FEATURE: She’s Leaving Home: Kate Bush and The Beatles

FEATURE:

 

 

She’s Leaving Home

 IN THIS PHOTO: Bob Geldof, Kate Bush and Paul McCartney in 1980 

Kate Bush and The Beatles

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BECAUSE I am writing a lot…

 IN THIS PHOTO: The Beatles in 1966/PHOTO CREDIT: Robert Whitaker

of features about Paul McCartney ahead of his eightieth birthdays in June, I have also been researching The Beatles. There is still a lot of talk following The Beatles: Get Back from last year. A hugely important band to so many artists, Kate Bush was a big fan. I wondered what Beatles albums were played in her house. I cannot find a link to the interview but, early in her career, she was asked about her favourite albums. She said that The Beatles’ Magical Mystery Tour (a double E.P. from 1967) was her favourite from the group. Maybe not a popular choice for most Beatles fans, I can understand why she would have selected that. Becoming more experimental with her own music, the different colours, shades and odder moments would have inspired her and resonated. Magical Mystery Tour came out when Bush was at school. A kaleidoscopic album, I think that Bush had a greater fondness for The Beatles’ albums post-1966. The Beatles were using the studio a lot more from that point and pushing technology to the limits. This is something Bush connected with. She took a similar approach when she started producing her own albums. Listen to The Dreaming (1982) and Hounds of Love (1985), and I can hear elements of The Beatles in there. Definitely, when we discuss Bush as being more out-there and experimental, it is easy to draw a line to The Beatles. I  wonder whether Bush has a favourite album from The Beatles from their first few years. I could always imagine her giving her own take to a song like I Saw Her Standing There (Please Please Me, 1963) or Help! (Help!, 1964).

 IN THIS PHOTO: Kate Bush and Paul McCartney

I will come to some articles that document times Kate Bush tackled The Beatles. All of her covers were Beatles albums from 1967 onwards. I am not sure whether Bush got to meet George Harrison before he died or whether she has met Ringo Starr. There are several photos (from more than one meeting) of her with Paul McCartney. I have said before how this is a duet or collaboration everyone would love to hear! Imagine hearing McCartney and Bush come together for one of their albums. I could see no reason why either would object or not want it to happen. The sonic experimentation and great melodies from the band affected Bush from a young age. This article talks about one of the earliest occasions Kate Bush covered a Beatles song:

“Song written by John Lennon, but credited to Lennon-McCartney. The song was inspired by Timothy Leary's campaign for governor of California against Ronald Reagan, which promptly ended when Leary was sent to prison for possession of marijuana. According to Lennon, "The thing was created in the studio. It's gobbledygook; 'Come Together' was an expression that Leary had come up with for his attempt at being president or whatever he wanted to be, and he asked me to write a campaign song. I tried and tried, but I couldn't come up with one. But I came up with this, 'Come Together', which would've been no good to him - you couldn't have a campaign song like that, right?"

Kate Bush performed the song with her own KT Bush band in March 1977. Gigging around the pubs of south London in a Hillman Imp and Morris 1000 van, she performed a set that included songs like the this song, 'Come Together'. Vic King, who played drums in the band, later reflected: "Kate didn’t frequent pubs, but she wanted to do it because she had to learn stage presence and projection. She wasn’t doing it because she loved being on stage”.

From that Abbey Road classic, Bush would have explored The Beatles’ catalogue. It is interesting in terms of the main songwriter, who she was inspired by most. I feel that she gravitated more towards Paul McCartney. In terms of their personalities and songwriting styles, they are closer in tone compared to John Lennon and George Harrison. Not only did Bush cover Let It Be for a 1987 charity single with a load of other artists, she performed it a couple of other times at least. The Kate Bush Encyclopaedia explains more:

“Kate Bush performed 'Let It Be' live in a Japanese television programme in June 1978 (most probably 'Sound in S', 23 June 1978).

On 12 May 1979 she performed the song as part of one of her own live shows, in aid of Bill Duffield together with guest starts Steve Harley and Peter Gabriel. In March 1987 (four consecutive nights from 26 to 29 March), Kate performed 'Let It Be' during the Secret Policeman's Third Ball for Amnesty International together with David Gilmour”.

Although Bush did not really get a chance to work up any Beatles songs professionally and put them out as a B-side, I am fascinated in her love of the band. Maybe there is something very English or universal about them that struck her. One could say that Bush is less Pop-orientated than The Beatles. I think the biggest attraction for her was the eclectic nature of their albums and how they could put so many different sounds and layers into the mix. One can never say Bush will not cover the band again. I would love to hear her in the studio and laying down a great take of a Beatles song she has already covered or taking on something else. When she visited Japan in 1978 to promote her debut album, The Kick Inside, she did perform a number of Beatles songs. Maybe this was the most translatable band and artist for Japanese audiences. As The Beatles were popular there and are less obscure than other artists, it would have been easy for audiences to understand and recognise what Bush was singing. Returning to the Kate Bush Encyclopaedia, and they reveal the Beatles songs Bush covered in Japan:

“During a promotional visit to Japan, Kate Bush performed five songs on television: Moving, Them Heavy People, She's Leaving Home, The Long And Winding Road and Let It Be. These performances have all been attributed to the show 'Sound in S', 23 June 1978, but they may in fact have been performed for various different TV programmes”.

I love the fact that Bush decided to perform She’s Leaving Home from Sgt. Pepper’s Lonely Hearts Club Band. A McCartney number (of course!), it is quite a hard song to nail. Reversing the gender roles and singing more from the point of view of a mother having to see their child leave home, I wonder whether that would inspire some of her later songs like Army Dreamers (Never for Ever, 1980), All the Love (The Dreaming), Watching You Without Me (Hounds of Love), Reaching Out and This Woman’s Work (The Sensual World), or even A Coral Room (Aerial, 2005). I am sure Bush watched The Beatles: Get Back and was blown away. It made me wonder whether there was any documentary footage of Bush when she recorded her albums. That would be fascinating! Although other artists like David Bowie, Elton John, Captain Beefheart, Roxy Music and Steely Dan inspired her in different ways, she did not really cover their music extensively. The Beatles is the act that Bush has interpreted the most. From those pub gigs in 1977 to her joining the Ferry Aid single, Let It Be, in 1987, The Beatles have been close to her heart – and I know that is very much still the case. I still hold hope that Bush and McCartney will do something together. As he is eighty soon, it would be lovely if there was some musical interaction between two musical legends! I just wanted to explore Bush’s love and appreciation of the greatest band ever. Taking on some of their best-known songs, she definitely added her own take and stamp. Though we do have access to a number of recordings of Kate Bush covering The Beatles, I’ve got a feeling that there may be…

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FEATURE: Delectable Collectables: What Is the Future of the Compact Disc?

FEATURE:

 

 

Delectable Collectables

PHOTO CREDIT: Olena Sergienko/Unsplash

What Is the Future of the Compact Disc?

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I wrote about it recently…

 PHOTO CREDIT: Brett Jordan/Unsplash

but the compact disc has a big anniversary this year. Though they were invented in the late-1970s, the first album to be released on CD was Billy Joel's 52nd Street. It was released alongside Sony's CDP-101 on 1st October, 1982 in Japan. On 2nd March, 1983, CD players and discs were released in the United States and other markets. Compact discs recently increased in terms of sales for the first time in seventeen years. That takes us back to 2004/2005. It is strange to think that a music listening format that we all know about has been struggling for so many years. I think it is relative. The rise in streaming numbers and vinyl sales does not necessarily indicate a lack of love and relevance for the CD. Alongside a desire to pay for content and, hopefully, more of that revenue will end up with artists compared to streaming, there is a slightly nostalgic edge. Lots of people have grown up listening to CDs, so they have reconnected with that during the pandemic. Also, there is that desire for something physical. A music connection you get with vinyl, CDs and cassettes. To me, we are seeing the start of a new rise that, whilst it may not last for years, is a revival. The past few years especially have been grim when it comes to the health of the CD. Talks of its demise and irrelevance have been presented by the media. Maybe this is not the big explosion we would like to see, though increased sales are positive news. The Guardian wrote about it earlier this month:

“After languishing in his car boot for several years, Jordan Bassett’s CD collection – mostly dating back to his teenage years – will soon be on proud display in his newly converted home office space.

Bassett, a commissioning editor at the NME, has no means of playing the CDs and, in any case, his musical tastes have moved on. But the 100-150 thin, shiny 5in discs have sentimental value – and, who knows, one day they may be part of a revival similar to vinyl among music aficionados.

PHOTO CREDIT: Denissa Devy/Unsplash 

Although the decision by Tesco this week to clear its shelves of CDs was an unambiguous indication of the decline of the once-revolutionary music format, it’s not dead yet.

Last year, UK sales of physical entertainment products fell 18.5% to just over £1bn, while digital revenues rose by 8.3% to £8.7bn, according to the Entertainment Retailers Association.

In 2007, at the height of the CD market, more than 2bn discs were sold globally. The digital streaming platform Spotify launched in 2008, and CD sales started their trajectory downwards.

But towards the end of last year, there was a blip on the graph. CD sales rose by 15%, mainly thanks to Adele’s 30, which sold nearly 900,000 in CD form, Abba’s Voyage and Ed Sheeran’s =.

In a love letter to CDs published in Rolling Stone last month, Rob Sheffield wrote: “Compact discs were never about romance – they were about function. They just worked. They were less glamorous than vinyl, less cool, less tactile, less sexy, less magical. They didn’t have the aura that we fans crave.

“You didn’t necessarily get sentimental over your CDs, the way you fetishised your scratchy old vinyl, hearing your life story etched into the nicks and crackles …. But CDs work. They just do. You pop in the disc, press play, music booms out. They delivered the grooves so efficiently, they became the most popular format ever.”

PHOTO CREDIT: Brett Jordan/Unsplash 

He lauded CD “boxsets, bootlegs, mixes from friends old and new, young bands whose albums I buy from the merch table at live shows”, and lamented the ephemeral nature of streaming culture.

A recent article in Wired magazine also praised the CD format, and its “ridiculous affordability”. Streaming was for the masses, vinyl was for hipsters, said the author, but his experiment in CD listening had brought “unexpected joys”.

Despite the convenience of streaming music at the touch of a keypad, some fans prefer to have tangible collections, complete with liner notes, to pore over, arrange and rearrange.

And, as Adele pointed out to Spotify when threatening to pull her latest album from the platform unless it hid the shuffle button, “our art tells a story and our stories should be listened to as we intended”.

Bassett said: “We may be seeing the end of CDs as a mass-market product, but we could also be seeing the beginning of the repositioning of the CD as a more fetishistic item.”

But, he added, it was unlikely to match the vinyl revival of recent years. “There is not the same romance, the magic of dropping a needle on to vinyl. The plastic cases cracked easily. I remember listening to Nirvana’s Nevermind on the school bus and every time that the bus went over a bump, your CD would skip”.

I shall end with a bit about the positives and negatives when it comes to CDs. I will also talk about the future of the format. It is not only the U.K. where there is a new love of the humble compact disc. As Pitchfork write, American audiences and buyers are showing their love – even if the incline in sales does not indicate profitable news for artists hoping to rely on CDs to bolster their bank accounts:

“Clearly, no one is saying that the compact disc will have enough economic force to (nearly!) send a pop star into space. But record sellers contacted by Pitchfork maintain that CD sales have indeed been on the rise, and some Gen Z music fans are happy to enthuse about their affection for these once-futuristic pieces of plastic. While there seem to be voguish as well as nostalgic factors driving this interest in CDs among people younger than Napster, the phenomenon is also a reminder of how the original digital-audio medium’s influence has lingered into the streaming era. “The CD made indifference a viable consumer attitude,” wrote the anthropologist Eric Walter Rothenbuhler. CDs, after all, were the first physical format that listeners could practically ignore due to their slim size and near-perfect sound quality, priming audiences for an era of passive, portable consumption.

Throughout the pandemic, one reliable community for buying and selling CDs has been Discogs. A spokesperson for the online marketplace told me that CD sales via the site climbed to 3.7 million units last year, an 8.8 percent increase, and are on pace to remain steady in 2022. The first year of the pandemic was even bigger. In 2020, Discogs CD sales leaped 37 percent, to 3.4 million units, while vinyl jumped 41 percent to 12 million. On this major hub for record collectors, at least, the CD has been back.

PHOTO CREDIT: Brett Jordan/Unsplash 

Record stores similarly express measured optimism about the format. CD sales are up around 15 percent at Newbury Comics, says Carl Mello, director of brand engagement for the independently owned New England music chain. But he adds that 70 percent of Newbury’s CD sales currently are for K-pop titles, known for their ornate packaging and design. Unsurprisingly, artists who are already huge seem to be doing particularly well: Mello says Taylor Swift’s catalog titles are all selling two to five times better than last year, with similar increases for Kanye West, Ariana Grande, My Chemical Romance, the Strokes, and other boldfaced names. In a wild instance of technology folding in on itself, many young fans proudly display their CD collections on TikTok. “Just as vinyl TikTok is a thing, so is CD TikTok,” Mello notes.

Other record stores are also slinging jewel cases like it’s 1999. Elsewhere in New England, Bull Moose saw sales of new and used CDs surge 20 percent last year, says Chris Brown, CFO of the Portland, Maine-based indie chain. “People shouldn’t dismiss the 1 percent growth,” he observes. “That’s huge after several years of declines.”

