways. Across the globe, various events are held during this special month as a way of recognising the influence LGBT people have had around the world. Why was June chosen? Because it is when the Stonewall Riots took place, way back in 1969.

As well as being a month long celebration, Pride month is also an opportunity to peacefully protest and raise political awareness of current issues facing the community. Parades are a prominent feature of Pride month, and there are many street parties, community events, poetry readings, public speaking, street festivals and educational sessions all of which are covered by mainstream media and attracting millions of participants”.

Although the usual gatherings cannot take place, that is not to say that Pride Month this year is a washout. In fact, there are virtual events taking place. The Evening Standard discussed this unique and rather alternative Pride Month in a feature from earlier in the week:

“While parades, street parties, and creative festivities are typical of Pride Month, this year virtual alternatives will replace public gatherings due to the ongoing health risk and associated restrictions.

Amnesty International has partnered with UK Black Pride, Stonewall and ParaPride to create a fully-digitised calendar – spanning Zoom through TikTok ​– in what will be known as Pride Inside.

IN THIS PHOTO: A pair kiss during World Pride NYC and Stonewall 50th LGBTQ Pride parade in New York in 2019/PHOTO CREDIT: Reuters/Lucas Jackson

Activists, comedians, artists, musicians and DJs will join forces to deliver online talks, performances and educational workshops in honour and support of the LGBTQ+ community.

“COVID-19 won’t stop us celebrating LGBT+ rights,” said Sen Raj, Amnesty International’s Rainbow Network committee member. “This year, Pride will be inside – in our homes and in our hearts.”

The virus has added incentive to the occasion.

“Around the world,” added Mr Raj, “the pandemic is having a disproportionate effect on LGBTI+ people who have been historically discriminated against in their access to healthcare, housing and employment”.

I felt that it was important not to overlook Pride Month because, whilst racism and some important issues have been filling the news this month, the L.G.B.T.Q.I.A.+ community are being affected by prejudice. Because of that, I thought it would be best to finish with an uplifting and eclectic Pride playlist that, I hope, manages to raise some energy. It is a shame that parades and outdoor celebrations will not happen this month but, I am sure, many people will be out in force in 2021 to…

PHOTO CREDIT: @janasabeth/Unsplash

MAKE up for it.

FEATURE: Fields of Gold: The Full Capacity Plan: Faster Contact Tracing v. Social Distancing

FEATURE:

 

Fields of Gold

PHOTO CREDIT: @v_well/Unsplash

The Full Capacity Plan: Faster Contact Tracing v. Social Distancing

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MANY of us are…

PHOTO CREDIT: @globelet/Unsplash

straining on the leash and are keen to flock to festivals! This year’s calendar has been suspended, and we are all looking ahead to 2021. Although one cannot imagine too many issues with next year’s gigs and festivals, you never know what might happen between now and then regarding the spread of Covid-19 and how it will impact the industry. At the moment, there are suggestions socially-distanced gigs could be the norm: allowing venues to open but with reduced capacity; people standing apart and not coming into contact with one another. Whilst venues everywhere are struggling and are desperate to open their doors, I do wonder whether many gig-goers will go for the more intimate and less atmospheric social-distancing approach. A vaccine is a long way off but, as talk of trace and testing/track and trace is being bandied around (though the timescale of when it will happen seems to shift every day), maybe that is a solution? This NME article concerns Reading & Leeds boss, Melvin Benn, and how trace and testing might help festivals get back on their feet:

“Reading & Leeds Festival boss Melvin Benn has suggested a proposal that is advocating an increase in coronavirus testing in order to enable the full re-opening of music venues, pubs and sporting events and serve as an alternative to social distancing following the pandemic.

Benn, who is the Managing Director of Festival Republic, has called for the increase in testing as the UK’s leisure industries “cannot operate with the measures that are currently in place”.

PHOTO CREDIT: @aranxa_esteve/Unsplash

‘The Full Capacity Plan’ is instead proposing an incentive-based scheme that will advocate the widespread public use of the NHS COVID-19 App, which aims to automate the process of contact tracing and spark an increase in population testing.

The Plan is seeking to “connect access to the entertainment and hospitality sector to a mandatory COVID-19 test” which will “create a personal incentive for the population to get frequently tested and use the NHS trace app”.

“This known customer principle provides a safe alternative to social distancing for the entertainment and hospitality sector for ‘known customers’ who have tested free from COVID-19,” the plan states.

Festival Republic hope to work in partnership with the government in order to get people using the app and getting regularly tested for coronavirus in order to access music venues, pubs, theatres and sporting events. If successful, the plan could be in place by November to commence an “industry restart with [an] embedded new process and rapid scaling”.

Speaking to NME last month about the possibility of enforcing social distancing at future music festivals, Isle Of Wight Festival boss and music agent John Giddings said the idea was “ludicrous”.

“Once you give someone a couple of drinks, they’ll start having the best time with all these people. With social distancing you can only fit 15 people on a double decker bus, how is that economically viable? It’s the same for festivals,” Giddings said”.

PHOTO CREDIT: @seththr/Unsplash

Right now, trace and testing might not be viable and rolled out until September but, if successful, that could give festivals and venues some peace of mind. I am not sure how it would work but, in theory, if people with Smartphones had an app that showed they were not infected, venues would be able to ensure people inside were safe. Many festivals have been put off until 2021; but will many have the confidence to return if there is no system in place to guarantee that the venue/festival is clear of Covid-19?! Maybe it would be easier for venues to operate with a track and trace system in place – and they will want to open this year -, but festivals like Reading & Leeds and Glastonbury won’t want there to be any restrictions when they come back next year. I think being socially-distanced will be hard in any venue or festival. There is that natural inclination to be close to other people, and to experience music in a physical and community sense. In the short-term, distancing might be the only way venues can remain viable, but I think it won’t be realistic next year when festivals start to come back. Let’s hope that some form of tracking and tracing can be finalised by the autumn, as it will give the music industry – and everyone for that matter – a real sense of confidence. It will take a long time to return to how things were last year but, right now, there is this hunger and desire for live music. Let’s hope the Government can get a track and trace system in place soon as it will give music fans…

PHOTO CREDIT: @robertbye/Unsplash

SOME much-needed good news! 

FEATURE: An Appetite for Genius: The Paddy McAloon Playlist

FEATURE:

 

An Appetite for Genius

IN THIS PHOTO: Paddy McAloon, circa 2019/PHOTO CREDIT: Tom Sheehan

The Paddy McAloon Playlist

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I am doing a few more…

IN THIS PHOTO: Paddy McAloon in 1985/PHOTO CREDIT: Michael Putland

birthday playlists over the coming weeks – Paul McCartney’s birthday is this month so, invariably, there will be a Macca playlist! I am keen to celebrate a musician who, whilst not particularly active at the moment, has been responsible for some of the finest music ever! As the lead of the band Prefab Sprout, Paddy McAloon’s incredible songwriting genius is known to us all. The County Durham group were a big part of my early years, and I just adore their albums! Whilst the entire band are responsible for the terrific music, it is McAloon’s words and vocals that, to me, bring the songs to life (though, when he combines vocals with his bandmate Wendy Smith, you get something that is utterly transcendent). His birthday is today (7th June) so, to honour the great man, I wanted to compile a playlist with some of the absolute best Prefab Sprout tracks – highlighting just how consistently wonderful and diverse the man is! I am not sure whether there are going to be any more Prefab Sprout albums – the last, 2013’s Crimson/Red was, essentially, a Paddy McAloon solo album –, but that does not matter that much: the music we have out already will live forever! On McAloon’s birthday, I want to tip my cap to a songwriting great and wish the legend…

IN THIS PHOTO: Prefab Sprout

A really wonderful day.

