FEATURE: The Lockdown Playlist: The Brilliance of Quincy Jones

FEATURE:

 

The Lockdown Playlist

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PHOTO CREDT: Art Streiber/AUGUST 

The Brilliance of Quincy Jones

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I will include some female artists…

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in my birthday Lockdown Playlists. I had to mark Quincy Jones’ eighty-eight birthday tomorrow (14th March). There is virtually no corner of music that has not been lifted by Jones and his magic touch. I wanted to bring in some biography regarding an iconic producer and musicians:

“Quincy Jones, in full Quincy Delight Jones, Jr., byname “Q”, (born March 14, 1933, Chicago, Illinois, U.S.), American musical performer, producer, arranger, and composer whose work encompasses virtually all forms of popular music.

Jones was born in Chicago and reared in Bremerton, Washington, where he studied the trumpet and worked locally with the then-unknown pianist-singer Ray Charles. In the early 1950s Jones studied briefly at the prestigious Schillinger House (now Berklee College of Music) in Boston before touring with Lionel Hampton as a trumpeter and arranger. He soon became a prolific freelance arranger, working with Clifford Brown, Gigi Gryce, Oscar Pettiford, Cannonball Adderley, Count Basie, Dinah Washington, and many others. He toured with Dizzy Gillespie’s big band in 1956, recorded his first album as a leader in the same year, worked in Paris for the Barclay label as an arranger and producer in the late 1950s, and continued to compose. Some of his more successful compositions from this period include “Stockholm Sweetnin’,” “For Lena and Lennie,” and “Jessica’s Day.”

Back in the United States in 1961, Jones became an artists-and-repertoire (or “A&R” in trade jargon) director for Mercury Records. In 1964 he was named a vice president at Mercury, thereby becoming one of the first African Americans to hold a top executive position at a major American record label.

In the 1960s Jones recorded occasional jazz dates, arranged albums for many singers (including Frank Sinatra, Peggy Lee, and Billy Eckstine), and composed music for several films, including The Pawnbroker (1964), In the Heat of the Night (1967), and In Cold Blood (1967). Jones next worked for the A&M label from 1969 to 1981 (with a brief hiatus as he recovered from a brain aneurysm in 1974) and moved increasingly away from jazz toward pop music. During this time he became one of the most famous producers in the world, his success enabling him to start his own record label, Qwest, in 1980.

Jones’s best-known work includes producing an all-time best-selling album, Michael Jackson’s Thriller (1982), organizing the all-star charity recording “We Are the World” (1985), and producing the film The Color Purple (1985) and the television series The Fresh Prince of Bel-Air (1990–96). In 1993 he founded the magazine Vibe, which he sold in 2006.

Throughout the years, Jones worked with a “who’s who” of figures from all fields of popular music. He was nominated for more than 75 Grammy Awards (winning more than 25) and seven Academy Awards and received an Emmy Award for the theme music he wrote for the television miniseries Roots (1977). He received a Kennedy Center Honor in 2001 and the National Medal of Arts in 2010. In 2013 Jones was inducted into the Rock and Roll Hall of Fame”.

To mark the eighty-eighth birthday of a titan of music, the Lockdown Playlist is a selection of songs where Quincy Jones has a credit (either as composer, conductor, arranger or producer). As you will see, he worked with some enormous artists through the decades. Here is a selection of…

SOME of the very best.

FEATURE: And the Award Goes to… A Look at Four Big GRAMMY Categories

FEATURE:

 

 

And the Award Goes to…

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 IN THIS PHOTO: Brittany Howard is nominated for five GRAMMYs, including Best Rock Performance for Stay High/PHOTO CREDIT: David McClister 

A Look at Four Big GRAMMY Categories

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THIS coming Sunday (14th)…

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 IN THIS PHOTO: Coldplay are nominated for Album of the Year for 2019’s Everyday Life/PHOTO CREDIT: Atlantic Records

the GRAMMYs will take place. It is another year where things are very strange. Although it is going to be a ceremony where a lot of the nominees are remotely connected, the music nominated this year is phenomenal. I am not going to include all categories in this feature (as there are so many!). I wanted to feature four of the biggest categories, say a little about each album/artist and then predict my winner – how accurate I will be is yet to be seen! Looking at the Album of the Year, Record of the Year, Best New Artist, and Best Rock Performance, I think we will see female talent clean up. In fact, this year is especially positive when it comes to female representation and balance. I am interested to see who will win across the broad; I think the hotly-contested award for song and album will be intense. I think that the Rock nominees are especially intriguing. Ahead of the GRAMMYs on Monday, here is a brief rundown of the exceptional talent in…

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 IN THIS PHOTO: Dua Lipa is nominated for six GRAMMYs, including Record of the Year for Don’t Start Now/PHOTO CREDIT: Hugo Comte

FOUR important and privileged categories.

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Album of the year

 

Jhené Aiko – Chilombo

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Release Date: 6th March, 2020

Labels: ArtClub/ARTium/Def Jam

Producers: Jhené Aiko/Fisticuffs/Lejkeys/Micah Powell/Heavy Mellow

Review:

“In fact, one of Chilombo’s many highlights is “None Of Your Concern,” which the couple recorded and released last year while broken up. It’s a bracingly honest and sometimes explicit postmortem on their romance, and it’s one of many unflinching moments on the album. Recording in Hawaii in the wake of her breakup from Sean, Aiko incorporated the sound of crystal alchemy singing bowls tuned to specific chakra frequencies as a mode of healing. If that sounds serene, the lyrics are strikingly raw. “You muhfuckin’ right, I’m bitter/ You muhfuckin’ right, I’m triggered,” Aiko sings over zoned-out keyboard chords and trap drums on early single “Triggered,” one of many elegant reunions with longtime producers Fisticuffs and Lejkeys. On the ghostly “Speak,” she taunts, “I’m moving on I’m putting on my favorite dress, the one you hated/ Said I looked naked in.” Alongside H.E.R. on “B.S.,” she continues the offensive: “It seem like I give so much and don’t get nothin’ back/ I really thought it was love but you’re so fuckin’ wack.”

The original Chilombo tracklist maintains this vibe for an hour. Even brief stylistic detours like the languid funk track “Tryna Smoke” and the John Legend duet “Lightning & Thunder” — a retro soul update similar to Rihanna’s “Love On The Brain” — sound like natural outgrowths of the album’s world. “I know life’s a bitch, but she could at least give me head sometimes,” she memorably quips on the former, and seemingly every track offers up some similarly memorable lyric, often broadcasted in the song titles. On the sparse “Define Me” she proclaims, “You cannot define me.” On the acoustic “Born Tired” she sums up her exhaustion: “Baby, I was born tired.” Few images this year are more evocative than Aiko as the “Pussy Fairy on the way.” By the time Ty Dolla $ign shows up for the thumping and surprisingly upbeat but still fundamentally misty closer “Party For Me,” Aiko has completed one of the most accomplished R&B albums in recent memory” – Stereogum

Standout Tracks: Triggered (freestyle)/ B.S. (ft. H.E.R.)/Pray for You

Choice Cut: None of Your Concern

Black Pumas – Black Pumas (Deluxe Edition)

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Release Date: 21st June, 2019

Label: ATO

Producers: Jon Kaplan/Adrian Quesada

Review (Standard Edition):

“Possessing a voice that can slide into the slipstream with ease, Burton lends an elegant elasticity to Quesada’s tightly layered productions. Occasionally the producer/guitarist performs this trick in reverse—“Sweet Conversations,” the album’s dreamy denouement, draws upon a demo Burton recorded at home—but the core of the album lies in how the singer helps shape aural paintings into songs, providing them with warmth and a slight trace of spaciness.

Burton may command attention with his sweet, plaintive voice, but Quesada’s densely woven tapestries are the key to Black Pumas. Inspired by RZA’s crate-digging productions for the Wu-Tang Clan extended universe, Quesada relies on scratchy drum loops, hits of strings, funky electronic pianos, and fuzz guitar. Actual samples may be rare but the fact that the guitarist cobbled together all of this on his own is admirable, particularly when he marshals all of his skill on one cut. The minor-key march “Fire” gains gravity from its blend of ghostly organs and guitar twang, “Stay Gold” shimmers with the sultriness of a heat wave, and “Black Moon Rising” unfurls with a hushed sense of spectacle.

At these moments, which are the best Black Pumas has to offer, the duo’s flair for drama is so stirring, they can seem acutely cinematic. As appealing as this Technicolor sound may be, it can’t quite hide the seams created when the duo stitched their two sensibilities together in the studio. Burton’s misty introspection can give Quesada’s soulful prowess an ethereal edge, yet it can sometimes suggest the whole enterprise is little more than snazzy pastiche. While there may be pleasure in such a patchwork of sound, particularly when it’s done with such style and verve, the assemblage bears a pointed sense of insularity. Burton sings about interior voyages and the tracks were usually constructed by no more than two musicians; it’s music made at home, for home listening. That’s all well and good, since the duo has considerable skill, but this existential lonerism underscores a chasm between the pair and their influences. Unlike the icons of the era they find so inspiring, Black Pumas rarely look outside of themselves” – Rolling Stone

Standout Tracks: Colors/Fire/Old Man

Choice Cut: Black Moon Rising

Coldplay – Everyday Life

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Release Date: 22nd November, 2019

Labels: Parlophone/Atlantic

Producers: Rik Simpson/Dan Green/Bill Rahko/Angel Lopez/Federico Vindver/Max Martin

Review:

“The song’s accompanying A-side single – and the record’s centrepiece – ‘Orphans’, details hope amid the bleak narrative of the Syrian civil war. It’s the album’s obvious lead single, thrust with a slinky bassline, syncopated Afrobeat percussion and spirited choral sing-a-longs. We’ve had our fill of “woops” and “woo-hoos” across the band’s ‘A Head Full of Dreams’ though. You’re tempted to think: Please, no more.

Thankfully, penultimate track ‘Champion of the World’ (which uses the emotive guitar hook from ‘Los Angeles, Be Kind’, the work of the late Scott Huchison’s Owl John side project) rescues an otherwise trailing part two of ‘Everyday Life’. It’s a slow-burning ballad dedicated to believing in yourself, replete with the widescreen indie rock flair reminiscent of Doves’ ‘There Goes The Fear’. The closing title track, with its blooming strings and repeated chants of “Hallelujah”, sets you up for a ‘Fix You’-style cry fest but slightly short-circuits the whole thing. Still, it’s an interesting decision for a band that trades in build-and-release euphoric pop – and maybe that’s the point.

Ultimately, ‘Everyday Life’ is something of a confounding experiment. On the one hand it’s full of eclectic sounds and ideas – an Iranian poem interlude here (‘Bani Adam’), a country-blues musing on gun control there (‘Guns’) – that offer a welcome respite from Coldplay tropes. True, these songs are sometimes more exciting in theory than in practise (not something you’d have said of, for instance, the Brian Eno-assisted ‘Viva La Vida’), but ‘Everyday Life’ regularly steps to the left-field, proving that Coldplay are more adventurous than they’re often given credit for” – NME

Standout Tracks: Daddy/Orphans/Everyday Life

Choice Cut: Champion of the World

Jacob Collier – Djesse Vol. 3

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Release Date: 14th August, 2020

Label: Hajanga Records

Producer: Jacob Collier

Review:

“The third album in Jacob Collier's ambitious Djesse series, 2020's Djesse, Vol. 3 finds the acclaimed British singer, songwriter, and instrumentalist exploring a vibrant mix of contemporary R&B, vintage-inspired funk, and hip-hop, all woven together by his kaleidoscopic electronic-based production. The set follows Collier's previous Djesse albums and again features a bevy of guest artists. This time out, he joins forces with Jessie Reyez and T-Pain on the kinetic "Count the People," Mahalia and Ty Dolla $ign on the lushly emotive "All I Need," and Tori Kelly on the swaggeringly soulful "Running Outta Love." We also get equally compelling contributions by Kimbra, Daniel Caesar, and Kiana Ledé. These are all gorgeously rendered songs that again underline Collier's reputation as a pop virtuoso, ably bringing together his love of '70s soul, jazz, EDM, and hooky pop” – AllMusic

Standout Tracks: In My Bones (ft. Kimbra and Tank and the Bangas)/All I Need (ft. Mahalia and Ty Dolla Sign)/Running Outta Love (ft. Tori Kelly)

Choice Cut: Time Alone with You (ft. Daniel Caesar)

Haim – Women in Music Pt. III

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Release Date: 26th June, 2020

Label: Columbia

Producers: Danielle Haim/Rostam Batmanglij/Ariel Rechtshaid

Review:

“When their lengthy tour supporting Something to Tell You ended, the women of HAIM found themselves in inescapable crises. Alana's best friend died; Este struggled with her health- and career-threatening Type 1 diabetes; and Danielle had the double whammy of post-tour depression and her partner Ariel Rechtshaid's cancer diagnosis. They confronted these issues head-on in their life and in their music, and the directness -- and genuine emotion -- of Women in Music Pt. III adds welcome depth to their catchy, genre-mashing songs. On "The Steps," a portrait of partners who go from crashing into each other to taking it all in stride, the roaring guitar lick and honeyed harmonies can't hide the poignancy when Danielle sings "I can't understand/Why you don't understand me." "Don't Wanna," a slick blend of warm '70s atmosphere and peppy brass hits straight out of late-'80s pop, is just as vulnerable as "FUBT," which strips its fears and devotion down to just Danielle's voice and guitar. HAIM document every step of their journey on Women in Music Pt. III with an unflinching honesty that reaps rich rewards. They sound intimately familiar with depression in all its states, whether they're turning away from the wearying, pointless challenge to prove themselves to men in media and the music industry on "Man from the Magazine," sinking into isolation on the oddly comforting standout "I Know Alone," or emerging from the darkness on "Now I'm in It," a slow-building anthem that could be the album's statement of purpose. Women in Music Pt. III's creative process echoes its feeling of growing agency. For the first time, Danielle took on production duties alongside Rechtshaid and Rostam Batmanglij, and impressionistic touches like the seagulls and alarm clocks that embellish "Up from a Dream" or the way the guitar and saxophones drift through "Los Angeles" echo Batmanglij's dreamy musical memoir Half-Light. HAIM let each song and each mood be exactly what it needs to be, making for a collection of moments that are more interesting and real than if they'd attempted a more uniform sound across the album. The band's love for the '90s is as strong as ever on the Roxette-like "Another Try" and "3 AM"'s flirty homage to the era's R&B. Their singer/songwriter and folk-pop roots get their due on "Hallelujah" and the gorgeous "Leaning on You," a pair of songs that unite the sisters' voices and struggles in perfect harmony. The lightness HAIM use to combat the heavy things going on in their lives reaches its peak at the album's end: Written in the wake of Rechtshaid's diagnosis, "Summer Girl," taps into memories of the good times to get through the bad ones and borrows the effortlessness of Lou Reed's "Walk on the Wild Side," but trades that song's aloofness for unconditional love. Sprawling and intimate, breezy and affecting, Women in Music Pt. III is a low-key triumph” – AllMusic

Standout Tracks: Los Angeles/Gasoline/3 AM

Choice Cut: The Steps

Dua Lipa – Future Nostalgia

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Release Date: 27th March, 2020

Label: Warner

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

Review:

“The likes of Prince, Moloko and Chic have their fingerprints all over these 11 songs. It’s peak disco-revivalism, with “Levitating” feeling right at home in a roller disco. But it never feels like she’s copying other people’s homework. Even when she’s sampling INXS on “Break My Heart” or White Town on “Love Again”, her creative voice is always at the forefront, building fantastic bangers.