Jim Henderson, co-owner of California independent chain Amoeba Music, points out that a plunge in used CD prices means that some classic albums are available in the format for as little as $4 to $5. “At Amoeba we never saw a stark drop-off in interest in CDs, just some lighter years as the spotlight shifted to LPs,” Henderson says. “We expected less interest than ever coming out of the pandemic quarantine period, where streaming and vinyl sales spiked. But it really hasn’t played out that way.” Also keeping the format commercially relevant is the decision by artists like Olivia Rodrigo, J. Cole, and Silk Sonic to push out their CD releases ahead of vinyl backlogs.

Although millennials may have soured on CDs during the 2000s, the format has devotees among Gen Z. Andrea Cacho, a 20-year-old sophomore at New York University, tells me that she and her friends are “on the CD wave.” Cacho, a WNYU DJ from Puerto Rico, says she bought her first CD—a used copy of New York City indie-rock band New Wet Kojak’s 1995 debut—a year ago, after arriving at school. She now has 62 CDs spanning punk, metal, screamo, pop, and Christian music. She typically buys her discs from the used bin at Generation Records in Greenwich Village for as little as a quarter (though Green Day’s Dookie cost her $10). “I was tired of discovering music through YouTube or Spotify,” Cacho tells me. “I wanted to be surprised.”

To play them, she first bought a cheap Walkman at Walmart, then upgraded to a Studebaker radio with a CD player. “Most of my friends who started getting CDs don’t even have a means of playing them,” she laughs. “So sometimes they’re like, ‘Yeah, can I come over and use your radio?’.

I think that there is a lot of positivity to be taken from the news CD sales have increased. They are selling across various generations, not only those who have grown up around them. Whilst there may be more affection and focus from those of a certain age, the albums they are buying are not only older ones. New albums are being bought on CD. Vinyl is great, though it lacks a certain portability. You cannot listen o vinyl on the go or enjoy it in the same way. Cassettes are also really cool, but fewer people have players and listen to them in the car. A lot of people still have CD players in their cars and stereos in their houses where they can play CDs. Also, older technology like Discmans are being dug out. I do feel there will be a boom in the production of Walkmans and Discmans. Maybe not reviving the old models – you only need to look at auction sites to see how much original Walkmans go for! -, it would be awesome if there was a new model of Discman. One disadvantage of the CD is that is would skip and stop when you played it in a Discman. The discs themselves can be fragile and only need to be lightly dropped on a carpeted area before they are scratched and smudged! If labels could ensure that more profit and revenue go to artists (compared to streaming), then I think people will naturally buy more CDs, vinyl and cassettes – as they want to feel like the artists are getting deserved payment.

IN THIS IMAGE: A Sony Discman/IMAGE CREDIT: Behance

Rather than it being a nostalgia kick, a modern update of Sony’s Discman and Walkman could draw in more listeners and buyers. I would definitely be interested, as so many artists put out their albums on CD and cassette. I know there are models available, though something that could maybe play both CDs and cassettes would be a bonus. I think there are disadvantages to the CD that need addressing so they can be calibrated in readiness for a sales boom. Apart from the fragility of them – which I am sure could be corrected when CDs are pressed – there is the environmental cost. A lot of new albums are still coming out with plastic cases. Maybe cardboard equivalents are not quite as sturdy and desirable, though every physical format needs to be conscious of its carbon footprint. The plastic waste generated by CD cases could be huge. Of course, most people will keep the cases and CDs, but there will be a day when they’ll be disposed of. Maybe a new material that is less bendable and vulnerable than cardboard could make an attractive casing. If the cost of an album could be kept reasonable, then I would not be surprised if the sales of CDs kept going up. I definitely don’t think we are in a position where they are threatened with extinction or becoming obsolete. New generations are going to discover them, and there is a massive sector who will always favour physical music.

 PHOTO CREDIT: averie woodard/Unsplash

I love the idea of new-designed CD and cassette players that would beckon more buyers and making listening on the move easier. Some may say that it is more cost-effective and less burdensome streaming songs and listening that way. I am not suggesting one would be walking around with a massive bag of CDs and cassettes! Instead, they would take a few with them. The physical sales boom can be explained by a desire to listen to albums in full and in sequence. You can skip tracks listening to a CD album, but there is something nice about a complete album you have bought that you can also pass down to someone else. If future generations are going to preserve and enjoy great albums, then it is unlikely to be via digital methods. The act of physically handing music down is invaluable and precious. All this being said, this will not equate to a massive rise in CD sales. Instead, the trend will go upwards for a little while before flattering out. Even so, that does mean that production will continue unabated. Record shops are still going to keep CDs alive, and there is attractiveness beyond nostalgia that means this forty-year-plus technology keeps going on. If we can sort out the environmental issues and introduce a new line of CD players, that would go a long way. There was a lot of positivity around the recent news of CD sales going up. Maybe not a complete revival, it does signal things moving in the right direction. That is always…

 PHOTO CREDIT: Guillaume TECHER/Unsplash

ENCOURAGING to see.

FEATURE: Revisiting… Paramore - After Laughter

FEATURE:

 

 

Revisiting…

Paramore - After Laughter

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THERE is talk of a new Paramore album…

 PHOTO CREDIT: Pooneh Ghana for DIY

at some point this year. In this feature, I go back up to five years and look at albums that were hyped at the time and deserve a lot of focus and airplay now. After Laughter arrived four years after Paramore’s eponymous album. Both albums are great, though I feel After Laughter is stronger. Perhaps their best album so far, it is one everyone should know and listen to. As I do, I am getting to a couple of reviews for it. There was a lot of media interest around After Laughter in 2017. The band (fronted by Hayley Williams) were discussing this album that seemed to signal a new phase for them. DIY conducted an extensive interview with the band. I have selected some segments of the chat which stood out:

“Almost eighteen months later, the three current members of Paramore – Williams and York are re-joined by original drummer Zac Farro – are sat together in the corner of a lofty Nashville photo studio. It’s a Friday afternoon and the trio are in the middle of planning a trip to see Radiohead in Atlanta this weekend. It’s also just a little over a month until their fifth album ‘After Laughter’ will be released and, as of the time of writing, only a handful of people in the world have any idea what’s coming.

“It’s weird,” ponders Hayley, on how it feels to be five albums deep and over ten years into their career. “I still feel like we’re really green, especially with this record. It felt like there were so many new things to try and so many new feelings about life - you’re finally all the way over the hump of being able to deny that you’re an adult now. Yeah, this was a crazy record to make.”

PHOTO CREDIT: Pooneh Ghana for DIY 

Unsurprisingly, the sense of anticipation surrounding the band’s next move has been palpable. In March 2016, the then-duo of Hayley and Taylor set sail on their second Parahoy! but fans remained uncertain of what would come next. And while their performances on board - their first after Jeremy’s departure - were fraught with emotion and honesty, with wounds still open, the four-day cruise would go on to be much more significant than they’d anticipated.

“I’ve never really wanted to cry on a cruise…” Hayley laughs, looking back at the rather emotional experience. “That wasn’t a selling point for certain!” It did, however, provide some much-needed catharsis for the then-two members. “Taylor and I talked about that right after it happened. It was really tough, and a lot had changed. All of a sudden, I felt very naked up there.

“[Parahoy!’s] supposed to be this fun thing; it’s meant to be a place where we all leave the world behind and we do our own thing, connect over music, play games and none of it matters, because who even knows how to find us? It’s this really beautiful community and feeling, yet I was really sad. There was this - I dunno - cloud that felt like it wouldn’t get off our backs for a moment there.

PHOTO CREDIT: Pooneh Ghana for DIY 

“Then we did this meet and greet that was about three hours long,” she explains. “People were coming up and looking us very deeply in the eyes and genuinely telling us things like, ‘Oh man, we’re so proud of you guys’ or ‘We’re so happy we get to be a part of this music’. These really incredibly genuine sentiments. There are always these really nice reminders with Paramore that it’s not just about us. I think that’s why we’ve been able to survive all of this shit: because it’s not really about us. When you’re looking into people’s eyes and you know they’re going through something probably worse than you, it just gives you a fresh perspective. We came home from that with a little bit of extra energy to get going with writing again. It was a good thing.”

By the time June rolled around, the band – who had invited Farro back into the fold by this point – were gearing up to head into the studio. “I mean, I never feel prepared, but I was scared,” confirms Taylor, on how they were feeling in the lead up. “I did feel like we had all the pieces, but it’s always a bit terrifying.” After the ambition of their previous full-length, the bar was set high, and that sentiment wasn’t lost on them. “Music is one of the only mediums of art where you do something and that is what you exist with for years.” An artist can create a piece and move on, a director finishes a film then continues with their next project. “For us,” Taylor continues, “we make a record and we live it. There’s a lot of pressure from both outside and within, because you want it to be great, you want to believe in it. That was where the fear came in; it was about making something that we all loved and that - even if it didn’t work out - we could all still stand behind it and be proud.”

PHOTO CREDIT: Pooneh Ghana for DIY  

The first step in making their fifth record was to build themselves a support network. Alongside Zac, who originally left the band in 2010 and has most recently been working on his own project HalfNoise, the group recruited ‘Self-Titled’ producer Justin Meldal-Johnsen to co-produce with Taylor. “When me and Hayley went into the studio,” adds Taylor, “we were a duo, so it was about putting people around us that we had history with and confidence in.” Rebuilding their bridges, they tried to create something that felt much more like a band. They were able to move forward, and more importantly, be themselves.

That’s an element that has ultimately shaped ‘After Laughter’ itself. While their previous record saw them giving anything a go, this time around they knew the path they needed to tread. Building upon the high octane energy of the likes of ‘Ain’t It Fun’ and ‘Still Into You’, it takes the bubbly vibrancy of those tracks and cranks it up to eleven.

“We intentionally didn’t look back at all,” Taylor is quick to assure. They now finally felt liberated enough to pursue the sounds they’d played with last time, but in a bigger way. “I really wanted this album to be different, but I didn’t really know what that would be like. I knew I didn’t want a ton of high lead guitars and I was getting kinda sick of head banging - our necks just always hurt!” While ‘Ain’t It Fun’ represented one of the most distinctly different sounds they explored last time around, now it was about calling upon the attitude and the mentality that had allowed for that song to be birthed in the first place. “We definitely just wanted to be honest with where we’re at,” he adds, “and be excited to listen to [the music] ourselves.”

Honesty was also the key component within Hayley’s lyrics. While Paramore have never been a band to shy away from pain or hardship in years before, this set of songs shout the message loud and clear. Unabashed and open, raw to the last, with titles like ‘Hard Times’, ‘Forgiveness’ and ‘Fake Happy’, the album shows that it’s clear the pain they’ve felt over the past two years hasn’t dimmed. Now, they’re unafraid to show it. “You can say it, it’s alright!” laughs Hayley, at the suggestion that these lyrics are much more forthright in their, well, sadness. “Honestly, we don’t even have the energy…” she admits, trailing off a little.#

After almost a decade of dealing with issues - whether they be the departures of band members, the band’s portrayal in the media or simply the mechanics of the industry - it’s no shock to learn that Paramore are often exhausted. “We went through enough shit, man,” she goes on. “It’s not a selling point; life can be so hard. It’s funny to think that there’s anybody in the world that would look at us and think that our lives aren’t really hard just because we played Wembley or something. That’s cool but we still go home at the end of the tour.

“We’ve been playing shows for years and have been around so many people and parts of the world, and you just reach a certain point where you’re like, ‘I’m done.’ We don’t ever wanna be rude or unprofessional, but we’re just people,” she continues, tapping into one of the album’s main sentiments. “If we’re all faking it or being phoney, when do we ever get to connect? I don’t want to live in that mindset anymore, where I have to perform, not on stage but, as a human. It’s just tiring!”.

To show why After Laughter deserves some more love, there are a couple of reviews worth sourcing. With so many great songs and some brilliant production from Justin Meldal-Johnsen and Taylor York, After Laughter is a terrific album. This is what NME had to offer in their review:

“Emo kids’ eyeliner will be even smudgier than normal this week, because on their fifth album Tennessee alt.rockers Paramore have finally fully ditched the serrated guitar-driven angst and the baggy trousered alt.awkwardness and taken a swan dive heart-first into a big, sunny swimming pool full of old school pop bangers.

Hayley Williams might have heavily hinted at the band’s new direction on 2013’s power-pop leaning ‘Paramore’ album, but ‘After Laughter’ comes over like the earnest, fist-pumping soundtrack to a long-lost John Hughes coming-of-age film. No longer is this a band to file alongside My Chemical Romance but rather the glossy likes of Haim, especially when the sassy handclaps and hairflicks of ‘Forgiveness’ kick in. The nods to their punk past are few and far between, coming through only ska-inflected bounce on ‘Caught In The Middle’, which brings to mind early No Doubt, and the moody, marauding ‘No Friend’, on which Hayley takes a time-out and lets Aaron Weiss from Philadelphia rockers mewithoutYou holler grumpily.

But that’s certainly no bad thing – unless you’re really, really attached to 2006. With it’s perky marimba, album opener ‘Hard Times’ sets the scene perfectly; a synth-y, tropical offering that’s as cheery and comfortingly brash as a Hawaiian shirt worn out of season – it’s possible to hardly even notice that the lyrics are about being in a damn shitty mood (“Walking around with my little rain cloud / Hanging over my heard and it ain’t coming down”). ‘Told You So’ is similarly sprightly, but with an equally glum outlook (“For all I know / The best is over and the worst is yet to come”). More sonic therapy comes via the addictive ‘Grudges’, which feels like a turbocharged take on The Bangles, and bouncy ‘Pool’ while there’s whispers of classic rock heroines Heart in the dreamy power ballad ‘Forgiveness’ and string-laden ‘26’.