FEATURE: The Spirit of Lake Tahoe: Kate Bush’s Beautiful and Spellbinding 50 Words for Snow

FEATURE:

 

The Spirit of Lake Tahoe

IN THIS PHOTO: Kate Bush in a promotional image for 50 Words for Snow/PHOTO CREDIT: John Carder Bush

Kate Bush’s Beautiful and Spellbinding 50 Words for Snow

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I last wrote about…

Kate Bush’s 50 Words for Snow late last year, and I will try not to repeat myself too much. There are a couple of reasons for me returning to 2011’s 50 Words for Snow. I have been listening to it a lot recently, as I had been neglecting it a bit and I think the tones, stories and beautiful notes of 50 Words for Snow is providing something pure and wonderful. Also, as I mentioned in my previous feature, 50 Words for Snow is the latest album from Bush. Although it has almost been nine years since the album came out (50 Words for Snow was released on 21st November, 2011), I am discovering new things. I want to explore the beauty and spellbinding qualities of the record, but I was interested in the idea that Bush set up her own label, Fish People, and released on it – 2011’s Director’s Cut was also released on the label.. 50 Words for Snow being released on Fish People was Bush’s first album away from EMI, and I wonder whether she will be doing anything further with the label. When Ken Bruce (BBC Radio 2) interviewed Bush in 2011 – to promote Director’s Cut -, she was asked about it but was not too sure. Any future albums, of course, will be released via Fish People, and when she remastered and re-released her back catalogue in 2018, she put them out on her label – as she helped remaster the albums, that is fair enough.

I love the fact that, gradually, Bush is sort of taking back ownership of her music from EMI. Not that she was unhappy with EMI; I do think the establishment of Fish People was a deliberate move away from a major label and a chance for her to write, record and promote an album as she saw fit. In 2011, maybe connected to that, Bush provided a lot of interviews and was very open regarding her time. Those accusing her of being reclusive needs to listen to the scores of radio interviews and magazine features that she appeared in; someone who was able to command a lot of attention and get her album out there without leaving her home – Bush wound down T.V. interviews in the 1990s, and appearing on chat shows is not really her style! Although she released Aerial in 2005, and she ‘returned’ after twelve years away – The Red Shoes was released in 1993 -, I think 50 Words for Snow marked a new passage and phase of Bush’s career. With her son, Bertie, entering his teen years (he was born in 1998, and he contributed to the album) and Bush taking her music in new directions, 50 Words for Snow is one of Bush’s most engrossing and compelling albums. Aerial is an album synonymous with daylight, the natural world and dawn – at least on the double album’s second side, A Sky of Honey -, and the first half has this very nourishing feel to it. Whilst 50 Words for Snow is not a chilly and dark album, there is a sense of the night-time and the almost Christmas-like association with snow.

The album’s title came from the myth that Eskimos have fifty words for snow; the entire album has this gorgeously minimal feel. I adore the title track and the fact it is, effectively, Bush adding a couple of lines alongside Stephen Fry giving us fifty words for snow – they range from gibberish to funny. Since The Red Shoes, Bush moved more and more away from tight songs and Pop structures. Aerial has these beautiful orchestral passages, and I associate the album with piano, birdsong and strings. With 50 Words for Snow, I think vocals and drums stand out more. Perhaps less musically expansive and adventurous than its predecessor, 50 Words for Snow’s palette is still extraordinary. The legendary Steve Gadd played drums on all tracks but one – the final song, Among Angels, features no percussion -, and he brings so many textures, grooves and sounds to the plate. I think 50 Words for Snow’s percussion is incredible, but Bush’s voice is equally stirring. She was in her early-fifties when she began recording the album, and her voice is so full of emotion and wisdom. The percussion is largely minimal, and Bush’s vocals are at their most subtle and soft. Whilst one would assume 50 Words for Snow is as light and simple as snow itself, there are so many layers and surprises through the record.

Bertie appears on Snowflake, and his is the first voice we hear – a choir-boy register that gives 50 Words for Snow this angelic and ethereal start. I mentioned how 50 Words for Snow is sort of Christmassy; the songs are sort of hymnal and carol-like in their quality and resonance. I want to explore the album a bit more but, before I do, I want to source from a couple of reviews that show how people reacted to the album and how, thirty-three years after her debut album was released, Bush continued to subvert expectations and produce this unique and completely uncommercial music – she was never one for traditional structures and following her mainstream peers! Andy Gill reviewed 50 Words for Snow for The Independent:

“At 14 minutes, "Misty" is the longest track, with Steve Gadd's jazzy drumming swirling around the fairy-tale love-tryst between a woman and a snowman, whose inevitable dissolution is evoked in watery slide-guitar akin to a valiha. The empathy between human and non-human extends further in "Wild Man", where the search for a yeti is sketched with the geographical accuracy of an actual Himalayan expedition, Bush's softly voiced verses punctuated by more urgent refrains urging the beast's escape – its capture would mean death for the abominable snowman of myth and legend, now reduced to mere flesh and bone.

Elton John duets on "Snowed in at Wheeler Street", in which a pair of immortal, time-travelling lovers snatch a momentary erotic interlude under the cover of a blizzard, already regretting their inevitable separation as they each track their way through history: "Come with me, I've got some rope, I'll tie us together," sings Bush, as if they were emotional mountaineers. "I don't want to lose you, I don't want to walk into the crowd again."

But it's "50 Words for Snow" itself which offers the most engaging, genial development of the album's wintry theme, its scudding groove assailed by chilly wind as Stephen Fry enunciates the terms – mostly made-up by Bush herself – with quiet relish: "Eiderfalls... Wenceslasair... Vanillaswarm... Icyskidski...", while she stands on the sideline, occasionally jumping in to cajole him, like a coach boosting her player's morale. It's a fitting climax to a seasonal offering that manages to evoke the essential spirit of winter while avoiding all the dog-eared clichés of Christmas albums – or indeed, any overt mention of that particular fairy story. Which is some achievement”.

50 Words for Snow gained Bush some of her best reviews since 1985’s Hounds of Love, and I think a lot of people picked up on the child-like quality of the album and sense of wonder that ran through every track. To me, 50 Words for Snow is a series of short tales in a classic Victorian novel; almost like a lost classic, where we have these gorgeous wintery tales narrated beautifully. Beside the innate tenderness and dreaminess of the album, Bush’s compositions are brilliantly evocative and expansive. I mentioned how she moved away from shorter, radio-friendly tones; 50 Words for Snow’s seven tracks run in at sixty-five minutes, but no song ever sounds too over-long and pretentious. Pitchfork, in their review highlighted the child-like nature of the album:

“While much of 50 Words for Snow conjures a whited-out, dream-like state of disbelief, it's important to note that Bush does everything in her power to make all the shadowy phantoms here feel real. Her best music, this album included, has the effect of putting one in the kind of treasured, child-like space-- not so much innocent as open to imagination-- that never gets old. "I have a theory that there are parts of our mental worlds that are still based around the age between five and eight, and we just kind of pretend to be grown-up," she recently told The Independent.