“Pretty Please” is a stripped-back slow burner that lets the thumping bass and shimmering guitars take you to a dancefloor right before the lights come up. “Hallucinate”, meanwhile, is a blissful early ‘00s club floor-filler. The kind that gets limbs and sweat flying everywhere with abandon. “Cool” is the only real misstep. It lacks that Dua Lipa personality; as though you could quite easily paste someone else’s vocals in and it’d still be a perfectly fine summer bop.

It’s the kind of unabashed frankness of tunes like “Good In Bed”, featuring a line about getting the “good pipe in the moonlight”, that drives a great Dua Lipa song. From the title track's “I know you ain’t used to a female alpha” to the dismantling of the patriarchy on “Boys Will Be Boys”, it’s this approach that makes her tunes more than just club bangers. Even when she swings to socio-political issues, it fits seamlessly.

Bores argue that all pop music is copy-paste manufactured, but if that’s true, then why doesn't all pop music sound this incredible? Future Nostalgia is an artist in total control. It’s built on such an addictive carefree spirit that it’s hard not to let loose and go with it. The greatest pop star of this generation? That’s for you to decide. But Future Nostalgia makes a very convincing argument that Dua Lipa just might be” – The Line of Best Fit

Standout Tracks: Don’t Star Now/Physical/Levitating

Choice Cut: Break My Heart

Post Malone – Hollywood’s Bleeding

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Release Date: 6th September, 2019

Label: Republic

Producers: Andrew Watt/BloodPop/Brian Lee/Carter Lang/DJ Dahi/Emile Haynie/Frank Dukes/Happy Perez/Jahaan Sweet/Louis Bell/Matt Tavares/Nick Mira/Post Malone/Wallis Lane

Review:

“Post Malone, post breakup, brought us his new single ‘Circle’ just last week, appearing as a promise that he would not disappoint on his third studio album ‘Hollywood’s Bleeding’.

Refusing to remain bound by genre, he collaborated with Tame Impala’s leading man Kevin Parker to create a lethargic yet serene sounding track which presets the albums recurring theme of an unresting love.

Unsurprisingly, with the bold range which Post Malone wishes to exhibit on this record, this is simply one of the 10 features in this 17 track galore, which includes the likes of Da Baby, Future, Halsey, Meek Mill, Lil Baby, SZA, Swae Lee and Young Thug.

When anticipating an onset of kicks, snares, and high hats, his acoustic vocal start to the album feels somewhat unsettling; it isn't until a minute in when he gives us what we want, or rather what we expect. ‘Hollywood’s Bleeding’ is an inverted ode to the city, which as Post Malone describes it, inhibits “vampires that want to suck the life from you”.

Beginning the album in a realm familiar to the listener, allows for a more exciting adventure into the unfamiliar parts of the rest of the album. A tip of the hat to the good, moving on to the great.

Heavy pop punk with a light 50’s influence is an uncommon pairing done seamlessly in song ‘Allergic’, the meaning of which accompanies the albums more vengeful tone, however camouflaged in a light hearted and wistful production. It is a style which seems to reflect the imagery of the album cover itself - that at the end of it all, Post manages to rise above it.

What takes the album on a bit of a disappointing turn is ‘Internet’. Composed and written by Kanye West, its oddly placed string accompaniment and lyrics boasts the sentiment of apathy and ignorance. The strings by themselves? Moving, inspiring and touching. However, set against the lyrics it becomes disjointed, unusual and strange.

It’s a two minute interlude which can be easily forgotten in order to enjoy the rest. The most thrilling parts of the album come from its experimental nature, pushed furthest in ‘Take What You Want’ which features both Ozzy Ozbourne and Travis Scott. A collaboration which proves to be an explosive track featuring some insane guitar shredding.

Of course, among this, Post Malone still provides us with a sprinkling of the classics: bitches, butts and Millie on wrists, it’s appeasing. But for the most part, he created an insightful and eclectic record which is a testament to his versatility and willingness to do exactly what he wants” – CLASH

Standout Tracks: Saint-Tropez/Goodbyes (ft. Young Thug)/Wow

Choice Cut: Circles

My Predicted Winner

 

Taylor Swift – folklore

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Release Date: 24th July, 2020

Label: Republic

Producers: Aaron Dessner/Jack Antonoff/Taylor Swift

Review:

“Swift’s longest lyrical obsession is the loss of innocence, a theme she makes fairly devastating here. Set to high piano flurries, Seven switches between hopscotch-rhyme verses about childhood rituals, and pleading, choral depictions of herself at seven, “in the weeds, before I learned civility,” she sings. “I used to scream ferociously / Any time I wanted.” What conditioning beat out of her as a girl, it beat back in decades later: the tense, slippery Mad Woman traces the self-perpetuating cycle of women being angered by being labelled angry – both massively improve on Lover’s slightly facile gender inequality treatise, The Man, because they’re personal, not projections. Later she recalls naive young love, “back when we were still changing for the better”, then, on Illicit Affairs, willingly entering into a deceitful relationship with someone who “showed me colours you know I can’t see with anyone else”.

The self-awareness that Swift displayed on Lover deepens in Folklore, where she subtly considers the murky line between corruption and complicity, between being a victim and a catalyst. The recriminations are fewer, the fights fairer, and her sense of responsibility in them greater. The seismic shocks of her Reputation-era rude awakening about her public image are still felt: “I can change everything about me to fit in,” she sings on Mirrorball, a gorgeous pedal steel wooze made with Jack Antonoff. Yet she tentatively asserts what’s at her core: the deep dedication she sings about on the resonant, minimalist Peace, and the abiding romanticism of Invisible String.

Lockdown has been a fruitful time for this sort of soul-searching, the absence of much in the way of new memory-formation triggering nostalgic reveries and regrets. This strange summer of arrested development is steadily ending. Folklore will endure long beyond it: as fragmented as Swift is across her eighth album – and much as you hope it doesn’t mark the end of her pop ambitions – her emotional acuity has never been more assured” - The Guardian

Standout Tracks: the 1/the last great american dynasty/betty

Choice Cut: cardigan

Record of the Year

 

Beyoncé – Black Parade

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Release Date: 19th June, 2020

Label: Parkwood

Producers: Beyoncé/Derek Dixie

Black Pumas – Colors

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Release Date: 16th April, 2019

Label: ATO

Producers: Jon Kaplan/Adrian Quesada

DaBaby – Rockstar (feat Roddy Ricch)

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Release Date: 17th April, 2020

Labels: Interscvope/SCMG

Producer: SethInTheKitchen

Doja Cat – Say So

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Release Date: 24th January, 2020

Labels: Kemosabe/RCA

Producer: Tyson Trax

Dua Lipa – Don’t Start Now

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Release Date: 31st October, 2019

Label: Warner

Producer: Ian Kirkpatrick

Post Malone – Circles

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Release Date: 30th August, 2019

Label: Republic

Producers: Post Malone/Louis Bell/Frank Dukes

Megan Thee Stallion – Savage (feat Beyoncé)

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Release Date: 7th April, 2020

Labels: 1501 Certified/300

Producer: J. White Did It

My Predicted Winner

 

Billie Eilish – everything i wanted

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Release Date: 13th November, 2019

Labels: Darkroom/Interscope

Producer: Finneas O'Connell

Best New Artist

 

Ingrid Andress

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Phoebe Bridgers

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Noah Cyrus

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D Smoke

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Doja Cat

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KAYTRANADA

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Megan Thee Stallion

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My Predicted Winner

 

CHIKA

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Best Rock Performance

 

Fiona Apple – Shameika

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Release Date: 17th April, 2020

Label: Epic/Clean Slate

From the Album: Fetch the Bolt Cutters (2020)

Producers: Fiona Apple/Amy Aileen Wood/Sebastian Steinberg/Davíd Garza

Big Thief – Not

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Release Date: 13th August, 2019

Label: 4AD

From the Album: Two Hands (2019)

Producer: Andrew Sarlo

Phoebe Bridgers – Kyoto

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Release Date: 9th April, 2020

Label: Dead Oceans

From the Album: Punisher (2020)

Producers: Tony Berg/Ethan Gruska/Phoebe Bridgers

Haim – The Steps

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PHOTO CREDIT: Reto Schmid

Release Date: 3rd March, 2020

Label: Columbia

From the Album: Women in Music Pt. III (2020)

Producers: Danielle Haim/Rostam Batmanglij/Ariel Rechtshaid

Grace Potter – Daylight

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Release Date: 25th October 2019 (Album)

Label: Fantasy

From the Album: Daylight (2019)

My Predicted Winner

Brittany Howard – Stay High

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Release Date: 16th July, 2019

Label: ATO

From the Album: Jaime (2019)

Producer: Brittany Howard

FEATURE: Groovelines: Billie Holiday - Strange Fruit

FEATURE:

 

 

Groovelines

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 Billie Holiday - Strange Fruit

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I am not going to put too much…

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 PHOTO CREDIT: Atlantic Records 

of my own words into this Groovelines, as Strange Fruit is a song that has been written about my various different sources. I am just about to bring in a feature that mentions how the song plays a pivotal role in a film that has just earned its lead, Andra Day, a Golden Globe for her portrayal of Billie Holiday. I am a huge fan of the Jazz icon, and many consider Strange Fruit to be her finest moment and most haunting song. Holiday was imbued with such range as a singer; I don’t think she managed to strike such a chord as she did with Strange Fruit. I will quote from USA Today and their feature about a song that, eighty-two years after its release, remains relevant and stirring:

“In March 1939, a then-23-year-old Billie Holiday closed out her set at New York's Cafe Society with a song she hadn't performed before: "Strange Fruit."

Written by Jewish schoolteacher Abel Meeropol, the song was a mournful dirge for Black victims of lynchings in the Jim Crow-era South, vividly likening their bodies to fruit "hanging from the poplar trees."

"The bulging eyes and the twisted mouth," she sung slowly and deliberately. "Scent of magnolias, sweet and fresh / then the sudden smell of burning flesh."

At first, Holiday was worried about how it'd be received. "As she should have been – audiences out for an evening of fun suddenly found themselves confronted by a highly dramatic performance of a song that was by all accounts shocking and painful," says John Szwed, author of "Billie Holiday: The Musician and the Myth." "As time went by, she came to see the song as a test for her audiences."

'United States vs. Billie Holiday': Andra Day tapped into jazz legend's 'trauma'

"Strange Fruit" is central to Lee Daniels' new drama "The United States vs. Billie Holiday" (now streaming on Hulu), which traces the FBI's efforts to silence Holiday (Andra Day) because of the song. For more than a decade, Federal Bureau of Narcotics chief Harry Anslinger (Garrett Hedlund) targeted her with drug arrests and effectively barred her from the nightclub circuit after an 18-month prison term. She died of liver disease in 1959 at age 44.

"Jazz already had a reputation for being incendiary but then you have this incredible singer who is performing a song that makes people leave the club shaken, where people were either bursting into rapturous applause or into racist heckling," says arts and culture writer Aida Amoako. "The potential to be a powerful song that highlighted racial injustice was a potential recognized both by Holiday and the authorities, so whereas Holiday wanted to grow that potential, the FBI wanted to squash it."

"Strange Fruit" struck a chord with the singer, says music journalist J'na Jefferson. "A few years before recording the song, her father died after being denied medical care for a serious illness. It could have been prevented had he been white. So for her to sing about Black people being killed for being who they are adds another layer of personal context to the song as a whole. I’m sure it was incredibly cathartic in addition to being brave."

Weeks after she first played the song live, Holiday approached her label, Columbia Records, about recording it. Fearing backlash, they declined, but she soon found a home for it at independent label Commodore Records.

"For mainstream institutions – record labels, radio stations – the song was too hot to touch," says David Margolick, author of "Strange Fruit: Billie Holiday and the Biography of a Song." "Beyond a group of left-wing progressives, largely white, most people wouldn't have known the song. The Black press barely mentioned it: It was too radioactive even for them."

And the song continues to resonate today. "We may not be witnessing 'Black bodies swinging in the Southern breeze,' but we have camera phones that prove that Black people are still dying for simply existing," Jefferson says. "We still have to march and protest in order to make a point that things are still unfair for people who look like George Floyd and Breonna Taylor and Elijah McClain and Nina Pop and Tony McDade. The issue remains the same and it’s unfortunate that this is still the reality of our country, but hopefully with greater awareness of social and racial injustices, we can move toward a more tolerant future.

"I hope to one day live in a world where I can listen to 'Strange Fruit' and say, 'I’m glad this doesn’t keep happening”.

I want to source from another feature that cover similar ground in a second. It must have been very odd for radio stations and listeners to hear a song like Strange Fruit in 1939. I can understand why radio stations felt the song was a bit shocking. In many ways, Strange Fruit is as powerful as any speech by civil rights leaders of the 1950s and 1960s. Not to take anything away from Dr. Martin Luther King or any the key figures from the movement; Strange Fruit has this staggering resonance and emotional hit that affects everyone who hears it.

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It is interesting hearing about the inspiration behind the Billie Holiday classic. In this interesting feature, we hear about the song’s humble beginning and how there was some mixed reaction to Strange Fruit in some sectors:

“Holiday may have popularized "Strange Fruit" and turned it into a work of art, but it was a Jewish communist teacher and civil rights activist from the Bronx, Abel Meeropol, who wrote it, first as a poem, then later as a song.

His inspiration? Meeropol came across a 1930 photo that captured the lynching of two Black men in Indiana. The visceral image haunted him for days and prompted him to put pen to paper.