Catharsis is never usually this joyous, but sometimes smiling through the pain works better than crying”.

To finish, I want to quote more extensively from a review that Consequence put out. Even though After Laughter got a couple of mixed reviews, the overall reaction was one of huge positivity and respect. It is deserved for an album that is a real pleasure. With so many different sounds blending together, it is no wonder what so many publications ranked After Laughter among their favourite albums of 2017:

“Consider the megahit single from Paramore, “Ain’t It Fun”. In addition to being quite possibly the best song Paramore have written, “Ain’t It Fun” typifies the band’s ability to keep one foot in its established identity while toeing new sonic territory with the other. The exultant gospel choir in the song’s sing-along bridge is a hat-trick unheard in the band’s prior LPs, but the palm-muted and distorted guitar chords that accompany the choir keep Paramore rooted in their alternative rock and emo origins. With Paramore, the old is rarely far from the new. The same applies to After Laughter, which, for all its bouncy synths and sugary hooks, still echoes the angsty band that made Riot!. When Williams accuse-asks on “Fake Happy”, “You think I look alright with these mascara tears?”, one can’t help but remember the stud belts and black skinny jeans copies of Riot! were sold alongside at Hot Topics nationwide.

Original drummer Zac Farro returns to Paramore on After Laughter after having split from the group with some controversy in 2010. This follows the similarly controversial departure of bassist Jeremy Davis, which took place after Paramore’s release. (A 2016 legal battle between Davis and the band ended in a settlement this year.) Since Farro’s initial departure in 2010, it has become something of a staple to speak of Paramore’s tumultuous lineup, as if with each new (or returning) member, something about the band itself must also be changing. Even with the shifting instrumental emphasis and differences in timbre on After Laughter, Paramore do a fine job building on the momentum initiated by their widely acclaimed self-titled record.

Lead single “Hard Times” kicks things off with a Hot Chip calypso jam, which concludes with an irrepressibly catchy riff in the outro. Even in this moment of genius, however, there is an unfortunate sign of strange things to come. The arpeggio riff at the end of “Hard Times” is matched note-for-note by a robotic voice, the sound of Daft Punk’s Random Access Memories joining the party in the last few seconds. “Hard Times” is a fine single and a great choice to open After Laughter, but such sonic accoutrements are unnecessary when the core of the song itself is solid. The same goes for “Fake Happy”, which boasts a simple and effective synth riff and yet inexplicably begins with a hushed acoustic intro, with Williams’ voice filtered through a kind of telephone effect. In moments like these, After Laughter’s wise emphasis on hooks and choruses is unnecessarily accented by odd instrumental and arranging choices.

When the hooks are good, though, they’re great. “Rose-Colored Boy”, despite its somewhat clunky titular metaphor, joins “Ain’t It Fun” in prime sing-along quality, both for its cheerleader intro and Williams’ impressive vocal gymnastics in the chorus. “Idle Worship” provides some welcome energy late in the record, especially given that the odd, mostly throwaway Aaron Weiss (mewithoutYou) feature, “No Friend”, derails an otherwise strong conclusion to the record. Weiss contributes a mostly spoken, mostly inaudible series of cryptic sentences that practically beg listeners to read into them as a description of Paramore’s career: “A semi-conscious sorrow sleeping in the bed I’ve made/ That most unrestful bed, that most original of sins/ And you’ll say that’s what I get when I let ambitions win again.” The last of those three sentences puts into words an objection raised against Williams in past controversies related to Paramore. To some, Paramore can appear to be Hayley Williams Featuring Some Other Guys.

If there’s one thing Paramore and now After Laughter disprove, it’s that very suggestion. Williams boasts undeniable talent, but her gusto requires the sharp songwriting and clever instrumentation of her bandmates, and After Laughter testifies to what happens when a singer like Williams is met with a group of quality instrumentalists. The truly interesting conflict for Paramore on After Laughter comes not in there being yet another lineup change, but rather the band’s juxtaposition of angsty lyrics and cheery pop. “Throw me into the fire/ Throw me in, pull me out again,” Williams sings atop the insistent bass drum and slinky bassline on the bridge of “Told You So”. No matter its rocky moments, After Laughter exhibits the enduring trait that makes Paramore so appealing: Even when the situation is dire and emotions are running high, they tell it like it is with smiles on their faces. You’d be forgiven for missing the seriousness on After Laughter for just how much damn fun it is”.

A wonderful album that is right up with Paramore’s best work, After Laughter is one that I was eager to revisit. I said that there may be an album from them this year. In January, it was confirmed that the band have entered the studio to work on their upcoming sixth album. It does seem like it will be a more guitar-heavy release. Before we get that, have a listen back to the amazing After Laughter. It is a fine album from…

A great American band.

FEATURE: Second Spin: Halsey - hopeless fountain kingdom

FEATURE:

 

 

Second Spin

Halsey - hopeless fountain kingdom

___________

LAST year…

Halsey released her best album yet with If I Can't Have Love, I Want Power. Her fourth studio album, it is an artist who talks of self-doubt and self-sabotage across a collection of songs that demonstrate her full range of talents in full flight.! Rightly lauded as one of 2021’s best albums, it is an absolutely faultless work. With a recent video for Girl Is a Gun impressing and showing what a hugely creative and astonishing artist she is, Halsey will also appear in a future film, National Anthem. The New Jersey-born artist is going from strength to strength. Destined to be a big film actor and one of the defining artists of her generation, there is no telling how big and iconic she will grow! Not to dampen that flame, but one of her albums has not received the acclaim it deserves…

Maybe Halsey herself would view hopeless fountain kingdom as a transition record. Her 2015 debut, BADLANDS, was a great album that showed huge sparks of potential. 2020’s Manic got huge reviews, and it is almost as strong as If I Can't Have Love, I Want Power. I feel hopeless fountain kingdom is a lot stronger than the reviews suggested. Even though it has been certified Platinum and went to number one in the U.S., it is a more radio-friendly album than anything else she has done. Maybe a bit commercial in places and complete with a couple of weak tracks, it is clear that the magnificent Halsey would fulfil her true potential on her next album. I really like hopeless fountain kingdom. It has some of her best songs on it – including Eyes Closed and Sorry -, and her music videos are visually spectacular and arresting. Such a striking and beguiling artist, Haley (real name Ashley Nicolette Frangipane) brought in collaborators like Quavo and Lauren Jauregui. She is strongest when she is on her own and is definitely up front and unaccompanied.

I want to bring together a couple of contrasting reviews. The first, from NME, is a more positive one. On the whole, hopeless fountain kingdom got a fairly positive response, though Halsey’s other three albums have received a more positive critical reaction. NME stated the following in their assessment of an album that I feel is incredibly strong:

“Appearing on The Chainsmokers’ 2016 mega-hit ‘Closer’ has had a big impact on Ashley Nicolette Frangipane, AKA Halsey. Her 2015 debut ‘Badlands’ made her a cult popstar. ‘Closer’ made her a household name.

In truth, ‘Closer’ has a trace of blandness Halsey stampedes past when working on her own. ‘Hopeless Fountain Kingdom’ gets by on a universal quality, but there’s a personal touch you don’t find on everyday pop full-lengths. It’s a break-up album, placed in the context of a Romeo And Juliet-inspired world. The record even begins with the prologue to the Shakespearean tragedy, while the video for ‘Now Or Never’ is like her own take on Baz Luhrmann’s iconic 1996 film.

On ‘Sorry’ she admits to treating “the people that I love like jewellery” over heart-wrenching pianos. “I didn’t mean to try you on,” she sings. ‘Good Mourning’ gives Rihanna-gone-sci-fi-vibes, while ‘Bad At Love’ recalls the singer’s past relationships.

‘Hopeless Fountain Kingdom’ might be defiantly ambitious, but it’s surprisingly cohesive. Even cameos from Fifth Harmony’s Lauren Jauregui and Migos’ Quavo, and co-writes from Sia and Greg Kurstin can’t derail the feeling this is 100 per cent her own output.

The only time a guest threatens to overshadow her is on ‘Eyes Closed’, co-written by The Weeknd and drenched in his brooding R&B signature. But it’s far from the best song on the record, proving Halsey’s fast moving from cult hero to global superstar”.

To end up, I will bring in Pitchfork’s take. They had some positive things to offer - though they were a little bit more ambivalent towards Halsey and her second studio album:

“Halsey’s sophomore album *hopeless fountain kingdom *comes with a backstory to rival an ARG. There were actual fountains and actual newspapers sent to actual doorsteps, but in 2017 this is the status quo. Tove Lo’s debut as the voice of Max Martin’s Wolf Cousins writing collective was presented as a four-part concept album about emotional turmoil. Beyoncé’s last two albums are bona fide franchises. Artists from The Fame-era Lady Gaga to suddenly-woke Katy Perry conduct album campaigns about how their music truly means something. It’s easy to see why: Streaming is a hopeless penny fountain, radio is a hopeless playlist kingdom, so one scrounges any extramusical interest one can. And most musicians prefer to think they’re making art, not content—especially with an audience that demands increasing creative control from artists and an industry that doesn’t keep up.

This is certainly less outwardly exploitative than the antiquated pop model of finding a teen, then corrupting their fictionalized innocent image for public ogling. Halsey’s bid at true meaning on hopeless fountain kingdom is to simply prove she’s “more than capable of writing radio music,” as she told Rolling Stone. The concept is ambitious, but the product ticks all the boxes: staid piano ballad (“Sorry”), In the Zone* *nostalgia (“Walls Could Talk”), R&B dilettantism (“Don’t Play,” Quavo-assisted “Lie”), recreations of proven hits (“Now or Never”). Of course, ever since she said she was raised on Biggie and Nirvana while getting high on kind and legal bud on *Badland’*s “New Americana,” Halsey has been accused of inauthenticity. Everything from her hairstyle to her racial and sexual identity has been seized upon as clues to debunk the enterprise. *The New York Times *called her “a millennial built in a lab.” Grantland: “Halsey’s life can be reduced to a perfect millennial construct.” Halsey lamented to Billboard the “conspiracy theorists who think [she] was crafted in a boardroom.” However, who but an actual Tumblr teen would imagine herself on a Rider-Waite card or dream up a post-teenage apocalypse where the only scarcity is connection?

“100 Letters” sets the scene: dingy floors, negs, and would-be love notes destroyed in the wash. The production is fittingly dirgelike with new age percussion loops and far away decaying guitar samples, like an Enigma track left overnight in a dive-bar bathroom. “Alone,” plush with brass and cellos, also sounds ‘90s: like a track off Everything But the Girl’s Temperamental if someone were actively having a panic attack over it. The lyrics cut through parties and drinks and hangers-on as Halsey’s vocal climbs the scale, increasingly agitated, up to the last, worst anxiety: “I know you’re dying to meet me, but I can just tell you this/Baby as soon as you meet me, you’ll wish that you never did.” “Eyes Closed” portrays that timeless gambit of getting over someone by getting under someone else, as well as the timely gambit of getting into co-writer The Weeknd’s production drears, withering melodies, and joyless sex. But while the backing vocals sound like Tesfaye, he’d never write something so abandoned as “he’ll never stay—they never do.”

The album’s not entirely anhedonic. The heart-thud pace and breathless quotables in “Heaven in Hiding” suggest genuine lust—that lurid diary entry with 25 blank pages on either side. Nor, despite the sheer quantity of shitty dudes here, is it just men who fail to connect. “Strangers” shimmers and yearns like a recent Tegan and Sara cut, with Heartthrob co-writer Greg Kurstin and with Fifth Harmony’s Lauren Jauregui as duettist. Jauregui, like Halsey, is bisexual, and “Strangers” is Halsey’s stated attempt to get a love song between two women onto pop radio. Not coincidentally, it contains the album’s most nuanced lyrics, the coupling that’s most promising yet most out of reach.

On an album full of radio experiments, some succeed—“100 Letters,” “Walls Could Talk” and “Alone” demonstrate the perennially fertile sound of alt-pop—and some inevitably fail. The two R&B tracks are a swagger void. “Devil in Me” is hopeless fountain kingdom’s requisite Sia track, and like so many others, Halsey makes it sound like anything but. More damningly, style never quite matches substance. That could be the young creative’s “taste gap”; Halsey is just 22. Or it could be the market. Is lead single “Now or Never,” as the story goes, “one part in the center of a long narrative that tells the story of two people in love despite the forces trying to keep them apart”? Or is it just writer Starrah commissioned to make another, poppier “Needed Me”—less prickly, less urban, less precise with the vocals? To some, it might not matter. Others might await a kingdom built on more than just airplay”.