"Our essence is there in a much more powerful way when we're children, and if you're lucky enough to... hang onto who you are, you do have that at your core for the rest of your life." Snow isn't a blissful retreat to simpler times, though. It's fraught with endings, loss, quiet-- adult things. This is more than pure fantasy. When faced with her unlikely guest on "Misty", Bush pinches herself: "Should be a dream, but I'm not sleepy".

This feature is not me looking back at Kate Bush’s latest album and wondering when another might arrive. I do wonder whether we will get some music in the coming years, and whether her Fish People label will take on other artists and become a bigger prospect. Perhaps it is the tumultuous, turbulent and troubled times we are living through that has caused me to spend a lot of time with an album that is so inviting and protective. Bush could have repeated previous albums or played it safe but, her being her, what we got with 50 Words for Snow is this hugely important and memorable album. I love all of her work, but I was taken aback in 2011 when 50 Words for Snow arrived. One has this in-built patience when it comes to Bush and album output, because she can take a while to release stuff, but the worth is always worth it – that is why this pretty long pause is not too bad; you just know, right now, there is some music brewing! Listening back to such a beautiful and calming album is helping me (and many others) find light and relief…

THROUGH these darker times.

FEATURE: A Buyer’s Guide: Part Five: Steely Dan

FEATURE:

A Buyer’s Guide

IN THIS PHOTO: Walter Becker (right) and Donald Fagen during the making their album, The Royal Scam, at The Village Recorder studio on 23rd November, 1975 in Los Angeles, California/PHOTO CREDIT: Ed Caraeff

Part Five: Steely Dan

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ONE of the most rewarding…

IN THIS PHOTO: Donald Fagen and Walter Becker of Steely Dan in 1978/PHOTO CREDIT: Michael Ochs Archives/Getty Images

features is A Buyer’s Guide: where I get to suggest the best and most underrated albums by well-known acts, in addition to an essential book. Today’s subjects are the incredible Steely Dan. Essentially Donald Fagen and (the late) Walter Becker and a cast of musicians, Steely Dan have crafted some of the best albums ever released. I almost feel sorry excluding some of their albums from this feature, as they are all awash with skill, beauty and wonderful music! Alas, I think it is important to advise of the Steely Dan albums to own, so one can start their discovery – or continue – of one of music’s greatest bands. Although, oddly, it is quite hard to get hold of Steely Dan’s albums on vinyl – I hope the back catalogue is remastered and re-released in years to come -, I have provided links of where you can buy the albums, but one can always buy the album on Apple Music if they cannot obtain a physical copy – or you are free to stream them instead. Here is my guide to…

THE wonderful Steely Dan.

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The Four Essential Albums

Can’t Buy a Thrill

Release Date: November 1972

Label: ABC

Producer: Gary Katz

Standout Tracks: Dirty Work/Kings/Reelin’ in the Years

Buy: https://www.discogs.com/sell/list?master_id=16883&ev=mb

Stream: https://open.spotify.com/album/4Gh6pRaXqXTtJx4plAJbBw

Review:

“Walter Becker and Donald Fagen were remarkable craftsmen from the start, as Steely Dan's debut, Can't Buy a Thrill, illustrates. Each song is tightly constructed, with interlocking chords and gracefully interwoven melodies, buoyed by clever, cryptic lyrics. All of these are hallmarks of Steely Dan's signature sound, but what is most remarkable about the record is the way it differs from their later albums. Of course, one of the most notable differences is the presence of vocalist David Palmer, a professional blue-eyed soul vocalist who oversings the handful of tracks where he takes the lead. Palmer's very presence signals the one major flaw with the album -- in an attempt to appeal to a wide audience, Becker and Fagen tempered their wildest impulses with mainstream pop techniques. Consequently, there are very few of the jazz flourishes that came to distinguish their albums -- the breakthrough single, "Do It Again," does work an impressively tight Latin jazz beat, and "Reelin' in the Years" has jazzy guitar solos and harmonies -- and the production is overly polished, conforming to all the conventions of early-'70s radio. Of course, that gives these decidedly twisted songs a subversive edge, but compositionally, these aren't as innovative as their later work. Even so, the best moments ("Dirty Work," "Kings," "Midnight Cruiser," "Turn That Heartbeat Over Again") are wonderful pop songs that subvert traditional conventions and more than foreshadow the paths Steely Dan would later take” – AllMusic

Choice Cut: Midnite Cruiser

Pretzel Logic

Release Date: 20th February, 1974

Label: ABC

Producer: Gary Katz

Standout Tracks: Rikki Don’t Lose That Number/Any Major Dude Will Tell You/Charlie Freak

Buy: https://www.discogs.com/sell/list?master_id=16984&ev=mb

Stream: https://open.spotify.com/album/2OUYJtDV6EmLkVyoHSuGIp

Review:

“When Fagen, Baxter and the rest can’t give a track the right touch, they send out for it. The exotic percussion, violin sections, bells and horns that augment certain cuts are woven tightly into the arrangements, each with a clear function. Producer Gary Katz provides a sound that’s vibrant without seeming artificial. The band uses additional instrumentation in its live sets as well as on record, traveling with a different array each time they tour. For the current one, they’ve added a second drummer, a second pianist (who also sings) and a vocalist, so that now there are four singers and every instrument but bass is doubled. I don’t think any of their records can equal this band on a good night.

While Steely Dan for the most part succeeds in its efforts to force its character into the strict limitations of the short pop song, the music would benefit from more elaboration. Here they can only begin to convey the moods and textures that made Countdown To Ecstasy their most impressive album. But at the very least, “Rikki …,” “Any Major Dude …,” “Barrytown” and “Through With Buzz” are fine oddball pop songs, any of which would make a terrific single.

In a short time, Steely Dan has turned into one of the best American bands, and surely one of the most original. Their only problem is the lack of a visual identity to go with their musical one — as pop personalities, they’re practically anonymous. But with music as accessible and sophisticated as Steely Dan’s, no one should care” – Rolling Stone

Choice Cut: Night by Night

Katy Lied 

Release Date: March 1975

Label: ABC

Producer: Gary Katz

Standout Tracks: Black Friday/Doctor Wu/Everyone's Gone to the Movies

Buy: https://www.discogs.com/sell/list?master_id=16954&ev=mb

Stream: https://open.spotify.com/album/12N6IsuqIJzbTXdIrJnc9b

Review:

“Steely Dan made songs about the destructive force of male vanity that came from two people you knew were speaking from personal experience. They never hold themselves above their characters, but they don’t let them off the hook, either. On “Bad Sneakers,” we see a man bopping around the street near Radio City Music Hall like he owns the place. We feel what he feels but also see how ridiculous he looks, while McDonald’s background vocals suggest grace in his awkwardness, celebrating the energy that powers him even though his actions are laughable. “Rose Darling” is the third track in a row to mention money specifically, but on a more casual listen it sounds something like a pure love song. And then two cuts later, the A-side closes with “Dr. Wu.”

Lodged in the middle of the album that came in the middle of the decade and in the middle of Steely Dan’s decade-long, seven-album run is one of their very best songs, a weary and funny and specific and mysterious ode to longing and loss. “Dr. Wu” gave the album its title (“Katie lies/You can see it in her eyes”) and crystalizes its essential mood. One moment it’s about drugs, the next it’s about a love triangle, and then you’re not sure what’s next or even what’s real, and weaving through it all is the saxophone solo from Phil Woods, connecting dots between musical worlds both corny and elegant, from Billy Joel to Billy Strayhorn.