After he published "Strange Fruit" in a teachers union publication, Meeropol composed it into a song and passed it onto a nightclub owner, who then introduced it to Holiday.

When Holiday heard the lyrics, she was deeply moved by them — not only because she was a Black American but also because the song reminded her of her father, who died at 39 from a fatal lung disorder, after being turned away from a hospital because he was a Black man.

Because of the painful memories it conjured, Holiday didn't enjoy performing "Strange Fruit," but knew she had to. “It reminds me of how Pop died,” she said of the song in her autobiography. “But I have to keep singing it, not only because people ask for it, but because 20 years after Pop died, the things that killed him are still happening in the South.”

While civil rights activists and Black America embraced "Strange Fruit," the nightclub scene, which was primarily composed of white patrons, had mixed reactions. At witnessing Holiday's performance, audience members would applaud until their hands hurt, while those less sympathetic would bitterly walk out the door”.

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It is not only amazing to read what impact Strange Fruit had when its release. Think about the ensuing years and decades, and the song’s messages and performance is still being discussed. In a deep article from 2019, the BBC talked about the legacy of Strange Fruit:

“Strange Fruit was not the first popular song to deal with race. Fats Waller’s Black and Blue had come out 10 years earlier, and Lead Belly recorded The Bourgeois Blues in the same month Holiday recorded Strange Fruit. But Strange Fruit stands out among protest songs for its graphic content and subsequent commercial success. Tad Hershorn, an archivist at the Rutgers Institute of Jazz Studies, tells BBC Culture: “It was such an in-your-face type of protest song [that it] really gained her fame outside of Harlem … it did really leave both the singer and the audience no place to hide.”

This bold confrontation helped galvanise a movement that would eventually alter the course of US history. Anti-lynching campaigners sent Strange Fruit to congressmen to encourage them to propose a viable anti-lynching bill. A review in Time Magazine referred to the song as “a prime piece of musical propaganda for the NAACP”. Ahmet Ertegun, who later co-founded Atlantic Records, called it “a declaration of war … the beginning of the civil rights movement”. Strange Fruit also brought its creators unwanted attention. In 1940 Meeropol, a socialist, was called to testify before a committee investigating communism and asked whether the US Communist Party had paid him to write Strange Fruit. Journalist Johann Hari suggests that while stories of Holiday’s drug use had already been circling, her first performance of Strange Fruit put her firmly on the radar of Harry Anslinger, the notorious head of the Federal Bureau of Narcotics.

For some, Strange Fruit and Holiday’s personal life are inextricable: the aspects of her biography that made her the embodiment of a tragic jazz heroine are the source of the haunting quality of her voice. Despite the fact that Holiday never witnessed a lynching (contrary to what the 1972 Diana Ross film Lady Sings the Blues shows), Strange Fruit still evoked the racial injustice that she felt killed her father, Clarence, who was refused medical treatment at a Texas hospital.

But as Strange Fruit has become separated from Holiday’s personal life over the decades, it has also become distanced from the specific horror of lynching. “It's come to sort of represent racism generally,” Margolick tells BBC Culture. “Every once in a while there’s some horrific moment but lynching has become kind of a metaphor and, in that sense, the song has become more metaphorical than literal over the decades.”

Many musicians have covered, sampled, adapted Strange Fruit, the most famous being Nina Simone in 1965, while Kanye West sampled Simone’s cover for his 2013 track Blood on the Leaves. In 2017, British singer Rebecca Ferguson announced she would only accept the invitation to sing at then President-elect Trump’s inauguration if she could sing Strange Fruit. For Lordi, its unending power lies in the way it “distills the fact of racial violence so unmistakably. It’s shorthand for ‘What is a song I can think of that most powerfully indicts the ongoing legacy of racial violence in this country and across the world?’”

In 2002, Strange Fruit was added to the National Registry of the Library of Congress, immortalising it as a song of great significance to the musical heritage of the US. Holiday died in 1959 and Meeropol in 1986 – but their collaboration has endured, its capacity to shock never waning. It has inspired musicians since to sing about injustice with candour and the awareness that a song can be a timeless impetus for social change.

“There’s something that’s still very radioactive about the song.” says Margolick. “It’s still relevant because race is still relevant. It’s on the front pages of our newspapers every day. The impulses that [Meeropol] was talking about are still very much with us”.

From its beginnings with Jewish schoolteacher Abel Meeropol to Billie Holiday translating the incredible work into this civil rights anthem, Strange Fruit is such a fascinating and hugely impactful song. Given the fact that Holiday has just been portrayed on screen by Andra Day and Strange Fruit plays an important part, I had to include it in this feature.  Maybe there was some mixed reception to the song in the late-1950s/early-1960s, but I think we can all agree now that Strange Fruit is…

A mesmeric work of genius.

FEATURE: Keep Groovin’ Love Record Stores and the Continuing Vinyl Explosion

FEATURE:

 

 

Keep Groovin’

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IN THIS PHOTO: Georgia is the Love Record Stores 2021 Ambassador/PHOTO CREDIT: Wendy Barrett/Press 

Love Record Stores and the Continuing Vinyl Explosion

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A lot of the news that we are receiving…

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 PHOTO CREDIT: @amartino20/Unsplash

regarding music is negative or uncertain. When it comes to festivals, there is good news in the sense that many might be able to restart this year. Let’s hope that the pandemic does not disturb some optimistic ambitions. One thing that is not being temporised or disrupted by the pandemic is vinyl sales. I will come to that soon but, to tie in with that, earlier this week, we learned that the Love Record Stores day campaign is back for its second year. This NME article explains more:

“The Love Record Stores campaign is returning for a second year in September following last year’s hugely successful fundraising drive for independent record stores across the UK.

Over £1 million in sales was taken during the inaugural Love Record Stores Day in June 2020, with the initiative being launched to support record stores who, like many other businesses, have faced difficult trading conditions throughout the coronavirus pandemic.

Love Record Stores 2021 will be held on September 4, its organisers have confirmed today (March 11). It’s hoped that given the UK government’s recent announcement of its ‘roadmap’ out of coronavirus lockdown – which could see a total lifting of restrictions by June 21 at the very earliest – music fans will be able to visit and support their local or favourite record stores in-person for this year’s fundraising event.

Georgia has been appointed as this year’s Love Record Stores ambassador, taking over the role from Tim Burgess.

“I’m not just a fan of records: I’ve bought them, sold them, swapped them and collected them. Records and record shops have always been such a significant part of my life,” the London-based artist, producer and former record store employee said in a statement.

“I couldn’t be more excited to be an ambassador for Love Record Stores 2021 – I can’t wait to celebrate and honour the history of record shops and get the next generation into buying records.”

You can find out more about Love Record Stores 2021 here”.

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 PHOTO CREDIT: @rocinante_11/Unsplash

There is exciting stuff happening regarding record stores this year. This year’s Record Store Day takes place on 12th June. Let’s hope that shops can open to full capacity and, just a couple of weeks shy of all social restrictions being lifted (let’s hope), it will be a bigger turnout than last year’s. I have written a lot about vinyl because I feel that it is important to note when there is something positive or a development that warrants attention. One may imagine that restricted physical shopping would haemorrhage the success of vinyl. Conversely, there seems to be no end to the popularity of vinyl! Maybe it is the tactile nature of a record and the fact that one gets a different listening experience compared to digital. It is good that Love Record Stores 2021 has been green-lit, as many smaller record shops have struggled to keep going. Online shopping has helped but, like many, that has only slightly helped them to stay afloat. Music Week published an article this week that discussed the latest positive news regarding vinyl sales:

“While the pandemic has clearly hurt CD sales in the last year as HMV and record shops were forced to close, multiple lockdowns have not reduced vinyl sales. Far from it: according to exclusive Official Charts Company data, vinyl album sales for the year to date (chart week nine) stand at 748,077 units, an increase of 7.8% compared to the same period last year.

The growth has continued in tandem with digital consumption – year-to-date audio streams hit 20.7 billion last week (up 5.4% year-on-year).

Looking back to the momentum in 2020, Q4 vinyl sales were up 25% year-on-year. The annual increase for 2020 was 11.5% (4.8 million units) amid an overall physical decline of 24.6% to 21.1m units.

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PHOTO CREDIT: @victrola/Unsplash 

According to major label execs interviewed for our 2020 analysis feature in the all-new monthly Music Week, the continued growth in vinyl last year suggests an increase in the number of people now playing LPs.

“I think people were spending more time at home and investing in a turntable,” said Charles Wood, Sony Music UK’s VP of market planning and media. “Vinyl had a great year last year – it would have been even better if we were able to get more of it. Across all majors, there are relatively long lead times now to replenish stock.”

“With people being at home, vinyl is certainly one of the things they have turned to for pleasure and enjoyment,” added David Hawkes, MD of Universal Music UK’s Commercial Division. “So it doesn’t surprise me at all that the magic of vinyl has played a big part [during the pandemic].”

“As the streaming market’s matured, you’re starting to see some of the consumption change,” said Derek Allen SVP, commercial at Warner Music. “It is possibly a lockdown phenomenon, with people just becoming nostalgic and listening to music they used to listen to.

“This whole ownership culture that has been discovered by the younger generation is what is driving vinyl consumption, alongside the diehards who used to have their record collection sat in the corner gathering dust. The vital thing is that it's a massive opportunity for catalogue divisions across the industry. That is partly what's driving it – people are filling all the gaps [in their collections]. These are the opportunities, and the demand is there.”

Warner Music’s Rhino label had the No.1 vinyl album last year with Fleetwood Mac’s Rumours. There were also strong new or recent releases in the Top 10 vinyl chart for the year, including Harry Styles, Kylie Minogue, AC/DC, Idles and Arctic Monkeys.

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IN THIS PHOTO: Kylie Minogue/PHOTO CREDIT: Dave Benett 

“The kind of people that are still buying records are hardcore music fans,” said Proper Music MD Drew Hill. “The casual music fan has probably moved to become a streaming consumer. The people buying physical probably went to a lot of gigs. The fact that no one's been able to spend any money on buying a gig ticket for a year now, it means that there’s more money coming into the recorded music business.

“So maybe someone who bought one record a week or two records a month is buying twice what they were buying before, just because they've got more money to spend. Lockdown has been a disaster for the live side of the business, but the physical side has potentially been protected by the fact that those hardcore music fans have got a little bit more money and a lot more time. If you can't go out in the evening and go to the pub or go to a gig, then maybe you want to listen to some more records”.

This is all very heartening and encouraging! I think that compact discs will struggle to succeed and resonate when many people are relying on streaming services and others prefer vinyl. It can be hard to compete against the digital tide. For that reason, discovering news that vinyl is in good shape should give heart to the industry and record stores. With Love Record Stores and Record Store Day highlighting the importance of our local vinyl vendor, I would not be surprised if there was even better news to report later in the year. I myself prefer vinyl to digital, as you feel like you have this real and precious thing in your possession. Putting a record on the turntable and dropping the needle is a pleasure I will never tire of! Some record shops are battling for survival but, across the country, many are reporting good news. Whether people are ordering online or they are participating in a click-and-collect service, music lovers are not turning their back on vinyl. At a strange and difficult time, this is…

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 PHOTO CREDIT: @priscilladupreez/Unsplash

REALLY inspiring to hear.

FEATURE: By the Cover of Darkness: Kate Bush’s Interpretation of Lord of the Reedy River

FEATURE:

 

 

By the Cover of Darkness

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IN THIS PHOTO: Kate Bush in 1981/PHOTO CREDIT: Janette Beckman 

Kate Bush’s Interpretation of Lord of the Reedy River

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WHEN I did a feature…

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about Kate Bush’s B-sides, rarer tracks and gems, I did look at Lord of the Reedy River then. I want to go into a bit more depth, as it is a cover version – I don’t think her interpretative qualities are highlighted enough! One of my favourite B-sides/covers is this pearl. It was recorded in May/June 1981 at Townhouse Studios, London as the B-side to Sat in Your Lap. That single is forty later in the year, so I felt it was important to discuss its very different-sounding B-side. This article from the Kate Bush Encyclopaedia provides more information:

“Song written by Donovan Leitch. Originally recorded by Donovan, it was released on his 1971 studio album 'H.M.S. Donovan'. Kate Bush covered the song on the B-side of her 1981 single Sat In Your Lap.

Kate about 'Lord Of The Reedy River'

I've always wanted to do one of his songs because I've admired his music and his voice for years. I decided to do this song and through a coincidence it started happening. Someone asked me what I was doing for the B side while we were watching a Crystal Gayle show on TV. I was telling them I was going to do this Donovan song and all of a sudden Crystal Gayle said "...and now my very special guest is Donovan" and you know we hadn't seen him on TV for years and years. It was really like it was right. (...) And he came into the studio and did some backing vocals which is really great because I've always wanted to work with him. (Sally James, Almost Legendary Pop Interviews, cop. 1981. ISBN 090600828X”.

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I am a big fan of Kate Bush’s B-sides. I think it shows as much curiosity and variety as her studio tracks. I have argued why people do not play the B-sides. I know many have been put onto a remastered album that was released a few years back, but I think there is so much brilliance in her B-sides and covers – that is before you have even got to the music we are all much more familiar with! I love Lord of the Reedy River, as Bush’s voice sound so still and emotional. It is a beautiful performance without much backing at all. One places themselves by a river or out in the open air. One is powerless to let the song swim over them! I will draw things to a close in a bit. Before then, I want to source from an article on the Songs of Orgonon website regarding Lord of the Reedy River. Some interesting observations were made:

“And yet the song works as a unit of Bush’s Dreaming era. The sensuous, place-centered ethos of “Lord of the Reedy River” is the sort of thing Bush explores throughout her four albums we’ve read about. The mythical aspect of Bush’s work has never departed, nor has her tendency to explore complex subjects through a perspective of searing childlike simplicity (one of the most useful critical tools for exploring the endemic truths of myth). Simplicity isn’t inherently equivalent to reductivism — simple truths have fractal implications. Certainly “Lord of the Reedy River” is both unostentatious and unnerving. Creeping into the senses through such channels of voice and harmony is as erotic as folk songs get.

 

 In keeping with Bush’s explorations of psychological emancipation, “Lord of the Reedy River” fits in with Bush’s recent musings on transformations and desire. Who amongst us doesn’t at some point get so horny they turn into a swan? (I’ve read your posts, Kate Bush Forums.) It’s a treatment of childhood fantasy as a realization of deep-rooted desires.