Maybe the middle of the album is not as strong as the rest, though Halsey is commanding, hugely listenable and accomplished throughout. A stunning singer and songwriter, we need to give the underrated hopeless fountain kingdom another spin. Maybe it was being judged against her debut album or what critics thought Halsey should have released. With a couple more albums under her belt, I think that hopeless fountain kingdom does not stand out as average or anything other than a solid album. She has grown as a writer and performer since 2017, but she proved her worth on hopeless fountain kingdom. One of the music’s world’s most dizzyingly talented artists and a human being that captures the breath and moves the senses, go and check out Halsey’s hopeless fountain kingdom. It is a truly great album that Halsey…

SHOULD be proud of

FEATURE: I Love Every Little Thing About You: Stevie Wonder’s Music of My Mind at Fifty

FEATURE:

 

 

I Love Every Little Thing About You

Stevie Wonder’s Music of My Mind at Fifty

___________

WITH such an important album anniversary…

 IN THIS PHOTO: Stevie Wonder in 1972/PHOTO CREDIT: Jeffrey Mayer

coming up, I want to lean on some reviews and articles that take a close look at Stevie Wonder’s Music of My Mind. Released by Tamla on 3rd March, 1972, it was the fourteenth studio album by Wonder. It was also his first to be recorded under his new contract with Motown. Wonder was allowed full artistic control. It shows too. Playing most of the instruments and penning the majority of the tracks, the blossoming genius brought in Malcolm Cecil and Robert Margouleff as co-producers. Despite the fact Music of My Mind did not do overly-well commercially, the album is now seen as the beginning of Stevie Wonder’s classic period. It definitely came at a time when Wonder was producing some of his very best work. I wanted to dive into Music of My Mind ahead of its fiftieth anniversary. Credit due to a Udiscovermusic article from 3rd March last year. On its forty-ninth anniversary, they provided background to the majestic Music of My Mind:

“It was on 1971’s Where I’m Coming From that Stevie Wonder came of age, in more ways than one. That was the LP, released soon after his 21st birthday, on which he exercised his new legal right to make music as he wanted, not to the predetermined specifications of Berry Gordy and Motown. But it was the following year’s Music of My Mind that played host to an even greater adventure in self-discovery.

The album, released on March 3, 1972, marked the beginning of Wonder’s creative relationship with co-producers Robert Margouleff and Malcolm Cecil, of the electronic duo Tonto’s Expanding Headband. The pair would later help to shape several of his more celebrated works of genius during the 1970s. Music of My Mind was no commercial sensation, but it stands tall among Stevie’s most important work, both in terms of his ever more profound songwriting sensibility, and in its use of his new best friend in the studio, the synthesizer.

By this time, technology was beginning to keep pace with Wonder’s insatiable appetite for invention. As he told Roger St. Pierre in the New Musical Express in the January, a few weeks before the release of the new set: “I first heard a Moog in 1971 and became very interested in its possibilities. Now I’m working with a VS04.

“I used it on my new album which will be called ‘Music of My Mind’ and that’s exactly what it is because the synthesizer has allowed me to do a lot of things I’ve wanted to do for a long time but which were not possible till it came along. It’s added a whole new dimension to music. After programming the sound you’re able to write or process the melody line immediately and in as many different manners as you want.”

This was still the sound of a young man whose new songs could still express ineffable joie de vivre, as on the opening, gospel-tinged funk of “Love Having You Around,” and the irrepressible “I Love Every Little Thing About You.” But the album also housed such reflective moments as “Superwoman (Where Were You When I Needed You),” with electric guitar detail by Buzz Feiten, and “Seems So Long.”

The scope of Stevie’s expression was a marvel to behold. Just the imagination, for example, to place heavy echo on his voice in “Happier Than The Morning Sun,” and play its chief accompaniment on a clavinet; or the vocal phasing and percussive playfulness on “Girl Blue.” The record ended with “Evil,” a simple and incisive piece of social commentary that, one might say, opened the door to his conscience. “Evil,” he asked, exasperated, “why have you engulfed so many hearts? Why have you destroyed so many minds?

The Cash Box trade review of the LP enthused: “Stevie has now reached the point where he must be considered a composer of the first order…a vital and expressive album from a man who used to be ‘Little’ and now is very big indeed.”

Penny Valentine, writing in Sounds, was in no doubt about the album’s significance. “This has been hailed as Stevie Wonder’s final ‘coming of age,’” she wrote, “but I think this album is more important and will certainly have more important repercussions than that. To me this album represents the ‘coming of age’ of black soul music. A growth that started with Curtis Mayfield, was extended by Isaac Hayes, and has now reached fruition in the hands of Stevie Wonder. It is that important a landmark in contemporary music.”

Valentine likened Music of My Mind to another staging post release on Motown some ten months earlier. “To Wonder this is a personal triumph. Not only in conveying his music to the listener, not only in no longer being thought of as simply a clever little black kid who swung through a song with apparent effortlessness. It’s a triumph comparable to Marvin Gaye’s break with Motown tradition for What’s Going On so that he could go out alone and do what had laid innate in him for so many years.”

Music of My Mind made its indelible mark on Stevie’s fellow musicians, too. Jeff Beck told the NME: “Stevie’s really on the crest of a wave at the moment. ‘Music of My Mind’ is a revolutionary album – it’s the sort of monster project which comes out and turns everybody’s head.” Later, Stevie memorably gave Jeff his tear-stained “‘Cause We’ve Ended As Lovers,” which became part of Beck’s much-admired 1975 instrumental album Blow By Blow. Syreeta had, by then, recorded a vocal version for her own Motown album Stevie Wonder Presents Syreeta.

Music Of My Mind reached No.6 on Billboard’s R&B chart, but only No.21 on its pop listing, and almost unthinkably now, missed the UK charts altogether, as had Where I’m Coming From”.

Despite the fact many would not place Music of My Mind in their top three Stevie Wonder albums, it is a masterpiece from an artist who has produced more than his share! Beginning a classic period that ranks up there with the best of them (I am thinking of David Bowie’s albums of the 1970s or Joni Mitchell’s earliest albums). I want to end with a couple of pretty positive and strong reviews of Music of My Mind. If you can grab a vinyl copy of the album, it is great listening on that format. Definitely check out the album whatever you can ahead of its fiftieth anniversary on 3rd March. This is what AllMusic said about Stevie Wonder’s fourteenth studio album:

“With a new contract from Motown in his hand, Stevie Wonder released Music of My Mind, his first truly unified record and, with the exception of a single part on two songs, the work of a one-man-band. Everything he had learned about musicianship, engineering, and production during his long apprenticeship in the Snakepit at Motown Studios came together here (from the liner notes: "The sounds themselves come from inside his mind. The man is his own instrument. The instrument is an orchestra.") Music of My Mind was also the first to bear the fruits of his increased focus on Moog and Arp synthesizers, though the songs never sound synthetic, due in great part to Stevie's reliance on a parade of real instruments -- organic drumwork, harmonica, organs and pianos -- as well as his mastery of traditional song structure and his immense musical personality. The intro of the vibrant, tender "I Love Every Little Thing About You" is a perfect example, humanized with a series of lightly breathed syllables for background rhythm. And when the synthesizers do appear, it's always in the perfect context: the standout "Superwoman" really benefits from its high-frequency harmonics, and "Seems So Long" wouldn't sound quite as affectionate without the warm electronics gurgling in the background. This still wasn't a perfect record, though; "Sweet Little Girl" was an awkward song, with Stevie assuming another of his embarrassing musical personalities to fawn over a girl”.

To finish off, I want to bring in BBC’s opinion about Music of My Mind. I think this is an album we will be pouring over decades from now. It is certainly one of my favourite Stevie Wonder albums:

“Music of My Mind was Stevie Wonder’s first release after he gained complete artistic freedom from Motown Records’ "hit factory". Re-signing to the label after his contract lapsed on his 21st birthday, no committee would tell him which track to release as a single or what cover versions to include – this was now his domain alone.

Aside from trumpet, guitar and support from his wife at the time, Syreeta Wright, Wonder played every note on this, his 14th studio album. It also marks the first time he collaborated with synthesizer pioneers Robert Margouleff and Malcolm Cecil.

Music of My Mind is a work that brims with passion, excitement and exuberance. Opener Love Having You Around signposts the new territory: a leisurely, synth-driven jam, its propulsive beat, jive talk and the line “Every day I want to fly my kite” render it childlike celebration of the freedom Wonder was now enjoying.

The album was described at the time by Sounds as representing the “coming of age of black soul music”, and it’s as much the sound of African-America in the early 70s as Marvin Gaye or Curtis Mayfield. From Wonder’s visible afro on the cover to its reference to Melvin Van Peebles’ then-current landmark blaxploitation movie Sweet Sweetback's Baadasssss Song, it was the record that put to bed "Little" Stevie Wonder forever.

This being Wonder, however, all of his polemic is sweetened with breathtaking melodies. I Love Every Little Thing About You is one of his most beautiful songs. Happier Than the Morning Sun is great fun, and the second half of Superwoman (Where Were You When I Needed You) shows Wonder’s indestructible way with a love ballad.

The closing track, Evil, was written at the height of the Vietnam War as response to Memorial Day. It ends proceedings on a downbeat, questioning note, and is indicative of just how far Wonder had travelled since My Cherie Amour.

Somewhat left in the shadow cast by his following two albums, Talking Book and Innervisions, Music of My Mind nevertheless remains a fascinating, influential listen”.

To mark the upcoming fiftieth anniversary of a magnificent Stevie Wonder album, I was excited to source some detail and praise for it. There will be a lot of posts and appreciation for it on 3rd March. Such a remarkable album from one of the most consistent and pioneering artists we have ever seen, Music of My Mind is a jewel that is worthy of high esteem. There is no doubt that this album is…

A mighty fine work!

FEATURE: Begin Again: A Modern-Day Pop Genius: Looking Back at Red (Taylor's Version)

FEATURE:

 

 

Begin Again: A Modern-Day Pop Genius

Looking Back at Red (Taylor's Version)

___________

I can’t really do full justice…

to the brilliance of last year’s Red (Taylor's Version), but I wanted to write about it. Swift was in the news last month after Damon Albarn accused of her of not writing her own songs – that she was a collaborator rather than the main source of its creation. She has had a busy month so far. Apart from appearing on a remix of the Ed Sheeran track, The Joker and the Queen, she is appearing on a new charity album:

“Seems Taylor Swift knows all too well how to give fans what they want for Record Store Day. On Wednesday (Feb. 9), Vans announced that the superstar will be included on Portraits of Her, a special charity benefit album for the annual event.

Set to be released in independent record stores on April 23, the 16-track album will raise money for We Are Moving the Needle, a nonprofit dedicated to empowering and supporting female professionals in the recording industry. While it’s unclear whether Swift will be contributing a new song or a re-recorded track to the compilation, she’ll be joined by the likes of Julien Baker, Banks, Laura Jane Grace of Against Me!, Girl in Red, K.Flay, Mariah the Scientist, Julia Michaels and Princess Nokia on the tracklist.

“This album celebrates generations of women who have overcome barriers to representation, recognition, and opportunity in the music industry,” said Tierney Stout, Vans’ director of global music marketing, in a statement. “Brands, record labels, musicians and other organizations, including Record Store Day and We Are Moving the Needle, are working together to give today and tomorrow’s female talent more visibility, support and opportunities.”

Emily Lazar, a mastering engineer and founder of We Are Moving the Needle, added, “Women are an incredible asset to the music industry, yet they are underrepresented across the board, but particularly in recording studios. To close the vast gender gap in this industry, we must all work together to empower women on and off stage, behind the music, in the studio, and everywhere else in this business”.

Swift was named Record Store Day global ambassador back in January, and the unnamed song for the charity album isn’t the only surprise she has up her sleeve. The icon also plans to drop an as-yet-unannounced title of her own to mark the 15th anniversary of the holiday for vinyl lovers the world over”.

In 2020, Swift released her ninth studio album, evermore. If that were not enough, she re-recorded and released two of her older albums. A new version of 2008’s Fearless was released earlier last year. 2012’s Red was recontextualised with new addition and wonderful expansion in November. I wonder whether Swift is approaching other studio albums this year. I always feel, like Lady Gaga, she could appear in films. She seems to have this natural ability and gravitas where she could own the big or small screen. Perhaps too busy with music, she is inspiring other artists and stepping out by taking ownership of her studio albums. As this Wikipedia article shows, new producers and personnel came in to give a brilliant Taylor Swift album new dimensions and dynamics:

“Red (Taylor's Version) is the second re-recorded album by American singer-songwriter Taylor Swift, released on November 12, 2021, through Republic Records. It is a re-recording of Swift's fourth studio album, Red (2012), following her first re-recorded album, Fearless (Taylor's Version), which was released in April 2021. The re-recording venture is Swift's countermeasure against the changed ownership of the masters to her first six studio albums.

The album encompasses re-recorded versions of 20 songs from the Red deluxe edition and Swift's 2012 charity single "Ronan"; the 10-minute-long, unabridged version of "All Too Well"; Swift's own recordings of "Better Man" (2016) and "Babe" (2018), both of which she wrote but gave away to other country artists; and six new "from the Vault" tracks that were intended for the 2012 album. Swift and Christopher Rowe produced most of Red (Taylor's Version), while Aaron Dessner, Jack Antonoff, Paul Mirkovich, Espionage, Tim Blacksmith, Danny D, and Elvira Anderfjärd handled the rest. Shellback, Dan Wilson, Jeff Bhasker, Jacknife Lee, and Butch Walker also returned to produce the re-recordings of tracks they had worked on in 2012. Phoebe Bridgers and Chris Stapleton joined the album as guest vocalists alongside original features from Gary Lightbody and Ed Sheeran”.