The characters flailing clumsily throughout Katy Lied are paralyzed by desires they aren’t introspective enough to understand, so all they can do is keep stumbling forward. “I got this thing inside me,” Fagen sings in a bridge on the late album highlight “Any World (That I’m Welcome To)”, “I only know I must obey/This feeling I can't explain away.” Sometimes obeying those desires lead people to something ugly and inexcusable, as on “Everyone’s Gone to the Movies,” a song about a guy who is almost certainly grooming kids for abuse. It’s a Todd Solondz film rendered in sound, and Fagen only shows us the lead-up, forcing us to assemble the pieces in our heads as he hides the crime behind the album’s cheeriest arrangement” – Pitchfork

Choice Cut: Bad Sneakers

Aja

Release Date: 23rd September, 1977

Label: ABC

Producer: Gary Katz

Standout Tracks: Peg/Home at Last/Josie

Buy: https://www.discogs.com/sell/list?master_id=16921&ev=mb

Stream: https://open.spotify.com/album/51XjnQQ9SR8VSEpxPO9vrW

Review:

“Aja was (is) a very influential work. In Scotland Ricky Ross heard the song Deacon Blues and named his band after it, while Peg is widely known because of De La Soul’s sampling of it for Eye Know. The jaunty Josie and the sublime title-track are further stand-outs on a record that barely breaks its bossa-nova beat. It is impossible to hear this record without thinking about LA sunshine, even though Fagen's lyrics were often nostalgic, ironic and bitter; hardly suspiring for a group that named itself after a – ahem – marital aid from William Burroughs’ Naked Lunch.

To complete the feeling that you were holding an old jazz album in your hands, the original pressings came in a gatefold sleeve with a note from ABC Records’ president Steve Diener and the mock reverential critique by ‘Michael Phalen’: "In this writer’s opinion, Aja signals the onset of a new maturity and a kind of solid professionalism that is the hallmark of an artist that has arrived." Phalen was, of course, Becker and Fagen.

To emphasize its importance, in 2011 Aja was deemed by the Library of Congress to be "culturally, historically, or aesthetically important" and added to the United States National Recording Registry. But with or without such an accolade, Aja remains a remarkable piece of work” – BBC

Choice Cut: Deacon Blues

The Underrated Gem

 

Gaucho

Release Date: 21st November, 1980

Label: MCA

Producer: Gary Katz

Standout Tracks: Babylon Sisters/Glamour Profession/Time Out of Mind

Buy: https://www.discogs.com/sell/release/844094?ev=rb

Stream: https://open.spotify.com/album/5fIBtKHWGjbjK9C4i1Z11L

Review:

“Good times! Is it any wonder Gaucho—the seventh Steely Dan album, and the last one Donald Fagen and Walter Becker would make together until the year 2000—is the one even some hardcore Danimals find it tough to fully cozy up to? The almost pathologically overdetermined production is elegant, arid, a little forbidding, and every last tinkling chime sounds like it took 12 days to mix, because chances are it did. And underneath that compulsive craftsmanship, that marble-slick surface, there’s decay, disillusionment, a gnawing sadness. But that’s what’s great about Gaucho. It takes the animating artistic tension of Steely Dan—their need to make flawless-sounding records lionizing inveterately human fuckups—to its logical endpoint.

It’s their most obviously L.A. record, so of course they made it in New York, after spending years out West making music so steeped in New York iconography it practically sweated hot-dog-cart water. And it’s also the most end-of-the-’70s record ever made, 38 minutes of immaculately conceived malaise-age bachelor-pad music by which to greet the cold dawn of the Reagan era. The characters in these songs have taken an era of self-expression and self-indulgence as far as they can. They’re free to do and be whatever and whoever they want, but all that severance of obligation has done is isolate them from other people” – Pitchfork

Choice Cut: Hey Nineteen

The Latest/Final Album

Everything Must Go

Release Date: 10th June, 2003

Label: Reprise

Producers: Walter Becker/Donald Fagen

Standout Tracks: The Last Mall/Godwhacker/Everything Must Go

Buy: https://www.discogs.com/sell/list?master_id=65834&ev=mb

Stream: https://open.spotify.com/album/1IZfi926sBgCgvIwIS2rcS

Review:

“Unique among contemporary musicians, the post-comeback Steely Dan make records that are more fun to read than to listen to.

Like this: "Now did you say that you were from the Netherlands/ Or was that 'Netherworld'?/ If you grew up in Amsterdam/ Then I'm the Duke of Earl." But in all other respects, this new set of songs fails to live up to such assured invention.

Thirty years on from their debut, Donald Fagen and Walter Becker have reduced the musical content of their compositions to a series of beautifully machined gestures, virtually devoid of the bright hooks and bold flourishes that gave them such a vital role in the wasteland of the 1970s, and sent fans skipping down the street humming snatches of Barrytown or Deacon Blues.

Time spent with the lyric sheet of Everything Must Go will not be wasted, but only the hard-bop horns on Things I Miss the Most, the slick guitar lick of Godwhacker and the laconic strut of Pixeleen rise above the mood of well-heeled world-weariness” – The Guardian

Choice Cut: Slang of Ages

The Steely Dan Book

Steely Dan: Reelin' in the Years

Author: Brian Sweet

Publication Date: 9th February, 2015 (paperback)

Publisher: Omnibus Press

Synopsis:

“Reelin' In The Years is the acclaimed biography of Steely Dan, now updated to include details of Walter Becker and Donald Fagen's work during the Nineties and beyond, including the latest Steely Dan masterpiece Everything Must Go.The only book ever to have been published on Steely Dan. Brian Sweet, former editor and publisher of Metal Leg, the UK based Steely Dan fanzine, draws back the veil of secrecy that has surrounded Becker and Fagen. Here at last is the true story of how they made their music and lived their lives. Includes many photographs and a complete discography” - Waterstones

Buy: https://www.amazon.co.uk/Steely-Dan-Reelin-Brian-Sweet/dp/1783056231

FEATURE: The June Playlist: Vol. 1: In the Snow Whilst We Wait for the Sun

FEATURE:

 

The June Playlist

IN THIS PHOTO: Run the Jewels

Vol. 1:  In the Snow Whilst We Wait for the Sun

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THIS week’s Playlist…

IN THIS PHOTO: IAMDDB

does not have as many big-hitters as normal, but there are some absolutely fantastic tracks out. Not only is there awesome music from Run the Jewels; Menswear have released a new/’lost’ single, and there is music from Elvis Costello, LA Priest, Hinds, IAMDDB, NZCA Lines and Faithless. It is definitely a busy and eclectic week, and this selection of songs is guaranteed to get the weekend kicked off with plenty of energy and might. The weather is pretty changeable right now so, rather than brave the murkiness and rain, settle in with an assortment of the best cuts from this week. I am looking excited to seeing what 2020 has to offer going forward but, this week alone, there are enough pearls to…

IN THIS PHOTO: Hinds/PHOTO CREDIT: @keaneshaw

KEEP anyone uplifted and entertained.