Bush niftily makes the song hers. She appears to be the only performer on the track, whose only instrumentation appears to be Bush’s Fairlight. Bush’s vocal is soft and throaty at once — she recorded it by the Townhouse’s disused swimming pool so her voice could “reflect” the water. Perhaps most crucial to the cover’s functionality is Bush’s change of pronouns from third person to first person — “she fell in love with a swan” becomes “I fell in love with a swan.” The result is Kate Bush singing about getting topped by a swan, the sort of surreal psychosexuality that appears in her later snowman-fucking song “Misty.” Nonetheless, Bush’s cover makes it feel like Leda’s story has come full circle, shaping her narrative into a love story of the sublime and the authorial presence of a woman”.

I will leave it there. I wanted to spotlight a Kate Bush song that not many people have heard. I think it is among her most beautiful and haunting vocal performances. It is a stunning thing and, if you have not heard it, go and check it out. Lord of the Reedy River demonstrates how broad Bush was as an artist (and still is). You listen to the song, close your eyes and imagine yourself with her…

IN a very special place.

FEATURE: The March Playlist: Vol. 2: How Does It Feel to Be Addicted?

FEATURE:

 

 

The March Playlist

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IN THIS PHOTO: Jorja Smith 

Vol. 2: How Does It Feel to Be Addicted?

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HERE is another big week…

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 IN THIS PHOTO: London Grammar

that is packed with interesting music. There is new music from Jorja Smith, London Grammar, Paul Weller, Gwen Stefani, and YONAKA. There are excellent reworkings of songs by IDLES, and Dominic Fike; some tops cuts from The Anchoress (ft. James Dean Bradfield), and Gretta Ray. We also have music from Everything Everything, Phoebe Bridgers, Hannah Peel, Aldous Harding, and Kele. It is a week where some seriously awesome tunes have come to the fore. If you need a kick and appropriate impetus to get you into the weekend, then this packed Playlist should do the job! Have a listen to the best…

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 IN THIS PHOTO: Dominick Fike

OF this week.

ALL PHOTOS/IMAGES (unless credited otherwise): Artists

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Jorja Smith – Addicted

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London Grammar – How Does It Feel

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Gwen Stefani – Slow Clap

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YONAKA - Ordinary

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PHOTO CREDIT: Frank Ockenfels 3

Phoebe Bridgers – Summer’s End – Spotify Singles

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PHOTO CREDIT: Autumn de Wilde

Jenny Lewis, Serengeti - Idiot

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Sharon Van Etten – Peace Signs (BY IDLES)

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Paul McCartney - The Kiss of Venus III Imagined: Dominic Fike

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The Anchoress (ft. James Dean Bradfield) - The Exchange

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Tony Allen, Ben Okri, Skepta - Cosmosis

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Paul Weller – Glad Times

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Noah Cyrus – July - Spotify Singles

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Gretta Ray – Bigger Than Me

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Hiss Golden Messenger - If It Comes in the Morning

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Everything Everything – SUPERNORMAL

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Kele - The Heart of the Wave

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Selena Gomez (ft. Myke Towers) - Dámelo To’

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Hannah Peel – Carbon Cycle

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Lucy Dacus - Thumbs

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Darius Rucker – My Masterpiece

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Rochelle Jordan - NEXT 2 YOU

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Low Island – I Do It for You

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Mollie Collins, Ruth Royall - Remedies

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Ibeyi - Recurring Dream

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Tiggs Da Author – Suitcase of Sins

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Ingrid Andress - Lady Like

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Jacob Banks – Found

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Lauren Faith – It’s All a Blur

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AJ Mitchell - CAMERAS ON

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Valerie June – Smile

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Nubiyan Twist, Ria Moran – Morning Light

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Matilda Cole – Stay Awake

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Lula Wiles – Television

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Savannah Conley – Not Where I’m Going

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Dylan Cartlidge - Anything Could Happen

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Matt Berry – Aboard

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spill tab – PISTOLWHIP

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PHOTO CREDIT: Adrian Vitelleschi Cook

Do Nothing – Knives

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Amber Burgoyne – Only to You

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Kasai - Drunk Diary, Weed & Liquor

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D Smoke – Sade – Spotify Singles

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Wild Youth – Can’t Say No

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Lilly Ahlberg – Young Forever

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Allison Ponthier – Cowboy

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Leyla Blue – Gasoline

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Aldous Harding - Revival

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PHOTO CREDIT: Colin Medley

U.S. Girls - Junkyard

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Jordan Rakei - Lover, You Should’ve Come Over

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PHOTO CREDIT: Ellyn Jameson

Johanna Samuels - Single File

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Gengahr - Under the Skin

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Naomi Banks - Moving On

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PHOTO CREDIT: David Cortes

Crumb - Trophy

FEATURE: Modern Heroines: Part Thirty-Six: Halsey

FEATURE:

 

 

Modern Heroines

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Part Thirty-Six: Halsey

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I like to keep quite…

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a broad spread when it comes to Modern Heroines. In terms of genres, there are so many great female artists that are shaping up to be iconic. Either that, or they are hugely influential and important. I am including Halsey as I have been revisiting her 2020 album, Manic. I will get to a review of that album soon. I also want to bring in a few interviews so that we can learn more about a great artist. Before that, here is some background information about Halsey:

“Ashley Nicolette Frangipane born September 29, 1994), known professionally as Halsey (/ˈhɔːlzi/ HAWL-zee), is an American singer and songwriter. Gaining attention from self-released music on social media platforms, she was signed by Astralwerks in 2014 and released her debut EP, Room 93, later that year.

Halsey's debut studio album Badlands (2015) reached no. 2 on the US Billboard 200. Her second album Hopeless Fountain Kingdom (2017) topped the chart, and her third album Manic (2020) peaked at number two. She has had two no. 1 singles on the Billboard Hot 100, "Closer", a collaboration with The Chainsmokers, and "Without Me". The single "Bad at Love" reached the top-five. 

Halsey has sold over one million albums. She is noted for her distinctive singing voice. Her awards and nominations include four Billboard Music Awards, one American Music Award, one GLAAD Media Award, an MTV Video Music Award, and two Grammy Award nominations. She was included on Time magazine's annual list of the 100 most influential people in the world in 2020. Aside from music, she has been involved in suicide prevention awareness, sexual assault victim advocacy, and racial justice protests”.

I loved last year’s Manic, and songs such as clementine, You should be sad, and Without Me are still in my mind. It is a fantastic third album from Halsey; showing that she gets stronger and more explorative with each release. I love how stirring and impactful the album is, even after the first listen. This is what The Line of Best Fit observed in their review:

“Powerhouse singles; the ghostly and empowering heartbreak ode "Without Me", and the tribal lament of "Graveyard", all pitch into the romantic side of Halsey's life, but it's the moments that edge away from heartbreak and instead focus upon just who she is and where she's been that offer the most.

More specifically, the diamond in the beautiful rough closer, "9:29". The most brazen in its admission of the world through Halsey's eyes, it's a listing of her life to date, apt given the title, as per the intro studio talk of her joking, her birthday. The perfect bookend to a story that's refused to sugar-coat any truth, it cleverly twists vitriolic statements that refuse to let the world take any more of her.

Perfectly attuning the musical accompaniment to the sentiment, "3am" is the kind of alt-rock number that sinks into your head with the ease of idea of that last pint, lamenting the lonely point of a difficult night. At the same time, "You Should Be Sad" trots in a country number, sticking close to the frameworks of what the hollering voice of a broken heart the genre has always been.

Strategically placed throughout are interlude appearances from a spectrum of artists; up-and-coming Floridian rapper Dominic Fike, '90s icon Alanis Morrisette and one-fifth of K-Pop behemoths BTS, Suga, singing in his native tongue. Unspeakably few artists could string together all the above facets together. There's deep honesty, generation-spanning genre-hoping, guest appearances, and an unlikely sense of cohesion: that's all just part of who Halsey is.

Even the use of pop culture references (quotes from films Eternal Sunshine Of The Spotless Mind and Jennifer's Body create the cinematic drama, befitting a story rife with truth) and samples, adds to the flowing spine that underpins the album with a wild charm. Manic revels in the explorative genre-pop bombast, letting the delicates twinkle, and the snarls bare their teeth; yet it's the soul that shines dominantly. It's her most complete work to date”.

Not to ignore Halsey’s work pre-Manic – I will put out a playlist at the end which is career-spanning -, but it is her most-recent album and I think that it signals a very big future. It is such a rich and interesting album that does have some tough moments and songs that take you aback. There is also a lot of light and variation.

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As a songwriter, I think that Halsey is one of the most accomplished and underrated in modern music. In an interview with The Times, we learn more about a curious and fascinating artist:

““I think of myself as obnoxious and reckless and spontaneous and loud,” she says. “But I’ve made some different friends in the past year, and they’re, like, ‘Actually, you’re pretty quiet and thoughtful.’ And I’m, like, ‘I am?’ I think that’s why I became a musician, in an attempt to become the person I was convinced I was.”

A seriously big deal in America, Halsey has made slower progress here, though she is upgrading to arenas for the British leg of her world tour next February. Back home, she has topped both the singles and album charts, and emerged as a force to be reckoned with. The daughter of an African-American father and a mother of Italian, Irish and Hungarian descent, she is bisexual, has openly discussed mental health issues and is a passionate advocate of women’s and LBGT rights. This has, predictably, got her in trouble. But trouble tends to seek her out, she says, and always has.

“In third grade, I did my summer reading project on The Green Mile by Stephen King, and wrote a book report about rape and convicts, racism and the criminal justice system. And other kids were doing Narnia! I got in so much trouble. The teacher was, like, ‘I can’t let you present this to the class.’”

A self-confessed “empathy bomber” who in her songs addresses her sexuality, drug use, relationships and depression with no filter, Halsey now has hundreds of thousands of young fans indirectly calling on her services. Unsurprisingly, there are drawbacks, as she discovered when she read her poem about her own and others’ experience of violence and sexual assault at the 2018 Women’s March in New York. “When I did it, there were 2,000 people in front of me, and no one was listening or paying attention — if you watch it, there was barely even a cheer at the end. I felt defeated. I had written this poem, I thought it was going to matter.

“I definitely flip-flop between disassociatedness and being hyper-present. There’s really no in-between. But if I’m guarded and give you nothing, and you need something, you’re going to go and find it somewhere else — and I have no control over it. It becomes about digging up old clickbait, and I’ve then created that problem for myself”.

I do not think one has to be a fan of Pop music to appreciate Halsey. There are artists who get labelled as ‘Pop’ acts, but they are much broader and harder to define. Whether you have had the same experiences as Halsey or are new to the music, it does not take long for the songs to resonate – and they will linger in the mind.

I want to grab from another couple of interviews or so before wrapping up. When Halsey spoke with The Guardian last year, we learn more about Manic in addition to Halsey’s (Ashley Nicolette Frangipane) upbringing:

“Manic is more than a breakup record, then – it is the aftermath of years of feeling beholden to lovers, collaborators and the public. It was made while Halsey, who has bipolar disorder, was in a manic state. (“That’s not a punchline,” she quips.) On Clementine, she sings: “I’m constantly having a breakthrough, or a breakdown.” The song is named after Kate Winslet’s character in Eternal Sunshine of the Spotless Mind, a key example of the manic pixie dream girl movie trope in which a free-spirited woman loosens up an emotionally stunted man. It samples the line: “I’m just a fucked-up girl looking for my own peace of mind. Don’t assign me yours.”

Halsey’s story often exists adjacent to the men in her orbit. Her first album, Badlands, was made with her producer boyfriend, Lido; her second, Hopeless Fountain Kingdom was about their breakup. She started dating G-Eazy in 2017. They made their love official in joint single Him & I, now G-Eazy’s second-most streamed song, but not even in Halsey’s Top 10. After they split the following year, Halsey released Without Me, in which she seems to take the credit for his success – the chorus goes: “You know I’m the one who put you up there.” She says: “As writers, we have this habit of waiting until something doesn’t hurt any more. On Without Me, I ran into a burning building to find whatever I could before I felt too afraid to speak. I’d gone from being a 19-year-old activist, a sexual badass, to this girl who’s someone’s partner.”

She worries that being a firebrand pushes people away. “It’s hard to figure out when being an activist deflects attention from my art,” she frets. “Sometimes when you’re the centre of ‘having something to say’ you start losing your agency. People don’t wanna hear it.”

She reckons her lack of Grammy nominations this year is because she spoke out against former president Neil Portnow’s comments two years ago, when he said it was women’s responsibility to “step up” if they wanted to excel in the music industry. “I had a lot to say about that, and I am nowhere to be seen on any of those acknowledgments.” Post #MeToo, she has been disappointed by the lack of camaraderie between female pop stars. “Nobody wants to be my friend. They’re scared I’m gonna pop off about something. I’m drama by association. I put myself out there with my peers; I don’t know if people really ever wanted to do the same with me. So I stopped wasting my energy.”

She isn’t coming from the same place as many of those peers. Halsey grew up Ashley Nicolette Frangipane in New Jersey to a white Italian family on her mother’s side and an African-American family on her father’s. Her parents were teenagers when she was conceived. She addresses her dad on Manic’s final song 929 – “the most uncensored song I’ve ever written” – about a lonely night on tour when her dad promised to call and didn’t. After she wrote it, she called him. “We need to make more of an effort to connect,” she says. “It’s hard to have a traditional relationship with your parents when you’re …” The parent? She nods reluctantly. “Kinda. I don’t mean to discredit my parents. I was five when they were my age”.

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 PHOTO CREDIT: Masha Mel for CLASH

I want to grab from a great interview in CLASH . Halsey spoke about Manic’s upcoming release (the interview was from January 2020):

“It’s been two years since your last album, how are you feeling about the upcoming release?

In terms of the album coming out, it’s been a long lead, which is rare for me; I usually like to announce things and put them out right away - I’m not the type to keep a secret for six months, but here we are! It’s definitely very cathartic.

I’m comforted by the fact that I’ve been sitting with this body of work for so long and I still feel so strong about it and connected to it. You always love the work you did most recently the best, but just because it’s the thing will care about the most doesn’t mean it’s what everybody else will. That can be kind of hard - seeing through that illusion. With this album, though, I do feel really good. It had a very clear identity once it revealed itself.

At first I was intending to write something that was really angry and volatile and angsty and self-deprecating and unreliable. I wanted to write an album about mania, and that’s what my understanding of it was at the time. And I kept sitting down to write like that, but it felt kind of performative. I did some greater self-inventory and self-forgiveness, and then the faucet opened. The writing became easier upon my discovery that I actually get on with my manic self a lot more than I thought I did.