I would urge people to buy Red (Taylor's Version) on vinyl. Although the album is Swift starting to reclaim her work and take back creative and artistic control, I also think that it gives new life and opportunities to the songs. Although the original Red is a great album, I feel Taylor Swift’s version shows her growth and brings new weight and brilliance to the songs. With stronger instrumentation and production, one has to recommend and respect such a phenomenal achievement! Tracks twenty-two to thirty are denoted as the ‘From the Vault’ tracks, the newly added songs to the re-recording. I have been thinking of a way to commend and write about Swift following the tension and support that followed Albarn’s ill-advised comments about her songwriting. Showing she is among the greatest Pop artists and composers of her generation, Red (Taylor's Version) is spectacular! I wonder whether 2014’s 1989 will be the next album that she re-records. Bringing in collaborators and recording new music videos, it must have been a long and very tiring process. Not showing any fatigue or lack of inspiration, Red (Taylor's Version) is a modern-day Pop pioneer at her peak. The critical reception to the album was hugely positive. Pitchfork discussed the second re-recorded album from Swift:

“This is the Swiftiverse. Is Red (Taylor’s Version) really trying to exist anywhere else? The second of six albums that Swift is remaking from scratch to regain financial and legal control of her catalog, it’s built on the well-founded belief that her fandom will consume anything spun by her hands—even lightly retouched versions of songs that came out less than a decade ago, plus a fistful of contemporaneous unreleased tracks for good measure. Leave it to Taylor to turn a business maneuver into a sweeping mid-career retrospective; leave it to Swifties to receive the songs, the merch, and the short film as gifts, glimpses into their idol’s secret history handed down as rewards for their devotion.

Originally released in 2012, Red was the clear nexus between where Swift’s career started and where it was heading. After a three-album progression away from country, she revealed the extent of her pop ambition, calling in producers Max Martin and Shellback—Swedish heavy-hitters who had sent Britney Spears and P!nk up the charts—to cue the synths and drop the bass. (“Message in a Bottle,” the first song Swift wrote with the pair, is among Red (Taylor’s Version)’s new offerings; its abundant polish nearly makes up for its dearth of personality.) Red was also where she began to seek source material beyond her own biography; the character studies (of Ethel Kennedy on the lightly ditzy “Starlight”; of a Joni Mitchell-esque elder on “The Lucky One”; of a mother who loses her young son to cancer on vault track “Ronan”) point in the direction of folklore, where, years later, the gulf between Swift and her narrators would widen.

Like Fearless (Taylor’s Version), the first of Swift’s re-recordings to be released, Red (Taylor’s Version) stays true to the original. Hunting for subtle differences between the old and the new feels like a game of Where’s Waldo?, and sometimes just a test of headphone fidelity. Various instruments are slightly louder or quieter in the mix; a note or two might have been tweaked in the melody of “Sad Beautiful Tragic”; the “wee-ee”s on “We Are Never Ever Getting Back Together” are even more cloying than before. A notable exception to this trend of sameness is the bonus track “Girl at Home,” formerly a prim, strummy ode to girl code, freshly remade with producer Elvira Anderfjärd (a Max Martin signee) as a burbling, bottom-heavy synth-pop joint.

If you haven’t listened to Red, recently or ever, it’s well worth your time; in its ecstatic, expressive vocals, tart humor, vivid imagery, and tender attention to the nuances of love and loss, you’ll find everything that makes Taylor Swift great. But the real draw for her main audience, who already know Red like the back of their hands, is the new material. Some of it is new only in the sense of being newly attached to this album or newly reclaimed by Taylor: “Ronan” was a one-off charity single in 2012; Little Big Town recorded “Better Man,” a stolen rearview glance on the drive away from toxic love, in 2016; and the venom-laced air kiss “Babe” was released by the country duo Sugarland in 2018. Most anticipated is an extended cut of a classic: “All Too Well,” a Red track with an outsize presence in Swift lore.

A slow-burn account of sunsetting love, long since codified as an exemplar of Swiftian storytelling, the original version of “All Too Well” was the product of Swift and co-writer Liz Rose’s extensive edits to a 10-minute demo. Now, Swift has dug up the lost verses. Not all of them are additive; Swift’s beyond-her-years analysis in the final verse feels disconnected from the in-process pain of the version that we know, and when she opens up the song for its subject’s input (“Did the love affair maim you too?”), she undermines the definitiveness of her own account. The extra bulk dilutes the original’s walloping crescendo, making it harder to locate the emotional climax. Still, it’s surreal to see the stuff of lesser writers’ dreams—“You kept me like a secret/But I kept you like an oath”—abandoned, until now, on the cutting room floor.

Some of the vault tracks feel like they were left off of Red because they weren’t up to snuff; see the garish cheer of “The Very First Night,” the too-obvious hook of “Run” (“like you’d run from the law”). Much more compelling is “Nothing New,” a somber acoustic ballad squarely in the wheelhouse of guest star Phoebe Bridgers, which grapples with the music business’ famously fickle relationship to young women. These same anxieties—about being chewed up, spit out, and replaced—surfaced on “The Lucky One,” but here, instead of projecting them onto another character, Swift inhabits them in her own voice. “Nothing New” was written by Swift in her early 20s, a time when she was deeply scared of alienating her audience. I wonder if she withheld it out of fear that it would become a self-fulfilling prophecy—that by exposing her disillusionment, she’d dull her own shine.

Swift has an unfortunate habit of relegating female guests on her songs to the background; just ask Haim, Imogen Heap, the Chicks, or Colbie Caillat. Bridgers, meanwhile, makes off with a full verse and chorus to herself. In light of the song’s subject, this feels significant: By inviting a popular younger artist who has studied her textbook to share her stage, Swift suggests that there’s ample room for them both. But things get eerie on the bridge, when she begins waxing prophetic about the young woman who will eventually take her crown. Trading lines with Bridgers, she sings:

I know someday I’m gonna meet her, it’s a fever dream

The kind of radiance you only have at 17

She’ll know the way and then she’ll say she got the map from me

I’ll say I’m happy for her, then I’ll cry myself to sleep.

Just this year, a 17-year-old Olivia Rodrigo released her breakout smash, then borrowed liberally enough from Swift to grant her two writing credits—one of them retroactive—on her debut. Swift is too smart not to know that some of her listeners will make this connection. Whatever; she owns it. Ownership is, after all, this project’s raison d’être—ownership of master recordings, but also of personal and artistic history. You have to admire Swift’s pluck in standing so resolutely behind hers. Red, often lauded as Swift’s best album, is not perfect; it contains some of her great masterpieces (“Holy Ground,” “22,” “All Too Well”), but also some duds (while reviewing this record, I got through “Starlight” for maybe the first time since 2012). Red (Taylor’s Version) may be a commercial endeavor first, but that doesn’t mean it lacks an underlying artistic statement: that sometimes we must revisit our past, both the flattering and the less flattering bits, in order to get to our future. Swift won’t have any trouble finding companions for the road”.

I guess Taylor Swift is keen to record new material and another studio album that moves her story and sound forward. As she has this run of six albums that she is taking back into the studio, this is her main focus. This is what CLASH had to opinion when they tackled one of last year’s best albums:

“Listening to Taylor Swift’s new album ‘Red (Taylor’s Version)’ is, Clash imagines, the same feeling that parents get when reading books they first read as children to their own offspring. Familiar, comforting but at the same time, tinged with a little sadness now that you're grown up and life isn't as simple as it once seemed.

Swift wrote in journals accompanying 2019’s album ‘Lover’ that vault song ‘Nothing New’ (featuring Phoebe Bridgers) encapsulates the feeling of being scared of aging and things changing and losing what you have. No wonder Bridgers was close to tears recording her part; getting older is scary. At the lower end of her vocal range, Swift croons: “How can a person know everything at 18, but nothing at 22?”, mirroring the sentiment of another vault song, ‘Winter Sun’ where emotions feel all consuming but you’re, “Too young to know it gets better”.

As adult listeners, we all know that love isn't as dramatic as that 'Red' passion, that Swift describes as "driving a new Maserati down a dead end street". Instead, it's doing the dishes before you're asked to, and cosying up on the settee in comfortable silence at the end of a long hard week.

Now, rather than dressing up like hipsters with your girlfriends to make fun of your exes a la ‘22’, you like each others' Instagram photos and try and fail to find a date in your diary that works for you all to have brunch, ad nauseum. Taylor Swift has bottled the better times and then pressed them onto four vinyl LPs that will get adults everywhere thinking about how Everything Has Changed.

While ‘Red’ was originally a high-energy release about the emotional extremes of young adulthood, the additional ‘vault’ tracks are more understated and reflective in nature. One such song, ‘Run’, was written prior to ‘Everything Has Changed’ with Ed Sheeran - a long-time friend of the American starlet - on the very first day they met. It’s a slow, gentle track about the youthful tendency to make your person your world.

With the new additions, the album is a medley of genres. With an electronic soundscape and pulsing beat evocative of Swift’s 2014 album ‘1989’, the Carly Rae-Jepsen-esque offering, ‘Message In A Bottle’ is about standing on the precipice of a new romance, aware of a mutual attraction. Equally poppy is ‘The Very First Night’. In contrast, ‘I Bet You Think About Me’ featuring Chris Stapleton is a ballad about insecurity, with the instrumental harking back to the singer’s country roots with the harmonica.

Following two years of tremendous global loss - and the gain of two new albums by Swift alongside another re-record, of ‘Fearless (Taylor’s Version)’ - it’s hard not to need a box of tissues at the ready for ‘Ronan’. First of the songs ‘from the vault’, ‘Ronan’ is a response to Finding New Meaning In The Loss Of A Son, a blog set up by Maya Thompson chronicling her son Ronan’s battle with cancer, in the run up to his tragic death.

Tackling another kind of loss, vault track ‘Better Man’ is for anyone who has ever endured abuse or escaped from a toxic relationship; it explores the complex feeling of missing someone who treated you poorly. It’s thematically similar to ‘Babe’, which fans believe is about Swift’s relationship with actor Jake Gyllenhaal, a largely unremarkable song about betrayal.

All the vault songs, however, pale in comparison to the epic ten-minute version of fan-favourite ‘All Too Well’ which concludes our emotional marathon. This character assasination of the 40-year-old actor will go down in history as one of the best breakup songs ever written.

You're in line at the supermarket when you see them, three aisles down. Your breath catches in your throat, it’s like you’ve been punched in the gut. They look the same, a little softer around the edges, perhaps, but time does that; they're not 22 anymore, and neither are you. You walk to your car, autumn leaves crunching underfoot as you comb back through all the memories. As you breathe in the cold winter air you remember it, all too well.

While some see Taylor Swift’s re-recording efforts as a statement of female empowerment, triumphing over those who have wronged her, really it’s much simpler than that. As ‘Red (Taylor’s Version)’ shows, this is an exercise in catharsis. Leafing back through the storybook of our own formative years, we feel it all”.

I want to end with a review from The Line of Best Fit. Before coming to that, it is worth mentioning the fact Red (Taylor's Version) broke several streaming records. It became the most-streamed album in a day from a female artist on Spotify, with more than 90.8 million global opening-day streams. Swift also became the most streamed woman in a single day—with more than 122.9 million global streams on the platform across her entire discography—and the first woman in Spotify history to amass 100 million streams in a day:

“Red was in parts the sound of Swift kicking at the coat-tails of pop respectability, hyper-aware of the space she inhabited as well as the scenes that would (eventually) embrace her. The last substantial work she would undertake with longtime production collaborator Nathan Chapman, it also marked the beginnings of a two-album relationship with Max Martin and Shellback, which would see Swift through her imperial phase.

The record’s always been a watershed moment in her story - a perfect distillation of Swift's self-aware, lyrically biographical gee-shucks persona set against career-defining songs that ultimately changed the way she’d be perceived. It was obviously going to be the most anticipated part of Swift's quest to re-record the first six of her albums. Thankfully, Red (Taylor's Version) sees Swift delivered a package that balances fan service alongside an insightful documentation of one of modern pop’s best songwriters at a key juncture in her career. In anyone else’s hands, 30 tracks might feel bloated and indulgent, but Swift tempers length with careful curation, sequencing and a respect for what made the original Red such a superb pop record.

As on Fearless (Taylor’s Version), her vocal is subtly bolder and more assertive but otherwise the same songs sound much the same - perhaps a little more organic and autumnal in places, a nod to her lockdown albums (Aaron Desssner and Jack Antonoff are credited as producers across the record). But it’s the tracks from the “vaults” that really surprise: “Nothing New”, a sad lullaby of a duet with Phoebe Bridgers, is among the best things she’s ever made, with a tender back-and-forth bridge between the two women. Along with the Chris Stapleton-featuring “I Bet You Think About Me” - the record’s most country-leading moment - she turns in two songs that equal the original’s collabs with Ed Sheeran and Gary Lightbody. Elsewhere “Better Man” and “Babe” - both Swift-penned and performed originally by Little Big Man and Sugarland respectively - sound energised and full with their creator’s voice leading them. “Message in Bottle” and “The First Night” are A-grade Swift and would fit easily on Red’s follow-up 1989, while a second Sheeran-featuring song “Run” is all the better for its light use of the red-headed Brit’s vocal.

Her ten-minute version of “All Too Well” at the conclusion of the record is as disarming as it is fascinating. An artefact of her songwriting and recording process, it sits neatly alongside to the glimpses of Swift at work we get in Miss Americana, last year's Netflix documentary. While it adds little to the album musically, it plays into the mythology that surrounded Red’s original release, doubling down to an extreme on the drama and emotion. There are more clues than ever about the song's antagonist who shouts “fuck the patriarchy” as he throws his keys to Taylor and charms her father "with self effacing jokes”, “sipping coffee like you were on a late night show." Its inclusion highlights the strengths of the song’s truncated version; the result of some very well-informed artistic choices. The vitriol is dialled back there; Swift understands the intricacies of pop music, retaining choice lines from the seven verses that play out the song’s sadness, shame and regret with perfect pitch”.