ALL PHOTOS/IMAGES (unless credited otherwise): Artists

__________

Run the Jewels – walking in the snow

IN THIS PHOTO: Menswear’s Johnny Dean

Menswear  - Wait for the Sun

PHOTO CREDIT: Andrew Twambley “Shadowplay”

Elvis Costello - No Flag

IAMDDB – QUARANTINE

LA Priest - Rubber Sky

Faithless – Let the Music Decide

PHOTO CREDIT: Charlie Wedin

Spunsugar - Happier Happyless

The Coronas – LA at Night

Erasure - Hey Now (Think I Got A Feeling)

Hinds – Burn

The Aces – Kelly

Becca Mancari – Lonely Boy

NCZA Lines - Prisoner of Love

IN THIS PHOTO: The Streets’ Mike Skinner/PHOTO CREDIT: All Stripes

The Streets (ft. Donae'O  and Greentea Peng) - I Wish You Loved You as Much as You Loved Him 

Mt. Joy – Rearrange Us

Sports Team – Camel Crew

PHOTO CREDIT: Sam Crowston

The Blinders – Mule Track

PHOTO CREDIT: Nick Mckk

Rolling Blackouts Coastal Fever - Cameo

Gordi – Unready

Two Door Cinema Club – Tiptoes

Izzie Gibbs – Dogs

PHOTO CREDIT: Dylan Johnson

Samantha Crain – Pastime

PHOTO CREDIT: Jack Alexander

Astrid S – Dance Dance Dance

CupcakKe – Lemon Pepper

Janet Devlin – Cinema Screen

Bruno Major – I’ll Sleep When I’m Older

Eves Karydas – Complicated

Nadia Rose – Too Bad

FEATURE: The Lockdown Playlist: Punk Missiles

FEATURE:

 

The Lockdown Playlist

PHOTO CREDIT: @diesektion/Unsplash

Punk Missiles

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IN the latest…

PHOTO CREDIT: @diesektion/Unsplash

instalment of The Lockdown Playlist, I am including some Punk jams; those songs that snarl, swagger and scream. I have tried to be fairly broad with the selection, but there is surely enough energy and quality in the playlist so that it gives you a boost and gets you on your day! I am not sure when the lockdown will end for good, and we are allowed out with few restrictions. As most people are keeping inside still until the situation improves a lot, I am going to keep putting out these playlists. I think today’s one is…

PHOTO CREDIT: @blazphoto/Unsplash

A pretty good one!

FEATURE: Second Spin: Catatonia – International Velvet

FEATURE:

 

Second Spin

Catatonia – International Velvet

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IN Second Spin…

I am looking at albums that maybe did not get the full credit they deserved when they came out or have not been discussed since appropriately. We all know the great Welsh band, Catatonia, and we can all name a few of their hits. International Velvet is the band’s second album, and I remember it coming out in 1998. The band were everywhere that year, and songs like Mulder and Scully and Road Rage are classics! I really like Catatonia, and I think it is a shame that they split after their fourth album, Paper Scissors Stone, in 2001. International Velvet spawned five top-forty singles, including Strange Glue and I Am the Mob. The album is packed with great music, and it was one of the biggest-selling albums of 1998 – International Velvet was also nominated for the Mercury Music Prize. Although many of the songs of International Velvet are instantly recognisable and timeless, the album has not scored the reviews I thought it would! Despite big sales, chart success and that Mercury nomination, critics were not overly-hot on International Velvet. Maybe many felt that, apart from the singles, International Velvet lacked consistency. In 1998, albums from Madonna (Ray of Light), Lauryn Hill (The Miseducation of Lauryn Hill) and Garbage (Version 2.0) were released, so perhaps Catatonia were not seen as a great alternative or as strong as the rest. Looking back over twenty years since its release, I play International Velvet and there is that great mix of the bigger tracks and golden remains.

Maybe one of the problems is that International Velvet is top-heavy. Mulder and Scully, Game On, I Am the Mob and Road Rage are the first four tracks – and were all successful singles -, whilst Strange Glue is the only single to feature in the second half. Listen to songs like Don't Need the Sunshine and International Velvet, and I think they hang alongside the singles in terms of quality. Catatonia consisted Cerys Matthews – vocals; Mark Roberts – guitar; Paul Jones – bass; Owen Powell – guitar and Aled Richards – drums, and most of the tracks were written by Matthews and Roberts. There are some positive reviews out there for International Velvet but, in terms of perception and media reviews, they have not matched the sales and public support of the album. Here is what NME wrote in 1998:

“Likewise with 'Why I Can't Stand One Night Stands', the title is the only simple sentiment you'll find. Rather than the bolshy social comment you might expect, it's a desolate, haunting pool of confused emotions, and all the more affecting for it.

'Johnny Come Lately' is even more intoxicating as a stab at dewy-eyed acoustic melancholy, and a grand piano on final track 'My Selfish Gene' is a masterstroke. Meanwhile the fact that those legendary nights out have developed a rough edge to Cerys' voice lends guts to out-and-out pop songs like 'Road Rage' and 'I Am The Mob'.

So this must be Catatonia growing up, then. And successfully, for the most part. The only thing that lets them down is that when they return to their most natural guitar pop habitat, they're at their least exciting.

They've shown they've got the trousers to back up the mouth. But we're still waiting for the knockout punch”.

I think Cerys Matthews’ incredible voice and the variety of songs makes International Velvet a captivating and interesting listen! Like so many well-known singles from the 1990s, I don’t think Road Rage and Mulder and Scully have become too overly-familiar and lost their edge. Maybe there is an element of nostalgia speaking, but I think International Velvet is a classic, and it definitely warrants some fresh investigation. The NME review I just quoted from was from 1998; in 2009, this is what AllMusic wrote:

“Prior to International Velvet, Catatonia offered modest, lovely pleasures -- pretty, ringing pop songs filled with sweet and sour melodies. Apparently, the band was concerned that they were a little too precious, a little too similar to late-'80s indie pop groups like the Primitives, so they beefed up their sound, turned up the guitars and toughened up their attack for International Velvet, their second major-label album (the first to be released in America). It's a gambit that fails as often it succeeds. Part of the problem is that the hard rock sounds forced, never quite rocking with the abandon it should and keeping much of the album grounded.

More problematically, Cerys Matthews has a captivating voice but a weakness for gimmicks -- "I Am the Mob" and "Mulder and Scully" have terrific hooks, but it's hard to get with their self-conscious pop culture references. Still, at least they bring memorable melodies to the songs. When their songwriting comes up short, there isn't enough attitude or snarl to the performances to make them enjoyable -- which is precisely what the sonic revamping should have given them. Even with the flaws, International Velvet has its fair share of pop delights -- it just doesn't deliver as many as Way Beyond Blue, which had a surplus of melody and grace”.

I really love International Velvet, and it is one of those strange albums that sold by the bucket-load and was all over the charts, yet the public’s love did not mirror the reaction from the media. Have a listen to the album and experience the classics like I Am the Mob and great album tracks such as Part of the Furniture. International Velvet is a full, eclectic and incredible album that I think...

HAS been overlooked by many people.