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What came out of that process? What did you find yourself writing about?

The album isn’t a commentary on mental health - the reason I called it ‘Manic’ is because I wrote it manic. Which I’ve never really done before - usually I’m too distracted or too impulsive to wrangle myself into a room and do something productive. It was my first time ‘off’ in a while, and usually I vent a lot of that [energy] into the chaos of my lifestyle and the chaos of my schedule; it brings me comfort because it gives me a way to exhaust that energy.

Having time off - even though I was out promoting ‘Without Me’, which is pretty demanding, but not on tour - I bought a house in LA and built a studio, and surrounded myself with a grand piano, guitars, mandolins, violins, all this accessibility, so that when that behaviour and state of mind came I had something to do with it. Sometimes I’m unable to harness it, but this time I was in the perfect position to do that.

It had been two years since I put out an album and I felt like the public narrative about me was built around me and other people - people I’d dated or people I’d collaborated with. I had very little narrative, zeitgeist presence on my own, because it’d been so long since I’d spoken singularly. I thought it was time to do this sort of re-introduction to me.

How do you handle having so many sides to yourself as an artist?

I don’t do anything but this. I have very few personal relationships, I don’t have many hobbies, I don’t really take vacations; I don’t really do anything but this, all the time. So I’ve committed myself to being two people. I do all the work of the pop star and I do all the work of the alternative homegrown ‘fan relationship’ artist. I do two people’s amount of work.

Most people choose to do the pop star thing or they chose to be the homegrown, touring, fan-connection, base level artist. They pick one and then save the rest of their energy for like having a boyfriend and playing fucking soccer. I don’t really do that, so that’s been quite a task; balancing all of that, and reminding myself and evaluating myself every day, asking: ‘Are you still doing all this because you want to?”.

With news that Halsey is to become a mother soon, I am sure that will shift focus - not just in terms of her work commitment and schedule but her music and lyrical concentration. Not to say that she will completely change approach, though I feel maternity will have an impact for sure. I want to end with a fairly recent interview from late last year. Vogue spoke with Halsey about a new collection of poetry, I Would Leave Me If I Could:

“In January, after the release of Halsey’s third album, Manic, she was slated to hit the road for one of her biggest tours yet. But instead, the pop singer, born Ashley Frangipane, found her plans on pause. Like much of the world, she has spent most of this year at home—and she’s embraced the coziness. In fact, when we speak in the days leading up to the presidential election, Halsey is peak hygge, flaunting her newly shaved head, wearing a Barbie-esque Biden-Harris sweatshirt, and bundled in a giant plush blanket. “I look like, I don't know, a gym teacher or something,” Halsey quips on Zoom from an office in Los Angeles, where she lives.

Yet the multi-hyphenate never gets too comfortable. Halsey has remained quite busy: She has been on the front lines of the Black Lives Matter protests, landed her first acting gig in the forthcoming Sydney Sweeney–produced series The Players Table, performed alongside Bruce Springsteen for a remote COVID-19 benefit for her home state of New Jersey, and filmed a conversation series with Senator Bernie Sanders. Tomorrow, she releases her debut collection of poems, I Would Leave Me If I Could.

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Earlier this year you announced that you were going to do a press blackout. Has it ended?

Oh, I’m barely doing interviews again. You’re just special. I’m only doing interviews when I have something very specific to talk about. I’m not doing interviews just purely for the intention of having a larger profile: I don’t want a larger profile. I’m not saying that I don’t want one at all. I love what I do. I can’t control [my profile] sometimes—it grows out of proportion and makes me feel really, really helpless. I gave a lot away in the beginning, and it didn’t help me. So I’ve got to take care of me now. Also, I sound like an asshole in print, and I don’t mean to. All the YouTube comments on my video interviews are like, “Oh my gosh, she’s so nice. I thought she was such an asshole.” I’m like, “It’s because you read something!” That’s probably just the Jersey in me.

You’re about to release your debut poetry collection, I Would Leave Me If I Could. How did you come up with its title?

It’s from a really old poem that I wrote when I was 18. The title comes from the idea of feeling trapped with yourself, the idea that most people who are in your life are there because of obligation or convenience, and that everyone will leave eventually. And that reflective moment of, “Yeah, I get it. I’d probably leave me, too, if I could.”

In the book, there are a lot of allusions to sexual misconduct and assault. How difficult was it for you to be able to revisit those experiences? Why did you think it was important to write about them?

Well, I definitely cut a lot of shit out, that’s for sure, because I do have to create boundaries for myself. A lot of this book is about relationships, betrayal, abandonment, and interpersonal communication. When you read a poem about something that happened to me when I was eight, maybe it’ll help you better understand the poem about something that happened to me when I was 24. Also, ever since I did the Women’s March speech, I’m not afraid of talking about sexual assault or misconduct. It’s far more common than any of us realize. So I do think it’s important to include it.

Have you started working on a follow-up to Manic, or do you plan to release a new body of work next year?

I’m kind of just taking some time. This is the longest I’ve ever spent at home, so I’m always making stuff. With albums, it’s like I wake up one day and all of a sudden, I know 16 songs I want to write. Then I start them, and it’s done. I’m doing what I do before I make an album—I call it “collecting.” I’m watching movies, reading books, and collecting inspiration”.

I shall leave it here, but I wanted to highlight an incredible artist who is going to be making amazing music for years to come! From 2015’s impressive debut album, Badlands, to now, it has been one hell of a career so far! Although the incredible Halsey has already accomplished so much, I feel that…

THE very best is yet to come.

FEATURE: Second Spin: Toni Braxton – Toni Braxton

FEATURE:

 

 

Second Spin

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Toni Braxton – Toni Braxton

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I am doing a Lockdown Playlist about Babyface…

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very soon, as people do not realise how many tremendous songs he has written or produced! I have been spinning the amazing Breathe Again a lot lately. Written by Babyface, it was the second single from 1993’s Toni Braxton. Of course, a lot of the song’s success is because of the awesome vocal performance by Braxton herself. Before getting down to the album itself, I want to set aside some space to highlight how Breathe Again was received by critics:

“Breathe Again" received mostly positive reviews from music critics. Ron Wynn of AllMusic picked the song as a highlight from the album, writing that "Braxton's husky, enticing voice sounds hypnotic on the track." According to Daryl Easlea of BBC Music, the song "fully established Braxton," calling it "a delicate ballad that refused to resort wholly to cliché, it is brought to life by Braxton’s dreamy, breathy delivery." Larry Flick from Billboard described it as "a yearning, R&B-framed ballad." He added, "Once again, her vocal is expressive and moving—mostly due to an unusual willingness to let some rough-edged notes mingle with the sweet diva-like tones. Braxton's earthy personality makes her seem more accessible than a lot of other chest-pounding singers." Also Mitchell May of Chicago Tribune was very positive, writing that "the way her voice throbs when she sings, 'I can't stop thinking about you,' conveys a sense of despair and longing that is rare." John Martinucci from Gavin Report described it as "melancholy". People magazine called the song "haunting", writing that, "The quaver in her voice says more about love's promise and deceit than many singers manage in a career.” John McAlley of Rolling Stone called it "the album's best material", writing that "Braxton's love hangover has reached ludicrously epic proportions." Steve Pick from St. Louis Post-Dispatch noted that "here's another sad love song from a sultry alto singer who seems to be getting the best of the LaFace production team's work this year. This pretty tune benefits greatly from Braxton's ability to hint at the over-the-top histrionics she never quite falls into. As a result, it's both smooth and edgy." James Hunter from Vibe said that Babyface's writing on "Breathe Again" "gives the deserving future star melodic peaks and valleys to explore with her gorgeously detailed, unconceited voice".

I love that song, and I feel Toni Braxton has many other tracks that have the same sort of power and memorability. Another Sad Love Song, Seven Whole Days, Love Affair, and I Belong to You are tremendous tracks. I don’t feel there are many weak spots on the album. Released on 13th July, 1993, Toni Braxton’s debut studio album was one that I remember fondly. Breathe Again is my favourite song from the album, though there are so many gems throughout. In terms of its success and sales, the album did really well:

“Toni Braxton debuted at number 36 on the Billboard 200 and later spent two non-consecutive weeks atop the chart as well as three non-consecutive weeks atop the Top R&B/Hip-Hop Albums chart. It has sold 5,135,000 copies in the United States and 10 million copies worldwide. The album was primarily produced by L.A. Reid, Babyface, and Daryl Simmons. The first single, "Another Sad Love Song", peaked at numbers seven and two on the Billboard Hot 100 and R&B Singles charts, respectively. The album's second single, "Breathe Again", peaked in the top five of both the Hot 100 and R&B charts and at number two on the UK Singles Chart. Other singles were released from Toni Braxton in 1994, including "You Mean the World to Me", "Seven Whole Days", and the double A-side "I Belong to You"/"How Many Ways".

The album received positive reviews and earned Braxton several awards, including three Grammy Awards (for Best New Artist and two consecutive awards for Best Female R&B Vocal Performance in 1994 and 1995). She also won two American Music Awards (for Favorite Soul/R&B New Artist and Favorite New Adult Contemporary Artist) in 1994 and another one in 1995 (for Favorite Soul/R&B Album)”.

What gets to me is how mixed the reviews are. Her 1996 follow-up, Secrets, was received better (thanks in small part because of the megahit, Un-Break My Heart), but I feel many overlooked Toni Braxton as a merely ‘promising’ album. The album is solid, full of personality and variation. This is what Rolling Stone wrote in their 1993 review:

“Braxton had her coming out with "Love Shoulda Brought You Home," a modest hit from last year's Boomerang soundtrack. A slow-groove saga of betrayal and infidelity, the song revealed Braxton's vocal promise and established her image as a feisty survivor in the face of heartbreak. Its popularity did not, however, prefigure the explosive success of Toni Braxton, her debut album. Credit that to the album's skyrocketing first single. "Another Sad Love Song" – with its dynamic vocal, gargantuan hook and clever song-with-in-a-song lyric – surely ranks with "The End of the Road," "I'm Your Baby Tonight" and "Every Little Step" as one of LaFace's greatest triumphs. "Another Sad Love Song" reinforces Braxton's lovelorn persona, as do several other midtempo ballads that L.A., Babyface and Daryl Simmons have front-loaded into Toni Braxton. Indeed, by the time you've gotten through the album's best material – "Breathe Again" (the second single), "Seven Whole Days" and "Love Shoulda Brought You Home" – Braxton's love hangover has reached ludicrously epic proportions.

Certainly, Braxton has got chops and spunk ("I ain't down with o.p.p.," she snaps on "Love Affair"). And, yes, there are a handful of songs in which she gets to do the do. But there's not a poet in the house among LaFace's family of writer-producers – no Smokey Robinson, no Linda Creed. And for all its polish, too much of the music on Toni Braxton mistakes melodrama for passion and set pieces for soul”.

I feel that, all these years later, people should reinspect Toni Braxton’s amazing debut. Last year’s Spell My Name received positive reviews. It shows that, almost three decades since her debut album, Braxton has plenty of life, lease and purpose. I think she will be making albums for many years more. I have a lot of love for her 1993 debut. In a positive review, this is what AllMusic noted:

“Toni Braxton is both an elegant and earthy songstress, nicely balancing those seemingly divergent sentiments on her self-titled debut disc. Braxton's husky, enticing voice sounds hypnotic on "Breathe Again," dismayed on "Another Sad Love Song," and disillusioned on "Love Shoulda Brought You Home." But she's never out of control, indignant, or so anguished and hurt that she fails to retain her dignity. It's a sign of how great the Babyface/L.A. Reid production team was that they didn't settle for a defining mood; they presented Braxton with enough diverse emotional settings to hold the interest of urban contemporary males and females”.

I shall leave it there, though I would advise people to check out Toni Braxton and play the album through. It is an amazing album that has so much to enjoy! From the sultry and emotional Breathe Again to the sexy and powerful How Many Ways, I think the album offers up a lot to enjoy. Toni Braxton has received more acclaimed albums since her debut, but I feel that people should give this amazing introduction…

ANOTHER spin.

FEATURE: The Lockdown Playlist: Tracks with Fairly Long, Incredible Outros

FEATURE:

 

The Lockdown Playlist

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PHOTO CREDIT: @justdushawn/Unsplash

Tracks with Fairly Long, Incredible Outros

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FOR this Lockdown Playlist…

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 PHOTO CREDIT: @nate_dumlao/Unsplash 

I want to focus on songs whose intros are quite long but awesome. I have looked at outros in general, but not those that allow the song to breathe (or keep the energy) up to the end. I think intros and outos are really difficult, so it can be quite tricky deciding whether you should keep them short or stretch them out a bit (I am counting outros from over a minute long for this feature). Some of my favourite songs have quite long outros so, in a bit of a change, this Lockdown Playlist is a celebration of those artists who were not afraid to let a song run past the point most people were expecting! Sit back and enjoy a playlist of songs whose intros are…

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 PHOTO CREDIT: @icons8/Unsplash

PRETTY memorable ones .

FEATURE: Near Wild Heaven: R.E.M.’s Out of Time at Thirty

FEATURE:

 

 

Near Wild Heaven

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R.E.M.’s Out of Time at Thirty

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WHILST one can easily name five R.E.M. albums…

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 PHOTO CREDIT: Frank Ockenfels III

that are classic and universal – I would say Murmur (1983), Reckoning (1984), Lifes Rich Pageant (1986), Document (1987), and Automatic for the People (1992) are obvious ones; there are a couple more that you can include -, many feel that there was this golden run by the band from Athens, Georgia that was sort of interrupted by Out of Time in 1991. Released after 1988’s Green and before 1992’s Automatic for the People, on 12th March, 1991, R.E.M. put out their seventh studio album. Maybe some feel the album is too commercial/less cult or not as raw or original as other albums in their cannon. As Wikipedia write, Out of Time took R.E.M. to the big time:

“With Out of Time, R.E.M.'s status grew from that of a cult band to a massive international act. The record topped the album sales charts in both the United States and the United Kingdom, spending 109 weeks on U.S. album charts and enjoying two separate spells at the summit, and spending 183 weeks on the British charts and a single week at the top. The album has sold more than four and a half million copies in the United States and more than 18 million copies worldwide”.