The remaining four reissues and re-releases will break streaming records and earn Swift more kudos. Her reputation was one of the world’s most influential and inspiring artists has already been confirmed. Red (Taylor's Version) is an important, extensive and terrific album boasting some of Swift’s best vocals! It is an album I respect greatly – from an artist who does not need to prove herself to Damon Albarn or anyone else. The release of Red (Taylor's Version) marked, perhaps…

TAYLOR Swift’s greatest moment.

FEATURE: Pop at Twenty-Five: Revisiting an Overlooked and Divisive U2 Album

FEATURE:

 

 

Pop at Twenty-Five

Revisiting an Overlooked and Divisive U2 Album

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ARRIVING four years…

 PHOTO CREDIT: Paul Bergen/AP

after the popular Zoopla, U2 released their ninth studio album, Pop. Whilst an excellent album with some of the Irish legends’ best material, Pop remains divisive and underrated. It has won some positive reviews, though a lot see it as one of the band’s less spectacular efforts. Recording sessions began in 1995 with various record producers, including Nellee Hooper, Flood, Howie B, and Steve Osborne. Incorporating more Electronic elements than previous albums, the writing period was troubled. Drummer Larry Mullen Jr. was laid up due to a back injury, which meant that the other band members to take different approaches to songwriting. Because of delays and various other things, the band struggled to come up with material and were working on the album to the last minute. Not that this rushed and disruptive time resulted in poor material. If anything, I feel Pop has some brilliant songs, though the sequencing might let it down somewhat. Released on 3rd March, 1997, I wanted to mark the twenty-fifth anniversary of Pop with a couple of retrospective features and a positive review. Whilst U2 took a more stripped-down approach with Pop's follow-up, All That You Can't Leave Behind (2000), and the songs from Pop did not feature in their live sets much, I feel the album is ripe for reappropriation and new light. Discothèque, Staring at the Sun and Gone are big highlights from the album. Pop did get some great reviews. Many felt U2 transitioned between albums with greater confidence; impressed by their invention and evolution. Others loved the sound of Pop and how it was different to their other L.P.s

I hope that there is celebration and fresh spotlight of Pop on its twenty-fifth anniversary on 3rd March. There are a couple of articles that revisit an album that remains one of U2’s less-celebrated efforts XS Noize looked back at Pop back in 2015:

“In March of 1997 U2 released their much anticipated ninth studio album POP, for fans and critics alike it quickly became their most polarizing release. There is a prevailing feeling that POP has become the orphan child in U2’s discography. The band seems to have all but abandoned playing songs from the album in concert. In many ways, it has become the album that dares not speak its name. I have never understood the negative feelings towards the album which I find artistically the equal of many of the band’s prior works and not as it is commonly characterized a career misstep. The band has often said the release was rushed and needed more time. In looking back it is easy to see that circumstances surrounding the creation of POP were stressful and rather counterproductive, but that does not completely explain why many critics and fans at the time dismissed the album. With the band currently on tour, it seems a good time to reexamine this woefully under-appreciated recording.

POP was U2’s most experimental effort but was not unique in the context of what was populating the charts at the time; electronic, dance and techno were rife. Why is it that a record that stretched just beyond the reach of Zooropa’s experimentation would create such a backlash? Why in the same year could bands like The Prodigy and Radiohead put out albums that shared many of the same musical or thematic elements as POP, end up being heralded and feted, while POP was left out in the cold? Some suggest in retrospect that POP was too complicated and dark for vast public consumption. Or was it possible that U2 has simply gone beyond the boundaries their fans would allow them to go; A case of this far but no farther? Since the time of its release, it has been accepted as common knowledge that Rock and Roll’s most astute operators had stumbled on POP. Many a rock group would love to have such a career stumble with 6 million copies sold, yet POP is considered a flop, it boggles the mind.

Any re-examination of POP requires a look at the surrounding history and specifics of the album. POP was the third leg of the musical trilogy that started with Achtung Baby, through Zooropa and finished with POP. Throughout the 90’s U2 had been one of the few remaining 80’s heavy hitter bands that had not imploded. They had successfully changed with the times, transforming the image they projected and their music. On Achtung Baby, their most successful outing, they began the process of welding pop, alternative, techno, dance and electronica together. Zooropa would continue that transformation adding a euro-centred ennui to the mix and even more glitchy goodness to their already successful sound. It followed that on paper POP should have been the triumphant culmination of the marriage of all these genres. On the release the band would go farther out on a limb, adding sampling, loops, programmed drum machines and sequencing. The band indeed had come a long way from producer Steve Lillywhite playing the glockenspiel to fill out the sound of October.

Work on the album started in late 1995 with a variety of producers, and boiled down to Nellie Hooper, Flood, Howie B and Steve Osborne; missing were the stalwart Brian Eno and Daniel Lanois. The band entered the Hanover Quay studio trying for inspiration and improvisation with a no holds barred attitude. There was very little material written prior to entering the studio, very much like Achtung Baby. Quickly what started as a fun relaxed project ended up a stressed laden deadline looming agony. It became clear in Nov 1995 that Larry after his surgery was not ready to re-enter the studio as he was in excruciating pain when behind the drums, so he returned to P/T rehab and the remaining band members soldiered on. The full band reconvened in Feb of 1996 and Flood, Howie B and Hooper attempted to rework the material they had. They ran into a snag when Mullen had to re-record drum parts to replace loops Howie B had sampled without permission, chewing up more precious time that in hindsight the band didn’t have to burn.

In the meantime, U2 had mistakenly given their manager Paul McGuinness the okay to book the tour and now the album was anything but ready. The band was struggling and if not panicked, rightfully concerned as they were now under the deadline of having to have the album finished in time for the 1997 POP Mart tour. The release date was moved from December of 96 to March of 97. U2 simply ran out of time and the final product has never really been to their liking. So much so that they have re-recorded and remixed many of the songs after the fact. The resulting release led The Edge to described POP as a compromised project, and Mullen stating that given two to three more months it would have been an entirely different record. In contrast, Paul McGuinness stated that POP was a situation of “Too many cooks in the kitchen.” Historically POP did not fare as well as their prior releases in the 90’s. It did reach #1 in 35 countries including UK and US but its lifetime sales are the lowest in U2’s catalogue. Of POP’s six singles releases, three songs would not crack the top 40; something unheard of in U2’s recent past.

Hindsight being 20/20 it is easy to identify many underlying issues for the band in and out of the studio around the time of POP’s creation. One important factor was the lack of Larry Mullen’s input on the initial sessions. Larry has never been one to laud experimentation for its own sake and as always served as the brakes when other band members strayed too far down the path to outright musical oblivion. He served as the sceptical and practical consultant with the impeccable ear for what worked. Early in POP’s incubation, Mullen was sidelined and not fully able to participate in initial recording sessions due to back surgery and P/T rehab. The lack of Mullen’s advice and consent early in the process was a portent to other problems. Even more threatening than Mullen’s bad back was Bono's possible career-ending vocal issues. Each of these physical problems took longer to overcome than anyone expected and significantly ate into creative studio time. Another underlying issue was the band was exhausted with being rock culture trailblazers; they were still burnt out and distracted a year or two after the Zoo TV Tour. The distractions of real life were rife for the band members. Bono came off the Zoo TV Tour and literally had no routine to his daily life and had to piece his everyday life back together. Larry had started a family and was confronting his lingering back problems, Edge was at the beginning of starting a new family, and Adam was working on his sobriety and musical skills. In late 1995 the band had not completely recovered from their road weariness and the personal issues lurking underneath the surface manifesting themselves on POP.

When you talk to younger fans of U2 they tend to like POP and question why it is considered sub-par. Many older fans in general simply dislike the release. It is a strange dichotomy. If POP is listened to in the context of the immediate prior releases, Achtung Baby comes off as the initial revamp after The Joshua Tree trilogy. Zooropa further subverts what people had come to expect from the band and it all but tee up POP which is despairing, vulgar at times, complicated and weary, but also stunningly groundbreaking for U2’s sound. The released attempted to legitimize all those underground genres buzzing around while still being a popular hit. That was a laudable goal, however, the real problem was that beneath all the glitz and head faking experimentation, the album really touches on themes few ever discuss out loud and even less on a rock recording. Found here is a relentless collect of the loudest, angriest, strangest songs U2 has up to now released. Unlike The Joshua Tree where Exit was scary and angry but surrounded by comfortable songs; POP continually bludgeons the listener with very heavy thoughts and emotions. In the songs, you find ennui, uncertainty and world-weariness.

POP was the make it or break it album to justify U2’s continued musical experimentation while still attempting to sell a boatload of records. As history reveals it did not work. I find that a shame as I listen to it currently and am amazed at the originality and emotional bravery that are on display throughout the album. Listening to in hindsight it is truly an amazing musical masterwork. POP and its creators owe no apologies to anyone for its existence. There may have been many obstacles and underlying issues, but the release is as good as or better than many things on offer at the time of its creation. U2 would regain phenomenal popularity and sales figures as they returned to their more familiar songwriting and production with the wondrous All That You Can’t Leave Behind. That album would set U2 up for yet another century of stellar work. But POP would mark the last time U2 would be this experimental and risk-taking. In a way U2’s stumble with POP passed the trailblazing baton to Radiohead in 1997, that band would experience their first true breakthrough album that year with OK Computer and would go on to push the edges of the popular musical envelope. Possibly it took a younger less established band to be that ironic and convey so much questioning dread? In the end, POP is an under-appreciated gem that deserves more praise and recognition for the masterwork it is, and my fervent wish is that the band would give POP’s stellar tunes another chance to be performed and appreciated”.

There are some weaker moments on Pop. Whilst not perfect, it is also not a bad album. I have said how there are some great songs. Maybe the order they are in is wrong, and there are one or two tracks near the end that are not up to the standard of the best from Pop. That being said, I like Pop a lot and think that is it fascinating. Spectrum Culture had their say about the album in 2018:

“More than 20 years later, Pop remains a fascinating and frustrating U2 album. Time has knocked the novelty off some of the production, making some of the songs sound hopelessly dated and it also the first U2 record that features one or two embarrassingly bad tracks. However, Pop is also a startling sonic experiment for a band that was unwilling (up to that point) to turn to retread. According to Bono, Pop “begins at a party and ends at a funeral,” a very true assessment of a record that sounds confectionary at first but finishes in darkness.

Lead single “Discothèque” starts with a distorted guitar, a sound the Edge had been tinkering with since Achtung Baby, until a techno dance beat kicks in. The irony plays thick here and the band recorded an appropriately garish video, where they appear to be trapped inside a mirror ball, to complement the song. Though energetic and wildly different than any prior U2 songs, “Discothèque” can’t help but feel dated now. The same cannot be said for the second track, “Do You Feel Loved,” which is more of a slow-burner. Using some of the same sounds that would propel the Prodigy to stardom, “Do You Feel Loved” feels heavier, less purposely cheesy than “Discothèque.” Bono plays with his vocals, lowering himself down to a whisper on some verses. The idea of love has always been a preoccupation of Bono and the singer claims he purposely left the question mark off the song title, claiming that its inclusion would make the title feel too “heavy.”

For fans who remember Pop as the record where U2 went techno, the track that most embodies that statement is “Mofo.” Once again exploring the themes of his mother’s death, who passed away from a brain aneurysm that she suffered at her own father’s funeral in 1974, Bono eschews the anthemic sentimentality of “I Will Follow” with one of the band’s most inorganic tracks ever and easily the best of the three opening songs. “It was as if my whole life was in that song,” Bono explained. “Electronic blues death rattle. It takes the cliché insult ‘motherfucker’ and turns it into something raw and confessional.” U2 frequently kicked off their concerts with this song, a rattling lament turned dance party.

If the first three songs on Pop stunned fans, Bono and company returned to more traditional territory on the album’s middle portion. “If God Would Send His Angels,” an acoustic-tinged ballad, features U2’s traditional sound as Bono has yet another conversation with God, “Staring at the Sun” – the album’s second single – is a paint-by-numbers U2 single that didn’t chart well, but found new life live where Bono and the Edge played it stripped down as an acoustic duo. Meanwhile, “Last Night on Earth” and “Gone” are fuzzy rockers that sound like they could have fit in on Achtung Baby but are somewhat interchangeable. If you removed the first three tracks, Pop, up to this point, could have been U2’s return to form.

U2 returned to experimentation with “Miami,” easily the worst track on Pop and one of the worst songs the band has ever recorded. Almost a decade later, Q magazine included “Miami” in a feature entitled “Ten Terrible Records by Great Artists.” Featuring a looping drum and Mullen’s hi-hat played backwards, “Miami” also sees Bono rhyming the title with “my mammy.” This could have been a song best left to rot in the middle of the record, but the band trotted it out more than 60 times on the PopMart tour. It also begins the trend of bad U2 songs named after cities. Meanwhile, “The Playboy Mansion” is pleasant enough but feels dated with references to Michael Jackson and O. J. Simpson.