FEATURE: A Powerful Voice: The Importance of Black Music and Artists

FEATURE:

 

A Powerful Voice

IN THIS PHOTO: Beyoncé/PHOTO CREDIT: Kevin Mazur/Getty Images

The Importance of Black Music and Artists

___________

THIS past week or so…

PHOTO CREDIT: Sean Gallup/Getty Images

has been one of the most upsetting and shocking in living memory. Protests have led to riots in the U.S., and people have been taking to the streets to demand action after the killing of George Floyd by a white officer. Normally, music companies and artists are filling social media with promotion and such but, last Tuesday (2nd June), there was a blackout – a show of solidarity across the industry. This is how NPR reported the news on Tuesday:

 “As protests demanding racial justice have multiplied since the death of George Floyd in Minneapolis police custody last week, the spirit of reckoning has also spread across America, including within the music industry. One initiative seeks to redress the historical inequities of the music business by declaring Tuesday to be a one-day moratorium on business as usual — alternately known as #TheShowMustBePaused, Blackout Tuesday and Black Out Tuesday — as a means of identifying with protesters and considering how the music business can become more accountable to the black communities from which it profits.

As the initiative gained traction over the weekend, especially on social media, companies and organizations, including major record labels such as Columbia, Interscope and Republic Records, announced their participation. Just as quickly, some wondered what participation would mean, and many questioned whether the effort, embraced so quickly by huge corporations, would end up being an empty gesture rather than a sincere effort to counteract a history of exploitation”.

Not only were people in the music industry refraining from the usual business and promotional cycle; many were sharing links to organisations dedicated to black equality and fighting racism. I donated to a few charities and signed petitions. We were being encouraged, not to be silent but use the day as a proactive chance to become more educated and aware. Also, rather than everything intensifying on Tuesday and dying down through the week, the movement and wave of information has continued to appear on social media. There is hope that this anger and universal togetherness will continue and, as demonstrations and protests continue around the world, politicians will react. With Donald Trump in the U.S. fanning flames of hatred and division, it is a scary future, but the people are reacting and not remaining silent in the quest for justice and change – especially when it comes to police brutality. One of the reasons for publishing this feature was to highlight how important black musicians are, not only to me but so many music lovers. Before I continue on, I want to bring in a news story from Rolling Stone, where The Weeknd talked about how black artists are overlooked and there is a disparity; so many profit from Black music without fully respecting it and realising its true value:

“The Weeknd, aka Abel Tesfaye, is urging “industry partners and execs” to support causes that address racial equality as he has through giving $500,000 to a number of organizations.

On Tuesday, a bevy of companies in the music business participated in a day of silent protest dubbed #BlackoutTuesday and #TheShowMustBePaused, which asked the industry to “not conduct business as usual” and instead spend time reflecting on how to support the black community.

IN THIS PHOTO: The Weeknd/PHOTO CREDIT: Duncan Loudon

“To my fellow respected industry partners and execs — no one profits off of black music more than the labels and streaming services,” the Weeknd wrote on Twitter on Tuesday. “I gave yesterday and I urge you to go big and public with yours this week. It would mean the world to me and the community if you can join us.”

On Monday, the singer donated $200,000 to Black Lives Matter Global Network, $200,000 to Colin Kaepernick’s Know Your Rights Camp Legal Defense initiative and $100,000 to National Bail Out, which he shared on Instagram.

“Keep supporting our brothers and sisters out there risking everything to push for actual change for our black lives,” he wrote. “Urging everyone with big pockets to give and give big and if you have less please give what you can even if it’s a small amount”.

I grew up around so many black artists – in terms of the music I loved. From Michael Jackson and Stevie Wonder through to Marvin Gaye, De La Soul and Donna Summer, these artists are still hugely important to me. I remember the early days of MTV when black artists were not being played; artists like Michael Jackson took a stand and, slowly, things began to change. I think we all take for granted how important music from black artists is. Whether you are a fan of Bob Marley, Beyoncé, Dizzee Rascal or Curtis Mayfield, every one of us has had their lives changed by these incredible artists. Looking back at childhood and the artists who were featured on music T.V. and played on the radio, it is such a shame and dishonour that there was this racial inequality. It has never been the case that black artists are limited to certain genres. From Rock to Pop, through to Soul and Rap, black artists have helped change and shape the world. Think about the best albums from the last decade (2010s), and masterpieces from Beyoncé (Lemonade), Kendrick Lamar (To Pimp a Butterfly), Frank Ocean (Channel Orange), D’Angelo and the Vanguard (Black Messiah), Solange (A Seat at the Table) and SZA (Ctrl) have resonated louder and harder than any other album.

Personally, I have so much respect and love for black artists and how they have had to fight for decades. The music industry should be a level and equal platform where quality is the measure-stick; a place where black artists do not have to call for equal pay, attention and prominence. I am not going to get into a debate regarding racism in music but, even in 2020, black artists have to lobby for equality. Right now, there are more demonstrations planned in the U.S. and the U.K., and I hope we see some real social and political change this year. That goes for the music industry, too. Not only was Tuesday a chance to show some respect for those black lives taken, but to promote black artists and their voices; to do more than merely remain silent. I have become more aware of black charities and have done some reading; I am looking to do more offline to do something meaningful in my community. When I think of music and how it has enriched me and continues to do so, I give my heart and love to black artists of all genres. Jamila Woods, Solange, Lizzo, Brittany Howard, Little Simz, Dave, Eve, Moses Sumney, J Hus, Donald Glover, Moses Sumney, Thundercat and Kamasi Washington have delivered some of the most profound and moving work over the past couple of years. Not only should we assure that black artists are seen in a different, equal light, but we all need to realise that we take so much from their music, stories and truths, but do we truly go beyond listening on Spotify and think about black lives and what is being sung in the songs? I think we can all do more, but I have been especially affected by recent events and have vowed to do more and to change my listening ways. In this feature, I have mentioned some brilliant modern-day black artists making a change, and I wanted to include a couple of playlists that features some of the truly phenomenal songs black artists have given us through the years. Let’s hope that, from now on, music fans and those in the industry give their support to…

A powerful voice.

FEATURE: Turn Up the Radio: Bringing Us Together, Keeping Us Strong: The Continuing Lifeline of Radio

FEATURE:

 

Turn Up the Radio

PHOTO CREDIT: @willfrancis/Unsplash

Bringing Us Together, Keeping Us Strong: The Continuing Lifeline of Radio

___________

I realise…

PHOTO CREDIT: @harryjamesgrout/Unsplash

that I have written quite a bit about radio and how it is uniting us all. I apologise for repeating myself but, as we are still in lockdown and many of us are home for the time being, the additional passing of time is putting pressure on people; not just in terms of missing their families and friends, but not being able to integrate, work or experience life how they used to. I don’t think any of us are used to this situation, and the boredom factor is something that is hard to combat – even if we do have podcasts and streaming to keep us occupied. I think things will only start to return to near-normal in a couple of months and, in the meantime, we are all looking for something to keep us connected and upbeat. Music itself is able to do that, but radio provides something very different. I think it (radio) is more like being in the room with someone and having a conversation, whereas music and television seems to be less direct and more passive. Radio is interactive and involved. Even if you are on your own, radio provides a community spirit and warmth that makes you feel involved and united. I read an article on The Observer’s website that highlighted the ongoing popularity and necessity of radio. The article brought in various broadcasters, and I love the interview conducted with Lauren Laverne (BBC Radio 6 Music, BBC Radio 4), where she talked about her role and how she brings the listeners into her world:

“Nothing, except radio. Radio gives us, as it always has, a constantly live event, familiar but ever changing. Whether you’re a news junkie, a music fiend, or you just like silly chat, there are stations for you. There are phone-ins if you want to vent, pop quizzes for distraction, sing-alongs, help with schoolwork. Plus, if you find a show you like, a DJ can become a replacement friend – a warm presence chuntering in the kitchen corner, cracking quips over your headphones, blasting tunes out of speakers you’ve put on the window ledge.