I really love Out of Time and, thirty years after its release, it has not lost any of its impact on me! Some dismiss the opening track, Radio Song; others do not like Near Wild Heaven, or Shiny Happy People; some feel that lesser-discussed songs like Low, Half a World Away, and Country Feedback do not get the attention they warrant. It is true that R.E.M. sounded very different on Out of Time compared to say, an album like Document. Maybe they were less political or innovative, though I refute claims that the band were consciously making attempts to be commercial or more successful. I feel Out of Time boasts some tremendous songs. Shiny Happy People is my favourite song from the album and, when it was released as a single in May 1991, it definitely lodged itself in my head. To tie in with the thirtieth anniversary of the critical highlight of the album, Losing My Religion, I dedicated a feature to it. I shall not go into depth regarding that song, but I did want to bring in a couple of features regarding Out of Time. Albuism revisited the album on its twenty-fifth anniversary back in 2016:

“In 1988, the band signed the first of two mammoth, multi-million dollar deals with major label Warner Bros. Records, who vowed to invest heavily in the group’s worldwide distribution and promotion. Featuring the noticeably more polished, radio-friendly singles “Pop Song 89,” “Stand,” and “Orange Crush,” Green (1988) was their first offering under contract with Warner Bros. and augured the mainstream breakthrough that was just a few years away.

Released in March 1991 amidst the burgeoning alternative rock movement, nearly 10 years after their classic debut single “Radio Free Europe” emerged, Out of Time proved transformative for the band. “It marked the transition from pretty big to really big,” Mills explained to The Guardian in 2014. “Although for us [fame] felt gradual. We were really lucky in that every record up to Automatic For The People (1992) and maybe Monster (1994), sold more than the one before it. So it felt very natural and organic, rather than this big avalanche of notoriety.”

Out of Time also demonstrated that mainstream success was indeed attainable for bands whose DNA and sensibilities were fundamentally indie, paving the way for early-to-mid ‘90s alt-rock megastars like Green Day, Nirvana, Pearl Jam and Smashing Pumpkins in the US, as well as British bands such as Blur, Oasis, and Pulp. In a 1994 Rolling Stone cover story interview, Kurt Cobain declared, “If I could write just a couple of songs as good as what they've written…I don't know how that band does what they do. God, they're the greatest. They've dealt with their success like saints, and they keep delivering great music.” While some fans and pundits admittedly accused R.E.M. of compromising their signature sound and indie-rock cred with Out of Time, Cobain’s sentiments were echoed by the band’s many other musical peers, who recognized and celebrated their undeniable influence, inspiration and integrity, both pre- and post-Out of Time.

Also notable across Out of Time’s eleven songs is the absence of explicitly political lyrics, which have been all but relinquished and replaced by love songs, a nuance that Stipe acknowledged to SPIN Magazine in a 1991 cover story interview: "As a lyricist I shouldn’t be shackled to this image that every song I write has to be about the plight of the homeless or the environment. You can only go so far writing songs like that and get away with it. I can’t do it all the time, and I don’t want to pigeonhole myself into being a political folk singer in a rock band. Every song on this record is a love song. Anything political is just an undercurrent. That’s something we’ve just never done before. I’ve written love songs, but they were pretty obscure and oblique. These songs deal with every kind of love—except maybe love of country."

Unveiled as the lead single three weeks before the album’s release date, the poignant “Losing My Religion,” which eloquently examines obsession and self-doubt in matters of the heart, still stands as R.E.M.’s most successful and recognizable song to date, albeit not necessarily the strongest track on the album. Both the band and Warner Bros. never expected the song to become as ubiquitous as it did, but radio and MTV latched on and propelled the song to stratospheric heights”.

I know that people will mark the album’s thirtieth anniversary as it is an important release and contains more than a couple of R.E.M. classics. In their review of Out of Time, Pitchfork definitely found some positives:

“Of course, Out of Time is sometimes remembered as much for its stylistic overreach as much as it is for all that elegance. It’s the album with “Country Feedback,” the rawest expression of sheer remorse the band ever captured on tape, but also the album with “Shiny Happy People,” a song that to this day many R.E.M. diehards would just as soon will out of existence. On one side it’s got bassist Mike Mills’ most sublime lead vocal turn on string-swept “Texarkana”; on the other it’s got KRS-One on “Radio Song” wailing like the Big Bopper over a wacky organ lick. Somehow, making one of the fiercest rappers of his era sound like such a colossal clown remains the album’s most perplexing legacy.

A quarter century removed from its release, though, those missteps are easy to write off as endearing period trappings. If anything, the album now sounds more like the masterpiece it felt just short of at the time, a work nearly on par with its more universally regarded, nocturnal sequel Automatic for the People. Warner Brothers’ anniversary reissue gives the album the usual deluxe treatment, with a second disc of demos mostly of interest for the glimpse they provide into the band’s process. “Losing My Religion,” for instance, is presented as both a somewhat uncertain instrumental and as a lean, string-less rock song. You can also hear Michael Stipe not quite hit the high notes on an early version of “Near Wild Heaven”.

If you have not listened to Out of Time for a while then go and give it a listen. Sadly, R.E.M. split in 2011, but their music lives on and their legacy is immense! Maybe Out of Time is not absolute peak R.E.M., but I feel Bill Berry, Peter Buck, Mike Mills and Michael Stipe are phenomenal throughout the album. Despite some mixed reviews and those who say Out of Time has its flaws, I feel it is important to make a fuss on its thirtieth anniversary. I really feel that Out of Time is…

AN essential and incredible album.

FEATURE: Some Say That Knowledge Is Something Sat in Your Lap: Could There Be a Kate Bush Degree Offered at Universities?

FEATURE:

 

 

Some Say That Knowledge Is Something Sat in Your Lap

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PHOTO CREDIT: Trinity Mirror/Mirrorpix/Alamy 

Could There Be a Kate Bush Degree Offered at Universities?

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I was writing about The Beatles…

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 IN THIS PHOTO: Kate Bush in a promotional photo for the single, Sat in Your Lap (1981)/PHOTO CREDIT: John Carder Bush

recently regarding the news that the University of Liverpool is offering a Masters where one can study the Fab Four. It is exciting that one can dedicate a lot of time and passion exploring the world and impact of The Beatles. I remember I almost took part in a Kate Bush symposium, This Woman’s Work, back in 2019. It was a special two-day examination of her work where various people would take a topic/area relating to Kate Bush and present it. Everything from gender, sensuality and studio technology was discussed. It is a shame that I was not there, as I would have loved to have been involved – the fact that it was in Scotland meant travelling was a bit of a concern. I feel there will be other symposiums and celebrations in the future. Looking ahead, and one can see many artists and areas of society being moved and influenced by Kate Bush. One might scoff at the notion that Bush can be compared with The Beatles regarding legacy and cultural impact. I am not suggesting that a university offers a Kate Bush Masters; though a degree in her work would be justified. I know that students studying English, Music and other subjects can opt to write a paper or present something regarding Bush and her impact. I think that her brilliance and innovation warrants much deeper inspection.

To me, I think Kate Bush is as compelling and important as any other artist. Maybe she has not enjoyed the popularity of The Beatles, but I think her musical ambition is as broad. From fashion to film through to arts and so many corners of the world, Bush’s music and art has made an impact. I think there would be great uptake were there to be a Kate Bush degree or Masters. I know that one would  learn so much through enrolling in such an endeavour. Like The Beatles, Bush’s music is so varied. I feel she is one of these polymaths and multitalented people who is much more than a mere songwriter. The Beatles did more in terms of their touch on society and how they changed the world of music, but I think Kate Bush is a tremendous producer, creator and original who is inspiring so many people’s. Countless artists cite her as a guide; many people have quoted her as an influence regarding embracing their sexuality or being more expressive and free-spirited regarding their fashion or approach to life. Like the symposium that was held a couple of years back, there could be various modules that explore different aspects of Bush’s world. From her fashion and changing looks through to her production style, incredible vocals and how she is an inspiration to so many female artists, there is definitely a lot to investigate and study!

I shall round things off but, after being compelled by the news there is a Beatles Masters being offered by the University of Liverpool, I wondered about Kate Bush and whether she is on the syllabus at the moment. If not offering a degree course around her career, it would be beneficial if her music and lyrics were integrated into school syllabuses. I am not sure whether English classes include her music and lyrics already, but I do feel there is so much depth to her career; so many people can get so much from it. It might be a bit late for me to do a Kate Bush degree but, for musicians, writers and everyone else, it would offer so much. Over forty years since her career started, she is still influencing people and standing out as a true original. I think there are so many layers and nuances, people are discovering new things about Kate Bush all of the time! She is a truly in her own league! I will leave it there. There are some artists who are so important and fascinating that they are fit for academic study and further education. Maybe it will take a few years to come to fruition but, to me, Kate Bush is definitely someone faculties ands educational bodies should consider for highlighting. By establishing a degree around Kate Bush and her career would not only resonate with people studying it, but it would help bring her music and incredible work…

TO the future generations

FEATURE: The Lockdown Playlist: The Best of the JUNO Awards for Best Selling Album/Album of the Year/Best Album

FEATURE:

 

 

The Lockdown Playlist

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The Best of the JUNO Awards for Best Selling Album/Album of the Year/Best Album

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THIS Lockdown Playlist might appear…

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to be slightly niche but on 10th March, 1996, Alanis Morisette’s Jagged Little Pill won Album of the Year at the JUNO Awards (it won five JUNOs in total). The JUNO Award for Album of the Year is an annual award presented by the Canadian Academy of Recording Arts and Sciences for the best album released in Canada. It has been awarded since 1975 (although it was the award for Best Selling Album from 1975 to 1979). From 1999 to 2002, it was awarded under the name of Best Album. To mark twenty-five years of one of the 1990s’ biggest albums being given a prestigious award in Morisette’s home nation, I want to compile a playlist of songs from albums that have been awarded the Best Selling Album/Album of the Year/Best Album at the JUNO Awards. This Lockdown Playlist is an interesting collection of tracks from albums that…

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WERE big in Canada.

FEATURE: The Lockdown Playlist: Neneh Cherry’s Greatest Cuts

FEATURE:

 

 

The Lockdown Playlist

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PHOTO CREDIT: Sarah Lee/The Guardian 

Neneh Cherry’s Greatest Cuts

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I do like a birthday Lockdown Playlist…

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and, as Neneh Cherry, celebrates her birthday today (10th March), I want to compile her best songs. I a big fan and have been following her since the 1990s. I think her debut album, Raw Like Sushi of 1989, is one of the best of the decade. If you do not know much about Neneh Cherry, then here is some information:

“Neneh Mariann Karlsson (born 10 March 1964), better known as Neneh Cherry, is a Swedish singer-songwriter, rapper, occasional DJ and broadcaster. Her musical career started in London in the early 1980s, where she performed in a number of punk and post-punk bands in her youth, including The Slits and Rip Rig + Panic.

Cherry has released five studio albums under her own name. Her first, Raw Like Sushi, was released in 1989 and peaked at number three on the UK Album Chart, thanks in large part to the worldwide hit single "Buffalo Stance". Her second studio album was 1992's Homebrew. Four years later she released Man, with her next studio album, Blank Project, coming in 2014. Her most recent album, Broken Politics, was released in 2018.

In addition to releasing these studio albums, she formed the band cirKus in 2006 and has collaborated with The Thing, releasing an album entitled The Cherry Thing in 2012.

Cherry has won two Brit Awards and an MTV Europe Music Award (with Youssou N'Dour). She has also been nominated for a Grammy Award”.

To nod to one of the finest artists and songwriters in the world, this Lockdown Playlist is a collection of Neneh Cherry gold. I may have done a similar playlist before but, as I do not need much of an excuse to talk about Cherry, I wanted to put together a new playlist for her birthday. Sit back and enjoy some…

SERIOUSLY brilliant music.

FEATURE: After International Women’s Day… Greater Equality for Women in Music

FEATURE:

 

After International Women’s Day…

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IN THIS PHOTO: Megan Thee Stallion is one of the brightest names in music. Her debut album, Good News, was released in November 2020 to huge acclaim/PHOTO CREDIT: Victoria Will/Invision/AP

Greater Equality for Women in Music

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YESTERDAY (8th)…

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 IN THIS PHOTO: Dry Cleaning/PHOTO CREDIT: Ed Miles for DIY

was International Women’s Day. I was listening to BBC Radio 6 Music, as they dedicated the entire day to female artists. So many other stations were saluting great women in music. There were also a few articles published that caught my eye. Despite the fact we got this day of celebration for women, there was also call for equality and better representation. In music, there is no doubt that some of the best music of the moment is being made by women. In fact, I think that the finest music is coming from women. I was hoping that radio stations would balance their playlists a bit more after International Women’s Day. Whilst there has been some improvements on some stations, I don’t think many have a fifty-fifty split. Most stations, from what I can see, have two-thirds male artists/bands. There is some deviation on various shows, but one only need check the schedules of most radio stations to see that men outweigh women in terms of exposure. Some might say that Pop music’s biggest artists are men – or the most commercially successful at least -, so that would account for it. Most radio stations do not purely rely on the Pop charts and are more varied with their output. I listen to BBC Radio 1 a little bit and, whilst they are not as male-leaning as stations like Radio X, one could argue why more women are not included. I think there are so many great female Pop artists that are being excluded but, more than that, one can break away genres and realise that the way things are regarding radio playlists requires overhaul.

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 IN THIS PHOTO: Maren Morris/PHOTO CREDIT: Emma McIntyre/Getty Images

Others might contest stations play the artists who are most popular, so if men are in the majority then this reflects chart positions and sales. An article from The Guardian yesterday showcases how, even though we marked International Women’s Day, there is still imbalance in Pop and at award ceremonies:

“The music industry continues to marginalise women, according to the latest instalment of a landmark US survey on representation in pop.

In 2020, women were outnumbered on the US Billboard charts by men at a ratio of 3.9 to 1, according to the USC Annenberg Inclusion Initiative’s annual study of the Billboard Hot 100 year-end chart.

Women including Dua Lipa, Maren Morris, Doja Cat and Megan Thee Stallion made up 20.2% of the 173 artists that appeared on the chart in 2020, dropping from 22.5% in 2019 – and a high of 28.1% in 2016.

“It is International Women’s Day everywhere, except for women in music, where women’s voices remain muted,” said Dr Stacy L Smith, who led the survey. “While women of colour comprised almost half of all women artists in the nine years examined, there is more work needed to reach inclusion in this business.”

The number of women working among the 449 songwriters responsible for the most popular songs in the US in 2020 had also dropped to 12.9% from 14.4% in 2019. On last year’s year-end Hot 100 chart, 65% of songs did not feature any women songwriters – the highest level of exclusion since the survey began in 2012.