Just like Achtung Baby, Pop closes with some of U2’s strongest ever songs. The trio that finishes Pop redeem the atrocity of “Miami.” A dark calm surrounds “If You Wear That Velvet Dress,” Pop’s most ambient track. Bono’s vocals rarely rise above a whisper, making it sounds like some of the sensuous songs Pulp released in the second half of the ‘90s. The real showstopper is penultimate track, “Please,” one that has aged into one of the band’s most underappreciated masterpieces. Like God and love, “Please” deals with another one of Bono’s preoccupations: the conflict in Northern Ireland. Mullen’s drumming recalls his work on “Sunday Bloody Sunday” and the Edge’s guitar adds a sinister dimension. If the song had been released a decade earlier, it would have likely been a hit. The album ends with “Wake Up Dead Man,” a leftover from the Achtung Baby sessions, a strong, if somewhat downbeat way finale. As Bono pleads with Jesus to save the world, the song goes from dirge to full-on anthem. It is also likely the first U2 track to feature the f-bomb.

While Pop burst out of the gate and debuted at one number one on the charts in nearly 30 countries, its sales quickly flagged. It ultimately went on to sell 6.7 million copies, even less than Zooropa. Even the band seemed to distance itself from the record, claiming that it was made of compromise and would have sounded different had the band had more time to record. Since its release, U2 has re-recorded and remixed many of the tracks.

Still, without Pop, U2 never would have recorded “The Ground Beneath Her Feet.” Rather than press forward, however, U2 retreated and put out the backwards looking All That You Can’t Leave Behind three years later. Featuring mammoth hits such as “Beautiful Day” and “Elevation,” the album felt like a stab at commercial, rather than artistic, success. It worked, as it sold 12 million copies worldwide. Still, All That You Cannot Leave Behind feels like a strong U2 record but isn’t nearly as daring or audacious as Pop. As the ‘90s came to the close, so did U2’s most adventurous period. The proof is there on record. More than half of Pop is indelible U2, better than most of the band’s post-2000 songs”.

I feel Pop is undervalued and still sounds great now. Maybe there were expectations of what Pop should sound like. Perhaps fans and critics were hoping for something akin to 1991’s Achtung Baby. I love Rolling Stone’s review of Pop. They sat down with the album after its release in 1997:

“It is hard to believe we’re a whole decade away from The Joshua Tree — U2’s very own Born in the U.S.A., their Purple Rain, their defining moment of megastardom. Seems like only yesterday that the band was gazing out from the wide-screen desertscape sleeve of the 15 million-selling album: four Dublin boys against the world, about to conquer it.

Then again, so much has happened since U2 packed the stadiums of America with soul-stirring anthems like “Where the Streets Have No Name” and “I Still Haven’t Found What I’m Looking For.” Like all of rock’s most astute operators, the band has striven to reinvent itself at every turn, to stay at least one step ahead of the game. Most boldly of all, after Rattle and Hum’s muddled flirtation with America’s roots music, U2 pulled up stakes for dark, kinky Berlin and turned themselves into the mischievous, neo-glam rockers of Achtung Baby and Zooropa. It didn’t matter that the Zoo TV Tour was post modern posing of the worst kind (who could forget Bono’s cringe-producing telephone calls from the stage?), for U2 had succeeded in changing the way we looked at them. Even if you took Bono’s demonic Mister MacPhisto, his Last Rock Star alter ego, with a large pinch of salt, you still had to credit the guy with a canny awareness of pop’s cultural bankruptcy in the late 20th century.

Advance word on Pop, the new U2 album, suggested that it would edge still further away from rock & roll heroics that the band was even experimenting with the spooky, flim-noirish soundscapes of trip-hop. The album’s very title seemed to indicate a conscious rejection of “rock,” a shrewd move at a time when America is tiring of alternative guitar sludge and even Billy Corgan is talking of using “loops” on his next record. (R.E.M., U2’s greatest rival in the Biggest Rock Band in the World stakes, may have called their last album New Adventures in Hi-fi, but the adventures in question sounded suspiciously old.)

As it turns out, you won’t find much evidence of trip-hop on Pop, although sections of “Miami” and “If God Will Send His Angels” come close to that mutant strain of the genre. What you will find is a whole arsenal of sound effects, tape manipulations, distortions and treatments designed to mask the fact that U2 are still essentially a four-piece male rock band. Unlike R.E.M., U2 know that technology is ineluctably altering the sonic surface — and, perhaps, even the very meaning — of rock & roll. In that sense, their competition now is not so much R.E.M. as it is Orbital or Prodigy.

What we can say immediately is that Pop sounds absolutely magnificent. Working with Flood, who engineered Achtung Baby and co-produced Zooropa, the group has pieced together a record whose rhythms, textures and visceral guitar mayhem make for a thrilling roller-coaster ride, one whose sheer inventiveness is plainly bolstered by the heavy involvement of techno/trip-hop wizard Howie B(familiar from his work on Passengers’ Original Soundtracks I).

Having messed with conventional rock sound ever since hiring Brian Eno to produce The Unforgettable Fire, on Pop, U2 stray considerably deeper into the world of loops and samples — of remix culture in general — than they did on Achtung Baby. There’s a Byrds riff here, a snatch of Le Mystere des Voix Bulgares there. There are endless fascinating bleeps, squawks, drones and juddering — and a good deal less rattle and hum. (U2 aren’t interested in “roots” anymore, or at least no longer treat them as articles of faith.) Even in the realm of the once-trusty electric guitar, the distortion of sound is so radical that you barely recognize the instrument. Indeed, the Edge has a veritable field day on Pop, one minute out-Neil Younging Neil Young, the next taking the psychedelic funk of “The Fly” and “Mysterious Ways” to new extremes. Those searing, sheared harmonics are still there, but they’re compressed and warped and mangled into crazy new shapes.

Pop may turn out to be a make-or-break album for U2. Alone among the giants of the ’80s, they have a chance to carry their musical vision into the 21st century while still selling a ton of records. Are people still listening, or has rock & roll splintered into too many different tribes for a single band to shoulder the weight of our faith in its dream? Well, if people have stopped caring, it won’t be U2’s fault. With Pop, they’ve defied the odds and made some of the greatest music of their lives. Pretty heroic stuff, come to think of it”.

On 3rd March, U2’s Pop is twenty-five. Many people know songs from the album, yet many feel it is not as iconic and accessible as some of the band’s best releases. I wanted to spend time with an album that did divide people back in 1997. In 2022, songs from it are still being played. Looking at retrospective assessment, many feel it is a weird step too far or a bit of a disappointment. I feel it is an excellent and confident album from U2! Go and listen to Pop and spend some time with an album that warrants more love. From Discothèque to Wake Up Dead Man, Pop is a thrilling hour-and-a-bit that…

EVERYONE should hear.

FEATURE: Spotlight: Kings Elliot

FEATURE:

 

 

Spotlight

PHOTO CREDIT: Karolina Wielocha

Kings Elliot

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I have put a fair few…

Spotlight feature out this year already. I am determined to highlight some great new artists who are worth following. I have known about Kings Elliot for a while now. She is a really interesting artist who is going to be among the ones to watch this year. I am bringing in a few interviews – ending one where the artist discusses some of her favourite music. First, I read an article from December 2020. I did not know that one her most powerful songs, I’m Getting Tired of Me, led to a video filmed whilst she was having a panic attack. For a first single, it was remarkably affecting and brave:

“When rising artist Kings Elliot released her debut single “I’m Getting Tired of Me” in late November, she accompanied the stunning track with a video just as stunning. Well… Actually words like “touching”, “moving” and “groundbreaking” might fit better, cause what the video shows is the Swiss-raised, now London-based artist accidentally recording a panic attack she was having, when she was about to film the initial idea for the music video.

Battling borderline personality disorder, depression and anxiety, Kings channels her experiences with mental health problems, self-doubt and loneliness, and she uses her art to explore her personality and personal thoughts and fears. The result, “I’m Getting Tired of Me”, is a perfectly-crafted cinematic pop song growing in sound for every note, and growing on us for every listen.

The music video beautifully shows how strength can come from something deeply vulnerable. Kings decided to release the personal footage to remind everyone watching that no matter how bad it gets, it also gets better in the end.

We reached out to the artist to hear the story behind the powerful music video and the thoughts laying ground for publishing it.

We were in the middle of lockdown, there wasn’t much money available but I had an idea in my head for my first video: I’m performing the song while different footage of myself is projected onto me, fitting with “I’m Getting Tired of Me” being about the ongoing struggle with my mental health and not being able to escape myself. I set up the tripod to film that projector footage and hit record. In the middle of a take, I had a panic attack.

My best friend was in the room next door and came over to check on me. They sat on the bed across from me and talked me through my emotions, helping me regulate my breathing. In moments like these, I cannot move and I cannot be touched, I can only be spoken to from a distance until it’s over. It wasn’t until later that I realised the camera had been recording everything.

When I watched the footage back later that night, I realised that it literally sums up what I wrote the song about.

What struck me was that you actually watch me gradually recover, there’s even a moment of peace in my face at some point. And that’s why I wanted to share it. It’s sort of a reminder that panic attacks pass, even though they can feel all-consuming. Especially when they hit you out of nowhere. I speak to so many people on my Instagram about my and their mental health. It only seemed right for me to share this, and let people see that you don’t need to hide it, or be ashamed of your struggles”.

I am not aware of too many Swiss-born artists who are now residing in the U.K. Not that it directly impacts what her music sounds like, but I think it gives Kings Elliot a special edge and background. When promoting her single, Call Me a Dreamer, late last year, she spoke with Boyfriend Magazine about her songwriting process. I was interested in the response Kings Elliot gave when asked whether her songwriting has changed since she moved to London:

“I think it’s best to start with introductions, so we know you were born in Switzerland and now reside in London, so tell us a little bit more about you and where it all started for you?

I always knew I wanted to be an artist, ever since I was about 6 years old. When I finished my education in Switzerland I decided it was time to pursue music properly, so I moved to London 5 years ago. When I first got here I didn’t know anyone and I worked 4 jobs at the same time while trying to write and produce songs. It’s been a challenging few years but now I feel I’ve found my feet.

 Your music has a soft and light tone, but stirs deep with its thought provoking lyrics, so it’s clear to see that music is a powerful outlet for you, but what do you hope listeners of your music to take away?

There is something so comforting and healing about sad music – I’d like people to feel more heard when they listen to my songs and for it to break down barriers around mental health. I want people to feel empowered in their pain and know that there’s nothing to be ashamed of, in fact it’s really strong to admit you’re struggling.

What is the songwriting process for you and are there any singer songwriters in the industry that inspired you as we’ve heard that you often listen to music from the 40’s and 50’s?

Usually I write with a need to understand and work through something I’m going through. I sometimes spend hours talking to my main collaborator (writer/producer halfrhymes) and then eventually after what feels like some good therapy we’ll play around with chords and sing a melody until the song forms itself. It’s really weird how it happens and it’s different every time!

Do you feel your songwriting has changed since moving from Switzerland to London?

My songwriting has definitely developed a lot over the past few years, not just because I relocated but mainly because I do it 50 x more since I’ve moved and I found people to write songs with, who have helped me grow and hone in on my sound. Every song you write is like practising something until it’s worth showing someone”.

DIY shone a spotlight on Kings Elliot early last year. A remarkable artist who is going to be courting attention from other artists, she was asked about which other artists she might like to join forces with:

“Are there any other artists breaking through at the same time that you take inspiration from?

So hard to think of myself as breaking through, but there’s lots of new artists that I’m a big fan of. Luz, who is an incredible unsigned artist from Ireland, Ryann who is an amazing artist and also wrote Tate McRae’s ‘You Broke Me First’. I also love what Yeaow is doing. And, he’s getting huge now, but a lot of people have said I remind them of a female Anson Seabra which got me to listen to a lot of his music and he’s such an incredible, pure songwriter. It’s weird though, when I’m writing songs I don’t really listen to any current artists, I always seem to take inspiration from the 40s and 50s instead.

Who would be your dream collaborator?

I know this sounds a bit cheesy, but I’ve been lucky enough to find my dream collaborator early on. His name is Conway (Halfrhymes). The songwriting, production and mixing all happens between us two and it feels so special that way! That said, there are definitely people I’ve looked up to for a long time that I’d love to someday write with, like Emily Warren, or I love Finneas’ creativity. I think my dream collaboration would be on an animated film soundtrack though.

Musically or otherwise, what are you most looking forward to this year?

Finally putting my favourite songs out there, finally (hopefully) meeting the people that have been listening to my music so far and of course seeing my family and my best friends again!!

If people could take away one thing from your music, what would it be?

I want people to see a beautiful side to sadness… cause there is something so comforting and healing in sad music. I want people to stop stigmatizing mental health issues and if there’s any way I can play even the tiniest part in that, then my ‘mission’ feels accomplished. To anyone reading this going

through it, there’s absolutely nothing to be ashamed of and you can DM me anytime”.

Prior to finish things up, I want to reference a CLASH feature. As part of the interview, Kings Elliot selected a few songs and artists who inspire her. I have picked a few of them that particularly caught my eye:

“King Princess - 'Cheap Queen'

“King Princess is one of those artists that picks you up and swoops you right into their world. I absolutely love her songwriting, her production, her voice, the things she sings about, her image. Everything. Plus she has “King” in her name. I was a big fan of her debut EP, but when 'Cheap Queen' came out I was just floored by how cohesive it felt and how hard it went.

No one else does what she does, and it was so refreshing and empowering to see the types of choices she made and “risks” she took. It’s a new album but it’s already a classic for me.

Banks - 'Goddess'

The title says it all for me. As far as I’m concerned, Banks is a Goddess. Full stop. I discovered her when I first moved to London and immediately felt so connected to her. The songs on that album are so beautifully crafted, the lyrics so poetic and the production so sharp. It absolutely blew me away! I’ve seen her live multiple times and loved it every time.