Listener interaction is a big part of the show – Laverne alternates between asking her listeners “big emotional questions” and having “daft, fun moments”. She mentions a recent “lockdown hair” slot, and a picture she’d been sent of a father who’d given both sides of his hair for different children to cut (“I was in stitches”). She also gets sent pictures every day from a listener of his elderly mum. “She’s 89, she’s self-isolating, called Annelise, and there she is on a Tuesday, waving to me in an amazing hat!” Laverne doesn’t seem to think this is peculiar at all: quite the contrary. “That’s the really nice thing about the job. You’re a part of people’s everyday lives.”

She has also heard from listeners who have come to the show for the first time, and more families listening. Does she think people want an escape from the news? “I don’t think they necessarily want an alternative – they want a counterpoint. We don’t ignore what is happening. We just try to provide the right emotional cushion.”

IN THIS PHOTO: Lauren Laverne

Nothing illustrates this better than the slot every Thursday that the show dedicates to different key workers. These have included groups rarely celebrated in the media: charity fundraisers; delivery drivers; shop workers. Many have got in touch to thank her for remembering them, which has moved her profoundly. “When you’re sitting there in your little studio you’re quite sequestered from the world, but your voice is reaching out to places you can’t even imagine. And to think of those people wiping the trolleys, putting the bread on the shelves, messaging you to say thank you for thanking them… it reminds you what public service broadcasting is here for.”

Laverne knows live radio can do this like nothing else can. “It’s one person broadcasting to one another person, and that intimacy, but it’s also community. And to be doing it at breakfast time, and getting people up to face the day…” She laughs. “Well, above all, you’ve got to make sure you’re playing the right tunes”.

I do think that it is the community spirit that makes radio so necessary and valuable. No matter what station you listen to – I tune in to BBC Radio 6 Music and BBC Radio 2 -, there is something for everyone. Whether it is a powerful playlist, a listener feature or a station reacting to what is happening in the news – such as the unlawful killing of George Floyd in the U.S. -, radio reacts speaks to us in so many different ways. I tend to find T.V. and streaming can get a bit boring, and one finds themselves flicking through channels, trying to find something good to watch. Your favourite radio station is that reliable home and source of consistency. Even if you do return the dial to a different station, I do think there is more to keep you hooked and involved compared to television. When we are out of the other side of the pandemic, I know radio will be seen in a different light; even more loved and appreciated than it was several months ago. Just having a warm and friendly voice in the ears every day has provided so much to so many of us. Now, more than at any other time in recent memory, the brilliance of radio is a…

PHOTO CREDIT: @neilgodding/Unsplash

LIFELINE for many of us.

FEATURE: More Than Your Average Pub Singer: Kate Bush and The KT Bush Band

FEATURE:

 

More Than Your Average Pub Singer

IN THIS PHOTO: Kate Bush performing at the Rose of Lee in Lewisham in 1977/PHOTO CREDIT: Vic King

Kate Bush and The KT Bush Band

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THIS will be…

IN THIS PHOTO: Kate Bush at her family home in East Wickham in 1978/PHOTO CREDIT: Getty Images

a properly short feature, as there is not a lot of information out there regarding Kate Bush’s gigs performed with The KT Bush band before she recorded her debut album in 1977. Also, in terms of photos, there are not that many out there! Although members of the original band (excluding Kate Bush) are still performing, I am fascinated by the early incarnation. I am going to give the reasons for mentioning The KT Bush band in a minute but, before I do, I want to provide a couple of sources (I will also take some guidance from Graeme Thomson’s Kate Bush autobiography, Under the Ivy: The Life and Music of Kate Bush). This article from The Kate Bush Encyclopedia gives a bit of history about The KT Bush band:

“Band formed in 1977 by Brian Bath, Vic King, Del Palmer and Kate Bush. After practicing in Greenwich and East Wickham Farm, they made their live debut in April 1977 at the Rose Of Lee in Lewisham. The set list consisted of standards like Come Together, 'I Heard It Through The Grapevine', 'Tracks Of My Tears', but also early versions of Kate Bush songs like James And The Cold Gun, Saxophone Song and Them Heavy People. During the summer of 1977 the band played various venues in and around London, a grand total of 20 gigs.

IN THIS PHOTO: Kate Bush with her mother, Hannah, and her brothers Paddy (left) and John (right) at their home in East Wickham on 26th September, 1978/PHOTO CREDIT: Chris Moorhouse/Evening Standard/Hulton Archive/Getty Images

When Kate Bush started recording her debut album The Kick Inside, she actually recorded versions of 'Them Heavy People' and 'James And The Cold Gun' at De Wolfe Studios in London with the KT Bush Band, but in the end, the band members were not used for the album recordings. Also, an attempt to release a single of the KT Bush Band's version of Johnny Winter's 'Shame Shame Shame', recorded at Graphic Sound studios in Catford was halted either by Kate's family or EMI Records. Although many of the band's gigs were filmed, photographed and recorded, none of these have surfaced”.

Brian Bath, an old friend of Bush’s (he also played on several of her albums), still performs in The KT Bush band, and he recalls when the band started, and what a ‘modest’ foundation they had in terms of those initial gigs:

“Rehearsals for the KT Bush Band began in earnest. After a first try in a room at the swimming baths, we cleared out and set up our equipment in the Barn over at Kate’s home, The Farm. It was midwinter and absolutely freezing.

I remember setting my amp up in the old disused fireplace. Maybe if I played loud enough it would warm us up! Things began well. Kate spoilt us all with gallons of tea and biscuits, and fun was had by all.

We needed a gig to try the band out on, so I went to the Rose of Lee pub in Lee Green, London, one evening, and got the guvnor interested in the band. I said we would guarantee 20 people in the first week, bodies up to the bar the second, down to the other end the third, and packed on the fourth! This is precisely what happened.  What a gig it became – dry ice during “James and the Cold Gun” at the end of the evening where Kate went around with a pretend rifle, mock shooting at the audience!”.

IN THIS PHOTO: The KT Bush Band pictured in 2016

When we look at Kate Bush’s start, we do not often talk about her musical experiences prior to the release of The Kick Inside in 1978. Though the first iteration of The KT Bush band was pretty brief, I do love the fact that Bush continued to work with most of the band after she started releasing albums – Vic King is the only member that does not really feature in Bush’s music. Most people do not even realise that Bush had performed live prior to 1979 – when she travelled with her Tour of Life -, but it is fascinating charting the timeline from 1975 to the release of The Kick Inside. In 1972, when Bush was thirteen, David Gilmour (Pink Floyd) had been passed tapes of Kate Bush’s music. He was fascinated and wanted to hear more. He financed some better-quality demos and Gilmour played the tapes for record company executives. EMI Records signed Bush, and two of the demos recorded in June 1975 were included on her debut album three years later: The Man with the Child in His Eyes and The Saxophone Song. The following year, Bush knew that she was destined for the studio and would soon be recording more. Maybe she felt she needed some live experience to sharpen her voice, gain more confidence or put in some groundwork for inevitable live performances that would be required when she would begin promoting her albums and singles.