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IN THIS PHOTO: Mariah Carey 

Women also remained woefully underrepresented as producers in 2020, making up just 2% of the 198 production credits on hit songs – compared with 5% a year prior, which was a high in the survey’s history.

Representation dropped further among women of colour, with only Mariah Carey – as co-producer of All I Want for Christmas Is You – credited with producing a song that made the 2020 Billboard Hot 100 year-end chart, albeit one first released in 1994.

The Inclusion Initiative report also surveyed Grammy nominations from 2013 to 2021 in the five major categories. The representation of women had increased fairly steadily year-on year, rising to a high of 28.1% in this year’s ceremony, which takes place in Los Angeles this Sunday.

There were nearly four times as many women nominated for a Grammy in the five major categories in 2021 as there were in 2013. The rise is potentially a result of the Recording Academy instituting in 2018 a task force to address anti-women bias after then-president Neil Portnow made widely criticised remarks on how women needed to “step up” if they wanted to be recognised on the same level as their male counterparts”.

Although there are positives signs at the Grammys, I feel that there is still a way to go. Many have argued dispensing with gender-specific categories at award shows. It is good news that some festivals are going ahead this year. One big fear is that many will not commit to a gender-equal bill. Glastonbury is not happening in 2021; this was one of very few festivals that announced a fifty-fifty split on their bill before the pandemic shut down live music.

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 PHOTO CREDIT: @hannynaibaho/Unsplash

I hope things improve regarding radio playlists, as I think a lot of festival bookings are made off of the back of these stations. The statistics are alarming across the broad! From festival line-ups/headliners to playlists through to female songwriters seen in the Pop charts, not much has changed over the past few years. As this article explores, female producers (especially those of colour) are in the vast minority:

“Women producers – and particularly women of colour – are virtually erased from the music industry”, says Stacy L Smith, founder of the Annenberg Inclusion Initiative, commenting on the latest figures. “Only 5% of the songs in our sample spanning nine years of popular music had a woman producer. Harnessing the opportunity to showcase women’s talent and their creative contributions is essential if the record business wants to reach equality”.

The report also references the Women In The Mix initiative launched by the US Recording Academy, which encourages artists, labels and others in the industry to pledge that “at least two women will be considered in the selection process every time a music producer or engineer is hired”. This initiative seems to be having no effect when it comes to the hits, the new report concludes”.

Let’s hope that a lot of the unity and fantastic music we heard played on International Women’s Day will provoke changes in the industry; awareness raised of the statistics and an encouragement to bring more women into the studios. Radio playlists need to aim for gender equality, as do festival and award shows. There is a wealth of female talent out there across all genres. Those who say men dominate because they are creating the best and most important music. That is patently not true. The breadth, ability and variation of music made by women is out there but is not being played enough or featured on prominent Spotify playlists. Fantastic music made by women (and women of colour) is not being recognised; studios are still male-heavy. I hope that those in the industry and those who can make changes pledge to do so…

WHEN the pandemic is over.

FEATURE: Spotlight: The Lounge Society

FEATURE:

 

 

Spotlight

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PHOTO CREDIT: Piran Aston

The Lounge Society

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I have been focusing a lot on…

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PHOTO CREDIT: Piran Aston

solo female artists for many of my Spotlight features lately, so I thought it was time I introduced a great band. The Lounge Society are a terrific young band who are already making waves. It must be frustrating not to be able to play gigs and get the music out there. They are so energetic and fresh; one suspects this current lockdown has been a pretty tough time for them! With hopes that gigs can resume in the summer, I bet they are gearing up to make up for lost time! I want to bring in a few interviews they have conducted – just so we can get to know they better and see where they are heading next. In June last year, the band spoke with New Sounds Mag. We got to discover how they sort of got started: 

“Hailing from Hebden Bridge, The Lounge Society are a post punk group I caught merely by accident. They were supporting another group (The Wants), and blew them out the water (even if it was only to 30 people – shameful). Their set consisted of a myriad of sounds, collageing a number of influences atop of each other. I quoted the below about their performance:

‘One track sounds a bit like the Talking Heads covering The Beatles ‘Taxman’. The bass line is quite close admittedly, although it is made up for in their delivery. An erratic, off kilter, funky guitar is up centre, and the vocals are post punky. A bit like Mark E Smith of ‘The Fall’. No surprises when they are northern based. I don’t like to put names to it as they change faster than Bowie’s hair did. Another track has these psychedelicy, yet krautrockey sounds all over it in the guitar pedals. Try combining Neu with the opening cut on The Small Faces ‘Ogdens Nut Gone Flake’. All I can say is I think Dan Carey would get a kick out of recording them”.

I think that they are releasing the E.P., Silk for the Starving, on 18th June. That will be very interesting to hear. Their new single, Cain’s Heresy, is a terrific cut that signals great things for the guys. In another introduction feature, the band recall memories from their first show:

“FTR: For those who don’t know who are The Lounge Society?

Four misfits, from the West Yorkshire moors. The antidote to the 1975.

FTR: What can you remember about your first show?

Fucking awful haircuts. It was at our local ‘The Golden Lion’ in Todmorden which is a great venue. Musically we were actually quite ‘Loungey’ then which we certainly aren’t now. Safe to say both the trims and the tunes have improved. We owe that venue a lot, really set us on our path.

FTR: Why do you make music? Why not another art form?

To us music was the only real option. Done right, it can be pretty bloody powerful. It’s what we all love doing, and it’s a hell of a lot better than sitting on our arses in front of the telly”.

I would encourage people to follow The Lounge Society on social media if you have not done so already. All the links are at the bottom. I think that the northern band will have a very successful and productive 2021, despite the fact things are still on-hold for a few more months at least.

I was interesting to discover more about the group’s songwriting process and what it is like being based in an area of the country synonymous with great music. The band spoke to Gourmet Gigs about those points:

“Who is the songwriter and who writes the lyrics?

It’s a really collaborative process. Usually one of us will play a guitar riff at rehearsal and we just jam it until something comes of it and then over time we’ll change bits to get it perfect. The lyrics usually come last but we often spend months working on them. A lot of the lyrics to our songs that we’ve played live for ages have changed three or four times.

And where do you go to rehearse?

We rehearse up in Archie’s attic. We owe Archie’s parents (and neighbours) a hell of a lot for letting us make a racket.

Hebden Bridge and in general the Calder Valley has build up quite a rep for music. Do you feel this has had an influence on you? Do you feel like you are part of a music community? Why do you think that there is so much talent around where you live?

Local bands have definitely influenced us. Going to the early Orielles’ gigs at our local venue in Hebden Bridge, The Trades, inspired us all massively – that’s what made us want to be in a band really. The idea of getting out of the valley and into the cities like Manchester has definitely been a cause of young people to form bands to play at venues in Manchester.

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Right now is it difficult while everyone is isolating… but how are you coping? Are you writing, or rehearsing via Zoom or whatever?

We’re all doing alright, we’ve been having sporadic video chats to discuss ideas and plans for the future. All of us have all been getting ideas together so that when we can get back to rehearsing again we can hopefully get some new stuff written quite quickly.

When lockdown is over, what’s The Lounge Society’s next step?

Getting back to gigging, writing and rehearsing is definitely our priority but also recording single two and hopefully getting that out as soon as possible.

If you could choose, which festivals would you like to perform at?

We’re all huge fans of Green Man Festival which has sadly just been cancelled but we’re hoping to play there, along with other festivals, next year”.

I shall wrap things up in a bit, but I want to bring in an interesting feature from NME. I think that The Lounge Society are one of those bands that can live up to the hype. They have their own sound and direction and, when it comes to making an early impression, the guys have definitely wasted no time in making themselves heard!

I think The Lounge Society are a quintessential live band. I reckon they are going to be feeling the stress of a lack of gigs more than most bands. That said, they are brewing great music in lockdown and, when gigs do resume, the demand to see them will be huge! I will finish by bringing in an NME interview. The band were asked about their connection to live music and what happens next for them:

“You mentioned making a dent in everything you do, that certainly comes through in the listen, you could say there’s a lot of bands sounding the same in the post-punk sphere…

“Absolutely and I think we’re trying to be as far from that as possible. We all believe that music should have an impact if you have that opportunity, music can be a real force for change or at least change within the listener at the very least. To try and have an impact was our goal, so we set out with the direct lyrics and the driving tune to get what we want to express as clearly as possible. We didn’t want to warm into anything, we wanted to get out of the gates as quickly and as dramatically as possible.”

Your identity as a band does embrace a locality, is that important to you?

“We try to filter our local geography and the nature of where we are into our music. From the physical landscape, especially in winter, the brutal rolling hills and the driving rain to being in the valley which obviously does have a disconnect from other areas, you can feel stuck at times however nice it can be, it does become a little bubble that you can feel trapped in. There is a sense of making your own fun, as a teenager it’s almost your duty. Rehearsing and writing songs was where we got most of our joy from, just being mates leaving school and focussing on the band felt amazing. We’ve tried to keep that energy and spirit through everything we do.”

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PHOTO CREDIT: Piran Asto 

Your music is very much written for live shows, have the circumstances made you more determined to keep that energy and spirit alive in the recordings?

“We’ve had to grit our teeth a little bit without having the energy of an audience in front of us and we’ve had to create that ourselves. Recently when we’ve been rehearsing we’ve essentially been gigging to one another and putting everything into it. When we’re writing and rehearsing tunes we have to imagine there’s an audience in front of us but we’ve doubled down and put as much energy into everything as we possibly can despite there not being anyone in the room.”

It’s still very early days but what are the next steps now?

“We want to build things up but we also want to keep people on their toes, we don’t have much intention of repeating ourselves and so if we can keep it fresh in most things we do then we’ve accomplished our main goal. I think we set out to make sure people can’t really put their finger on us, we like to keep people guessing while still being true to ourselves which is a big task but we give it a go. For example our first two tracks are both very separate in terms of the instrumentation and vibe, we’re hoping to do that a third time and forever really”.

Do yourself a favour and investigate the amazing The Lounge Society. I think they are one of this year’s most-promising acts. Judging what they have delivered so far, and I know they are going to be a band who endure and influence others in years to come! When the lockdown doors are unlocked and The Lounge Society are unleashed into the wild, that will be…

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QUITE something to witness!

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Follow The Lounge Society

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FEATURE: Two Bosses: The Renegades: Born in the USA Podcast

FEATURE:

 

 

Two Bosses

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The Renegades: Born in the USA Podcast

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THIS is a little extra feature for a Tuesday…

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 PHOTO CREDIT: Rob DeMartin/Spotify via AP

as I have been interested by the new podcast, Renegades: Born in the USA. It features ‘The Boss’, Bruce Springsteen, and another boss: the former President of the U.S.A., Barack Obama. Although it seems like an unlikely partnership, the two are compelling and comfortable with one another. Last month, the news was announced that the podcast was launching. This article from The Guardian explains more:

“Barack Obama and Bruce Springsteen have teamed up to produce a podcast, they announced on Monday, with the first two episodes available immediately.

Renegades: Born in the USA features the politician and the rockstar musing over their backgrounds, music and their “enduring love of America”, according to Spotify, which is hosting the podcast.

Given the name recognition of its two hosts, Renegades is likely to be the Obama family’s latest big podcasting hit, following the success of Michelle Obama’s podcast in 2020.

“On the surface, Bruce and I don’t have a lot in common,” Obama said in a trailer for the podcast.

“He’s a white guy, from a small town in Jersey. I’m a Black guy of mixed race, born in Hawaii. He’s a rock’n’roll icon. I’m … not as cool.”

Despite those differences, the pair formed a friendship after meeting during Obama’s 2008 presidential campaign, and have recorded eight episodes of conversation.

Spotify released the first two episodes of Renegades on Monday, along with a teaser video showing Obama and Springsteen sitting in front of microphones, surrounded by guitars and recording equipment.

“In our own ways, Bruce and I have been on parallel journeys, looking for a way to connect our own individual searches for meaning, truth and community with the larger story of America,” Obama says in the trailer.

“And over the course of a few days, all just a few miles from where he grew up, we talked.

“What we discovered during these conversations was that we still share a fundamental belief in the American idea. Not as an act of nostalgia, but as a compass for the hard work that lies before us”.

A few episodes have gone up already, and it is great to hear Springsteen and Obama discuss race, being outsiders, in addition to American music. Although I have seen a couple of reviews claiming the podcast is quite dull, I think it is really interesting and informative. It is a great podcast with two huge names. There is no ego or wrestling for attention during Renegades: Born in the USA. In their review, this is what The Times noted:

“Two instalments have been released so far from the eight-episode series which is part of the deal Obama and his wife have struck with Spotify. The format is familiar from a thousand other podcasts: two friends shooting the breeze about their lives and the issues of the day. When the two friends are a former president of the United States and one of the biggest rock stars in the world and the setting is Springsteen’s New Jersey farmhouse, it’s all a bit different.

One episode deals with race, the other with Obama and Springsteen’s “unlikely” friendship. The idea is that they get along because both grew up as outsiders: Obama because of his race and unconventional childhood in Hawaii; Springsteen because of the difficult childhood that sprang from his father’s schizophrenia and his grandparents’ eccentric child-rearing. However, as soon as they get on to politics it’s obvious this is the real reason they’re pals. Both share a pragmatic, optimistic, civically responsible liberalism. Springsteen’s idea that “you are a part of a general flow of history and as such what is happening and what has happened is part of your responsibility” is pure Obama and might almost have come from one of his campaign speeches.

Both are able to find the heart in a kind of liberal politics which may sound too technocratic or moderate to be really emotional. Springsteen also speaks convincingly about racism and the race riots he watched in his town as a teenager in a way that sounds sincere, unlike some of the blandly worthy stuff provided by some Hollywood celebrities on the issue.

The production is unimpeachably classy and unobtrusive use is made of the audio medium. Springsteen plays a fragment of his song My Hometown, which adds nice emotional heft. When Obama mentions playing by the sea as a child in Hawaii there is the tasteful sound of waves. This, inevitably, is part of the problem. You know before you listen that it will all be a little too slick. Obama is a master of trailing tantalising but uncontroversial details of his private life. So he recalls that his burgeoning friendship with Springsteen featured a night at the White House singing Broadway songs together, with Springsteen on the piano (“there were libations involved . . . there was drinkin’ ”). The trip the men took on a luxury yacht with Oprah Winfrey and Tom Hanks in 2017 is left unmentioned”.

I wanted to keep this fairly brief, only to recommend people listen in. I think it can be risky when a huge musician launches a podcast but, with Springsteen possessing natural warmth and gravitas, there is plenty to enjoy. Barack Obama is equally fascinating and natural. I hope that the run of Renegades: Born in the USA is quite long, and we get to hear many more episodes. Based on the episodes so far, Renegades: Born in the USA is born to run (sorry!). Not only is it a podcast where you will learn more and find out quite a bit about Springsteen and Obama; you will also keep coming back to the episodes and discovering new things. If you have not heard Renegades: Born in the USA, then check it out as it makes for…

INTRUIGING and essential listening.

FEATURE: Vinyl Corner: Lily Allen - Alright, Still

FEATURE:

 

 

Vinyl Corner

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Lily Allen - Alright, Still

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IT seems hard to believe that…

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Lily Allen’s debut album, Alright, Still, is fifteen on 13th July! I remember it coming out and being struck on the album from the start. After being rejected by several record labels, Allen signed to London Records, who eventually lost interest in her, leading her to meet production duo Future Cut and sign to Regal Recordings. It is amazing, also, to think that there was not big interest in her from the start, as she has an amazing sound and songwriting style. I like how broad Alright, Still is. With mixings of Pop, Hip-Hop, Ska and Reggae, it is an album that appealed to a wide listenership. I will bring in a couple of positive reviews for Allen’s incredible debut album soon. Smile, and LDN are two bright and huge songs that were pretty much everywhere in 2006. Although it is quite hard to find Alright, Still on vinyl, I would encourage people to seek it out (Allen has discussed why she has not repressed her albums to vinyl). There are so many great tracks on the album. Apart from the big hits, Knock 'Em Out, Not Big, and Shame for You are also clear highlights. Alright, Still debuted at number-two in the U.K., selling 62,701 copies in its first week. The British Phonographic Industry (BPI) certified it triple-platinum on 14th  March, 2008. It is a fantastic album that everyone should pick up! Lily Allen released her fourth studio album, No Shame, in 2018 – it was justly nominated for the Mercury Prize. Alright, Still was nominated for Best Alternative Music Album at the 50th Grammy Awards; I am surprised it was not shortlisted for a Mercury Prize in 2006 (maybe it was released too close to the cut-off date for inclusion). This is what Pitchfork wrote when they reviewed Lily Allen’s incredible debut:

“But to say that Alright, Still is interesting because it's an accomplished mainstream pop debut made by somebody who started out with broadband and an internet addiction is perhaps too facile a reading. The other day a friend was talking about a development unique to this era-- the differences between peoples' carefully cultivated online personas and their real-life selves. One might inform the other, or reject it, or reform it, or cannibalize it completely, but there's always a push/pull at the center, and the task of managing and reconciling all that on a personal level is a relatively new thing. It's just a hunch, but I think maybe one of the bonus reasons Alright, Still is compelling is because it inadvertently makes gestures to that whole phenomenon.

It's a through-the-looking-glass trajectory that begins with a MySpacer who's got great tunes, good stories, and a funny way with commas, and it ends with a slickly produced pop album that isn't all that far apart from pretty much any other UK female pop singer in terms of packaging and presentation. Somewhere between those two points is truth, somewhere behind it all is real-life messiness, and I think people are enjoying figuring it out, not to mention having another familiar co-ordinate from which to put it all together.

Musically, ska, reggae, and calypso are her major touchpoints. From the dub-inflected kiss-off track "Not Big" to the skanking "Friend of Mine", there's not a lot here that doesn't use a horn sample or a guitar chug as its launching off point. As evidenced by the poison-penned "Smile" and the MySpace hit "LDN", Allen's appeal is in the way she combines those spacious, rolling sounds with A+ pop structures. When she operates outside of that comfort zone, the results are generally still of a high order, if not a bit more erratic. "Littlest Things" is a supple piano-tickler that provides one of Allen's sweetest lyrical moments while simultaneously leaving Ms. Dynamite in the dust on the R&B balladeering front, while "Everything's Just Wonderful" is the exuberant bit of cocktail pop that Geri Halliwell unsuccessfully spent her entire solo career trying to procure. Less favorably, the Madchester-flavored anthem-by-numbers "Take What You Take" reveals what Allen might sound like if she ever decided to make a run for the title of Britain's female Robbie Williams. (Perhaps not coincidentally, it's also the source of her weakest lyric.)”.

I will wrap things up soon. Before then, I want to source from one more review. AllMusic observed the following when they listened to Alright, Still:

“Like most British pop, Lily Allen's debut album, Alright, Still, overflows with impeccably shiny, creative productions. However, Allen attempts to set herself apart from the likes of Rachel Stevens, Natasha Bedingfield, and Girls Aloud with a cheeky, (mostly) amusing vindictive streak in her lyrics that belies the sugarcoated sounds around them. You know exactly what she means when she says her ex is "not big whatsoever" on "Not Big"; later, she revels in being the one that got away on "Shame for You." However, this nice-then-naughty approach is at its best on Alright, Still's singles, which open the album in a one-two-three punch. Another ex-boyfriend kiss-off, "Smile," has a silky verse melody that just barely conceals her spite, which finally spills over on the chorus: "At first, when I see you cry/It makes me smile." But even here, Allen keeps her revenge sweet -- she sounds like she's singing about how ice cream or puppies or being in love makes her smile, which gives the song an extra sting. "Knock 'Em Out" is an even sassier, more stylized battle of the sexes than the Streets' "Fit But You Know It" (and could very well be the response from the girl in Mike Skinner's song).

And "LDN" is a glorious summer confection, even if "it's all lies" underneath the Lord Kitchener sample and "sun is in the sky" chorus. Alright, Still's production and arrangements, courtesy of Greg Kurstin, Mark Ronson, and Futurecut, balance Allen's tart observations with a backdrop of pop-grime beats and freewheeling, feel-good ska that makes her sound playful and kittenish instead of just catty. While the album doesn't exactly go downhill after its opening salvo, it does lose some steam, particularly with "Take What You Take," a song that feels out of character with the rest of Alright, Still because it's uncharacteristically dull, and "Alfie," which falls especially flat as the album's final song. Allen softens her tough-girl pose more successfully on "Little Things," a ballad that celebrates the mundane moments of a dying relationship ("You'd take me out shopping and all we'd buy was trainers/As if we ever needed anything to entertain us") and "Everything's Just Wonderful," where "bureaucrats that won't give me a mortgage" are the targets of her ire instead of a previous (or soon-to-be previous) boyfriend. As with Nellie McKay (another young, opinionated woman eager to make herself the maverick in her chosen style of music), the dichotomy between Allen's sweet sound and ironic lyrics could be seen as either witty or clever-clever. Still, enough of Alright, Still works -- as pure pop and on the meta level Allen aims for -- to make the album a fun, summery fling, and maybe more. [The U.S. version of Alright, Still includes a remix of "Smile" and the 50 Cent parody "Nan You're a Window Shopper" as well as U-MYX software, which allows listeners to make their own remixes of "Smile" and "Knock 'Em Out" -- not an essential addition, but a surprisingly fun one nonetheless.]”.

Go and grab Alright, Still on vinyl is you can, as it is a wonderful album of many different moods and sounds. I think that it remains Allen’s best album. I feel that it is one of the best albums from the first decade of the twenty-first century. If you cannot find Alright, Still on vinyl then go and stream it or buy it on C.D. After almost fifteen years in the world, Alright, Still, remains…

SUCH a confident, busy and exciting album.

 

FEATURE: The Lockdown Playlist: Deep Pockets: Gaz Coombes at Forty-Five

FEATURE:

 

 

The Lockdown Playlist

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Deep Pockets: Gaz Coombes at Forty-Five

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BECAUSE the fantastic Gaz Coombes…

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 IN THIS PHOTO: Gaz Coomes alongside Supergrass’ Danny Goffey (left) and Mick Quinn/PHOTO CREDIT: Gie Knaeps/Getty Images

turns forty-five tomorrow (8th March), I wanted to do a Lockdown Playlist of his best tracks. The lead of the Oxford band, Supergrass, I grew up listening to his music. The first single from 1997’s In It for the Money, Going Out, turned twenty-five recently. I get these pangs of nostalgia listening to classic Supergrass. That said, the band are still together, so that sense of loss is mitigated – let’s hope that Coombes, Danny Goffey, Mick Quinn and Rob Coombes will play together again soon. Coombes has enjoyed a successful solo career - I think that he stepped away from the Supergrass sound for his solo work. To honour a great songwriter and music legend, here is a selection of the best Supergrass tunes, together with a healthy smattering of solo Gaz Coombes tracks. Happy forty-fifth birthday to a tremendous songwriter and artist…

I respect greatly.

FEATURE: The View from the Afternoon: Looking Ahead to Shaun Keaveny’s Five-Hundredth BBC Radio 6 Music Afternoon Show

FEATURE:

 

 

The View from the Afternoon

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IN THIS PHOTO: Shaun Keaveny (right) with Matt Everitt (photo taken pre-social distancing)/PHOTO CREDIT: BBC

Looking Ahead to Shaun Keaveny’s Five-Hundredth BBC Radio 6 Music Afternoon Show

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I think this applies to other presenters…

on BBC Radio 6 Music like Chris Hawkins, Lauren Laverne and Mary Anne Hobbs. Because, when one listens to Shaun Keaveny’s show between one and four every weekday afternoon there is the episode number, I know that his five-hundredth episode is fast-approaching. As there was a line-up change from the start of 2019, a few presenters will be marking their five-hundredth show shortly. I might give a nod to Laverne and other broadcasters who have reached that big number in a new slot. It doesn’t feel that long ago when there was a schedule change at BBC Radio 6 Music. I remember going to Shaun Keaveny’s last breakfast show in 2018. It was held at Maida Vale Studios with a selected audience. Then, there was no idea how the new shows would take hold and what the new line-up sounds like. I start my mornings with Chris Hawkins, before staying tuned for Lauren Laverne and then Mary Anne Hobbs. I then listen to Keaveny until four, and I then sort of tune in and out for the rest of the afternoon. One reason why I wanted to specifically highlight Shaun Keaveny – apart from the fact we can tell the exact date he broadcasts his five-hundredth show in the afternoon (22nd March) – is that he has recently battled Coronavirus. I think that his stamina is amazing and, like everyone at the station, there is clear dedication and passion for the job! He would be the first to point out that he has not been present to record all five-hundred shows. Between illness and days off, he has a little way to go until he can mark five-hundred shows himself.

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 IN THIS PHOTO: Lauren Laverne (who broadcasts between 7:30 and 10:30 every weekday morning) with actor, musician and activist, Riz Ahmed (photo taken pre-social distancing)/PHOTO CREDIT: BBC

I listen every afternoon because, whilst things are so hard and unsure, he is providing a lot of laughs and entertainment. I love the fact Chris Hawkins plays awesome music and lifts us in the early part of the morning. Lauren Laverne then raises the energy and is an infectious and hugely popular broadcaster. Mary Anne Hobbs keeps things eclectic and fascinating before things hand to Shaun Keaveny – there he hands the clammy baton to Steve Lamacq at four. I remember seeing Keaveny talking to audience members after he closed his final breakfast show at Maida Vale. He was emotional and tired, and I think it was the right time to move slots. I know that he has been grateful to have more sleep and time with his family. I am thinking of doing a salute to Lauren Laverne and BBC Radio 6 Music as a whole, as I think each broadcaster marking five-hundred shows should mark it with something special – whether that is with a cool playlist or something celebratory. It is a shame that guests cannot come to the studio to record episodes, though I am sure a lot of people online will give their thanks and messages to each presenter. On Monday, 22nd March, it might not seem like a big deal to Keaveny himself…but he and his team have delivered an incredible afternoon show over the past two-and-a-bit years! I think everyone at the station has had to adapt to a very tough situation regarding the pandemic. They have turned up and delivered these shows that have helped us all and brought us together.

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 IN THIS PHOTO: Mary Anne Hobbs hosts her show between 10:30 a.m. and 1 p.m. every weekday/PHOTO CREDIT: BBC

It would be great for everyone to give themselves a pat on their back on their five-hundredth show. Apart from Keaveny himself, there is the music news with Matt Everitt (check out his excellent, The First Time with… series). He is broadcasting from his home whilst there are restrictions. His daily dose of music news is always important and interesting! Seeing how many corners of the industry have struggled over the past year, there has been less positivity than usual. Whilst Everitt has not done face-to-face interviews and would, I am sure, prefer to meet musicians in the flesh, he has done a sterling job! When Everitt is away, Georgie Rogers presents the music news (sometimes Siobhán McAndrew delivers the news. She is also excellent and someone who deserves more time on the station). I hope that she gets more time on the station, as I really like her style. The entire time, whilst divided, have provided this sense of togetherness and family. With some old features – such as the listener-involving Small Claims Court – joining together with newer ones (the Gold Soundz half-hour goes from one to half-one), the show is always changing and strengthening….though it is the sense of familiarity that keeps so many tuned in. Whether it is Keaveny’s deliberate (or sometimes accidental) dead air and impressions, or the bond between him and Matt Everitt, there are many more years ahead! A larger congratulations to Chris Hawkins, Lauren Laverne, Mary Anne Hobbs and anyone else at BBC Radio 6 Music who is looking ahead to their five-hundredth show. Big applause to Keaveny ahead of a milestone. The entire station has been a real lifeline to us all during the pandemic. Listeners around the world are so grateful for…

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 IN THIS PHOTO: Georgie Rogers and Shaun Keaveny sharing a touching moment at Maida Value Studios on 14th December, 2018 after Keaveny’s final breakfast show/PHOTO CREDIT: @GeorgieRogers

SO much energy, warmth and positive company.

FEATURE: The Lockdown Playlist: Songs About Hair

FEATURE:

 

 

The Lockdown Playlist

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PHOTO CREDIT: @eugenechystiakov/Unsplash 

Songs About Hair

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BECAUSE an end to lockdown…

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 PHOTO CREDIT: @awcreativeut/Unsplash

has been announced for 21st June, many people are looking ahead. One of the earliest dates for relaxation is 12th April. That is when, among other businesses, hairdressers and barbers can reopen. After many months without access to a haircut, so many of us are excited about the possibility of sleeker and less messy hair! It is a small victory in a year that has been very difficult and without much optimism. Of course, things can change, and it may be the case that businesses have to wait longer to reopen (if infections rise and there is another spike). Let’s hope that things go according to plan! In honour of the announcement that we can get our hair cut soon enough, this Lockdown Playlist is about hair and songs associated with a good head of hair! I am not sure about anyone else, but the possibility of a haircut in a month or so is…

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 PHOTO CREDIT: @averieclaire/Unsplash

A big source of relief.