According to Paddy Bush (her brother), the initial gigs were pretty small, but The KT Bush Band’s popularity grew, and soon they were packing out pubs – people queuing and spilling into the street in a desire to see Bush and the band perform! By the time Bush headed to record her debut album in 1977, she was keen to keep the line-up of the KT Bush Band for the recordings, but EMI insisted that she use properly experienced session musicians. There is a fascinating website that charts Bush’s career and mentions some of the venues she performed in during the early days – including The Black Cat in Catford, The Railway Hotel in Putney, and The Half Moon, Putney. Though the band’s sphere was largely based in South London – though they did perform in other parts -, one can only imagine what it was like seeing the group play. In 1977, Punk was raging, and the sight of a band fronted by Kate Bush would have been foreign and quite strange. In Graeme Thomson’s biography of Bush, he dedicates quite a lot of space to the brief-but-beautiful KT Bush Band. Though Bush did not talk about the band much when interviewed through her career, she is not dismissive of the time or the band. The reason I want to mention it is because it is this anomaly; one that is hugely important in regards her early career path.

IN THIS PHOTO: Brian Bath

With Vic King on drums, Del Palmer on bass and Brian Bath on guitar, these three friends bonded over their shared musical love – they were particularly fond of Free and the classic track, All Right Now. It is amazing to see how far Bush came from 1977 and the types of performances she was delivering, and the extravaganza of 1979’s Tour of Life. Versions of events differ as to how Bush started singing with a band – some say Paddy Bush got in touch with Brian Bath and said his sister wanted to start a band as she needed the experience -, but it was clear that she had that desire to brings her songs from her home and small confines to a wider world. I will move things on soon, but I want to spend some time considering the band and their start. They rehearsed at the barn at the bottom of Bush’s family home – the old rehearsal space in a boiler room at some swimming baths in Greenwich was not conducive to creativity and progress -, and they rehearsed a series of songs; working up a set of twenty-or-so songs, I think this experience and time was instrumental when it came to Bush and how she would approach recording and her career from 1977. Bolstered by Hannah Bush’s (Kate’s mum) great hospitality (as Thomson reveals in his book), the young singer-songwriter was readying herself and taking a big step. Though the gigs she performed were pretty small, Bush was very shy, but she made a big impact on her band members.

IN THIS PHOTO: Kate Bush in 1977

The then-eighteen-year-old Bush was very different to other singers out there; Del Palmer, in fact, was so taken by her that he fell in love – the two started dating not long after they met, and would be in a relationship until 1993. Though the band were not aware of how deep Bush’s involvements with EMI was at this point, I guess the benefit was that they did not have to use a lot of their own money for petrol and various costs. The label was not interfering and saying where the band should perform and what songs they should play – I think they were fairly hands-off at that point. Regardless, there were debates between Bush and the boys as to which songs they should perform. I think The KT Bush Band is a vital element of Bush’s history, as she would perform songs with them that featured on her debut album. There were also debates as to what the band would be called – Bush was not keen on ‘The KT Bush Band’ when Brian Bath suggested it -, and Bush was a little reluctant to leave home and hearth and bring her music to the people (albeit, a select few in some local pubs), though, as I mentioned, she was eager to get her music heard. The proposition of performing live was a pretty scary one. The KT Bush Band’s residency at the Rose of Lee pub (in Lewisham) began in April 1977, and they did not command much of an audience at the start – as word got out, they could not move for punters soon enough!

It was clear that Bush was not overly-keen to perform because she was nervous and shy. She did not talk with the audience much, but she needed to learn stagecraft and rack up some performance miles! It is interesting to speculate what path Bush’s career would have taken if she performed earlier. It was clear that The KT Bush Band was a refreshing change to the rather routine and samey pub bands that you got in 1976 and 1977. People were used to all-male bands performing rawer and less imaginative songs. Faced with the prospect of the fantastic-looking Bush and that magical voice, how many would have predicted they’d soon be watching her on Top of the Pops?! I suppose the smoke-filled pubs were not ideal for Bush, but she knew performing and getting that experience was what needed to happen. Buzz emanated from venues like the Rose of Lee and the Royal Albert (in South East London); Bush was never an overly-enthusiastic band member, but she did dedicate a lot of time and effort into performing and honing her craft. It is obvious that Bush wanted to push the limits of live performance, even in those early days. I think those pub gigs whetted her appetite; songs like James and the Cold Gun (from The Kick Inside) were being played back then, and Bush’s unique and characterful voice was being exposed and strengthened. It is amazing to think of the songs Bush wrote and the band played back then; those that have never been committed to tape – I am not sure whether there are any tapes of them playing unreleased songs, but there might be some hidden away.

IN THIS PHOTO: Del Palmer with Kate Bush in the 1980s

I would have loved to have been in attendance when Bush – probably dressed in a beautiful dress with a flower in her hair or something – was performing tracks like Them Heavy People alongside cover versions of stuff from The Beatles, The Rolling Stones and Marvin Gaye. Whilst Bush was nervous regarding crowd interaction and being ‘the star’, she was able to use some of her dance training during the pub gigs. Costume changes were often part of the set, and a real element of theatre and spectacle was being witnessed in these tiny pubs around London! I do think that the gigs with The KT Bush Band gained Bush a dedicated and large London following. Those gigs where she was performing in different costumes and using the stage as a way to perform rather than to sing; I feel these were invaluable foundation blocks that led to the Tour of Life and what we heard on albums like The Kick Inside. I think Del Palmer’s role was especially important and instrumental. Not only was he a member of the band, but he and Bush had this real connection that would blossom into a relationship. Palmer was very honest with Bush – who was not always welcoming of constructive criticism -, but the feedback and honesty he gave to her was wonderful. The fact Palmer and Bush are still working with each other goes right back to that early days in the band where Palmer was not only enamoured of the beguiling Bush, but he was able to give her this guidance and feedback that she was not necessarily getting from her family.

IN THIS PHOTO: Kate Bush during her Tour of Life in 1979/PHOTO CREDIT: Max Browne

The KT Bush Band played only twenty gigs, but it seems like there was plenty of drama and wonder on offer! Bush was seducing with her incredible voice and looks. The band played a gig at the Half Moon in Putney when England and Scotland played a football match on 3rd June, 1977. Perhaps more concerned with the match and not the band, some of the patrons were a bit oiled and took to the stage, creating this mini-riot; Bush keeping her cool whilst some rather rowdy blokes were all over her! It is clear Bush would have recorded an album soon enough, but EMI checked her and the band out and knew that Bush was ready to get into the studio. A lot of what Bush learned and did with The KT Bush Band fed into her debut album and subsequent live performances in 1979. It is a bit of a pity that other members of The KT Bush Band did not play on The Kick Inside – Bush was keen for them to play -, but one cannot underestimate the importance of the band and this wonderfully magical and strange time! I think EMI were reluctant for any live recordings and photos to go out in the world. They had this star and did not really want anything getting in the way. Many fans would kill to hear some of those recordings put on an album, and for a more expansive KT Bush Band project to come out in the world. I think Bush herself is not overly-eager to revisit those KT Bush Band days, but I think it is an important chapter, and one that is not often talked about. I keep thinking back to those gigs and wondering what it would be like being a fly on the wall/boozed-up punter seeing Kate Bush take to the stage! It is clear that she made an instant impact and left people spellbound. This is something that, to be fair, she has been…

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

DOING ever since!