It’s an album I’ve revisited over the years since it came out and I discover new things in it everytime, which is something I genuinely hope people can say about my records and something I took away from everything Banks has done - making the music mutli-dimensional enough to never let the listener feel like they know everything.

Yungblud - 'fleabag'

I completely fell in love with Yungblud’s sound and personality from the very first time I heard him. He’s definitely the outlier on this list, but I have so much respect for people who try to challenge the status quo from the platform of popular music.

I love seeing a globally rising pop/rock artist do everything he can to provide a safe space for his fans to be themselves and to encourage acceptance. And it never feels preachy. I’m also a sucker for a record I can turn up load and scream along to”.

Someone who is going to have a very successful year, everyone needs to keep a look out for Kings Elliot. With some wonderful music under her belt so far, this is an artist who is going to go a long way. So many people are responding and reacting positively to what she is putting out. Everyone should find a place in their lives…

FOR the amazing Kings Elliot.

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Follow Kings Elliot

Twitter:

https://twitter.com/itskingselliot

Instagram:

https://www.instagram.com/kingselliot/

Facebook:

https://www.facebook.com/itskingselliot/

Spotify:

https://open.spotify.com/artist/3iUGCPBBseYhEhwqCG7PNy

YouTube:

https://www.youtube.com/channel/UCBC31zSsC9GTVWV9D3ACn-w

FEATURE: Dreams of San Pedro… Madonna’s La Isla Bonita at Thirty-Five

FEATURE:

 

 

Dreams of San Pedro…

Madonna’s La Isla Bonita at Thirty-Five

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THE fifth and final single…

 IN THIS PHOTO: Madonna in 1986/PHOTO CREDIT: Herb Ritts

from Madonna’s 1986 album, True Blue, La Isla Bonita turns thirty-five on 25th February. The song was written and produced by Madonna and Patrick Leonard (with additional songwriting by Bruce Gaitsch). The initial composition of the song was first offered to Michael Jackson before Madonna both accepted it and wrote the lyrics and melody. I could see Jackson including it on Bad (1987) – a track from that album, Liberian Girl, has similarities. Often ranked alongside the best Madonna singles, it reached number one in the U.K. I think that True Blue showed a mature side to Madonna. Her songwriting and vocals were at their strongest, and her material was broad and nuanced. Whilst I associate True Blue with Madonna having cropped blonde hair, La Isla Bonita shows her with long locks. Look at how she appears in the videos for Papa Don’t Preach (the album’s seconds single) and Open Your Heart (True Blue’s fourth single). There are so many different styles and transformations – both fashion-wise and in terms of the songwriting! A sexy, stunning and sensual track, Madonna has performed La Isla Bonita on most of her world tours. It is a fan favourite and one of her absolute best releases. Normally, when an artist releases four or five songs from an album, they get weaker as you go along. I would say La Isla Bonita is as strong as Papa Don’t Preach. The antepenultimate track of True Blue (it appears after the title track), the Latin influence was new for Madonna. One can hear Latin influences on her latest album, Madame X (2020), but it didn’t appear too much between 1987 and 2020.

Madonna fans around the world will celebrate a mesmeric single on its thirty-fifth anniversary on 25th February. I am going to end with some critical reaction to the song. Before that, Smooth Radio gives us the facts and pertinent details behind one of Madonna’s greatest songs:

“What does 'La Isla Bonita' mean?

In case you were wondering, it's Spanish for 'The Beautiful Island'.

Now you know!

Who wrote 'La Isla Bonita'?

Madonna co-wrote the song with her regular collaborator Patrick Leonard, with additional lyrics from Bruce Gaitsch.

The song was written for Madonna's third album True Blue in 1986.

Where is San Pedro and what inspired the song?

The town of San Pedro in the island of Ambergris Caye, Belize is thought to be the main inspiration behind the song.

However, Madonna later told Rolling Stone: "I don't know where San Pedro is. At that point, I wasn't a person who went on holidays to beautiful islands.

"I may have been on the way to the studio and seen an exit ramp for San Pedro."

She also described the song as her tribute to the "beauty and mystery of Latin American people".

Michael Jackson turned the song down

That's right, Patrick Leonard originally wrote this for Michael Jackson for his Bad album, but Michael didn't like the title and turned it down.

Leonard then offered it to Madonna, who rewrote some of the lyrics.

However, Michael was only offered a demo version with just an instrumental rather than the lyrics. We'd love to have heard his take on it!

Where was the music video filmed?

The video was set in Los Angeles, and was directed by Mary Lambert, who also directed other Madonna videos including 'Borderline', 'Like a Virgin' and 'Like a Prayer'.

Actor Benicio del Toro appears in the video as a background character, playing a teenager sitting on a car hood.

Madonna plays two different characters in the video: a short-haired Catholic woman and a flamboyant Flamenco dancer.

How did it perform in the charts?

'La Isla Bonita' peaked at number four in the US, making it her 11th consecutive top-five hit, a feat surpassed only by the Beatles and Elvis Presley.

In the UK, it was Madonna's fourth number one single, and sold over 450,000 copies.

It was also a number one in Austria, Canada, France, Germany, Iceland, Poland and Switzerland”.

By 1987, Madonna was definitely the Queen of Pop! After releasing True Blue and it getting huge reviews (though I think it is underrated), La Isla Bonita arrived a couple of years before she elevated to new heights on the album, Like a Prayer. Always transforming and exploring new ground, La Isla Bonita was one of her strongest tracks to that date. This Wikipedia article provides the feedback and critical impressions of a masterful and hypnotic song:

“In a review for the album The Immaculate Collection, David Browne of Entertainment Weekly compared the song with the moves of Carmen Miranda on MTV. Slant Magazine music critic Sal Cinquemani, in a review for the True Blue album, called the song one of Madonna's greatest, most influential and timeless songs. Author Maury Dean in his book Rock 'n' Roll Gold Rush praised the song saying, "Madonna coos a Spanish lullaby. Sizzly romance blooms among the cozy sheltering palms. Tough tunes for most males to shrug off."

Rikky Rooksby, in his book The Complete Guide to the Music of Madonna called the song "a little escapism". Dawn Keetley in his book Public Women, Public Words called the song one of Madonna's most perfect songs capturing her inner emotional life. William McKeen called the song "tranquil" and "Up on the Roof type imaginary escapes from the city snarl, the kind of Latin-flavored sweets that Blondie could never resist." Ken Barnes of Creem wrote the song is "no "Open Your Heart", but its lilting (yet reflective) quality transcends the south-of-the-border cliches."

Jon Pareles of The New York Times said that "La Isla Bonita" was one of Madonna's "friendlier" love songs. Don McLeese of the Chicago Sun-Times believed that the song was the best song on the album, as well as the most memorable. Meanwhile, Steve Morse of The Boston Globe believed that it was one of her "prettier" songs. Joey Guerra of the Houston Chronicle, while reviewing Madonna's Sticky & Sweet Tour, called the song a true retro one. Marty Racine, from the same newspaper, believed that the song was one that stood out on the album. Los Angeles Daily News, when discussing Madonna's style of music, believed that "La Isla Bonita" was a song that was "pointing in [a] welcome direction”.

With Madonna co-writing and co-producing all tracks on True Blue, she was this amazingly talented and confident artist. Her music videos were iconic. Cinematic and imbued with so much style and story, there is a special place in my heart for La Isla Bonita. As it is about to turn thirty-five, I wanted to explore it more and give it the love and depth it deserves. An essential Madonna track, it will be adored and played for generations more! The fact it is a live staple shows how much love Madonna herself has for it. Here is my hearty salute to…

A Madonna classic.

FEATURE: You Can Check-Out Any Time You Like, But You Can Never Leave! Eagles’ Hotel California at Forty-Five

FEATURE:

 

 

You Can Check-Out Any Time You Like, But You Can Never Leave!

Eagles’ Hotel California at Forty-Five

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WITH a B-side of Pretty Maids All in a Row…

Eagles’ Hotel California was released as a single on 22nd February, 1977. To mark its forty-fifth anniversary, I wanted to spend time with a song I have written about before. Taken from the Hotel California album of 1976, I think the song is one of the best ever released. It is a shame that there was not a huge and ambitious music video made for it. Of all the tracks ever released, I think that I would go back to Hotel California and shoot something. So vivid are the lyrics, there are all sort of scenes and scenarios that race through the mind! The album itself is one of the best-selling of all time. Opening with Hotel California, New Kid in Town and Life in the Fast Lane, one is hooked right away. Such a strong start to a remarkable album! Written by band members Don Felder, Don Henley and Glenn Frey, with a great lead vocal from Henley, the song is instantly recognisable. Still widely played on radio, the single reached the top spot in the U.S. There are a few articles that are worth sourcing. I was interesting learning about the making of the track and where its inspiration came from. In 2018, the BBC published an article regarding the meaning behind the classic track:

“Michael Jackson's Thriller has been overtaken as the all-time best-selling album in the US by the Eagles' greatest hits, and that band's album Hotel California is at number three. What is the spooky title track all about, asks Alan Connor.

Rock stars of the 1970s were not kind to hotels.

In Life's Been Good, sometime Eagles guitarist Joe Walsh describes the process bluntly. "I live in hotels, tear out the walls," he confesses: "I have accountants pay for it all."

"It all" being a small fortune. In the official history of the band, Walsh recalls a single night at Chicago's Astor Towers in which he and Blues Brothers star John Belushi managed a $28,000 ( £22,000) damage bill.

Among other bands, misuse of the hospitality industry was part of the legend - think of Led Zeppelin drummer John Bonham roaring down the corridors of Los Angeles' Continental Hyatt on a Harley Davidson he'd got for his birthday, or The Who's drummer Keith Moon, on his own birthday, ploughing a Lincoln Continental into the swimming pool of Flint Michigan's Holiday Inn.

The senior Eagles, Glenn Frey and Don Henley, quietly tolerated Walsh's destruction but when it was their turn to write about what life on the road meant to them, the result was much less literal - and it made an enormous fortune rather than costing a small one.

Don Henley had been playing with the phrase "Hotel California" for some time, but to become a song, it had to go through the regimented process the band had adopted by the mid-1970s. The Eagles were not yet at the point of communicating via lawyers, but they were referring to one another by surname.

Another Eagles guitarist, Don Felder, was tasked with recording instrumental snatches onto tape and submitting them to Frey and Henley in hope of their approval. He had been doing this at home in Los Angeles' Topanga Canyon, but while on tour he took a call from his wife Susan, who had recently given birth.

It was a short call: "We're moving." Relaxing in their garden, she had noticed that the blanket she was lying on with the baby was next to a nest of rattlesnakes. Susan and son flew immediately to a rented beach house in Malibu; Don joined them and that evening duly began recording a suggestion for a song.

A snake in an apparently idyllic garden is the kind of on-the-nose image that would have fitted right in with what his rhythm track was to become. The chords he strummed followed a pattern closer to flamenco than to rock, but played on the off-beat, which gave the song its working title of Mexican Reggae when Frey and Henley granted it the nod.

As for the words the pair added, they describe a weary traveller who's lured into a "lovely place" of grotesque characters: it's glamorous and creepy and it seems he can never escape.

A lot of imagination has been exerted in the last four decades trying to decode the song's images, or to assemble them into something coherent. It's probably worth bearing in mind Frey's words: "We decided to create something strange, just to see if we could do it”.

There are a couple of other features that provide further detail when it comes to a song that is so engrossing and memorable. American Songwriter revisited the meaning of Hotel California in a great feature last year:

“So what is the true meaning of Hotel California?

The same narrative arc found in The Magus, going from sincere idealism and earnest curiosity to a sense of darkness and despondence, runs parallel to so much. Like coming of age and the loss of innocence. Or the sparkling allure of golden age California’s dashing but dangerous lifestyle of cash and drugs. Or the energetically revolutionary but eventually fleeting spirit of the 1960s. And maybe even the entire American experience.      

You start with nothing. It all looks so good! Then you get everything. And you get crushed under the weight of everything’s excess. What was it all for to begin with? 

So “Hotel California” is a sort of broad allegory for rising and falling? Maybe.

Here is what the band members themselves have said about the song’s meaning:

The band members themselves have offered a variety of different explanations for the meaning of “Hotel California.” They’ve said it’s a socio-political statement. They’ve said it’s about darkness and light. And they’ve said it’s about the self-destruction that comes from greed and hedonism.

But of course, all of those things are hard to put your finger right on. And maybe that is why the song has been interpreted in so many different ways over the years. When art so perfectly reflects the experience of life, it can be about everything and one specific thing at the same time, depending on the consumer of the art. Like a sort of lyrical Rorschach test.

The song’s true meaning, like life itself, is elusive. And maybe that is exactly the point.

What does “Hotel California” have to say about modern times?

Even if the exact meaning of “Hotel California” is subject to some degree of individual interpretation, there are certain themes deeply imbued in the song. Chief among them is the danger of excess.

California. America. Rock and Roll. The 1960s. Even The Eagles themselves. All have suffered from excess in some way, whether it be drugs, wealth, success, and even a desire for change.

As it is today, we find ourselves locked in a time of extremes. No middle ground. No moderation.

If “Hotel California” has anything to tell us about modern times, maybe it’s that we need to take things down a notch. Don’t get too high and don’t get too low. Focus on the little things in life. The things that matter most”.

Apologies if there is any repetition regarding the information sourced about Hotel California. LOUDER spoke wot Don Felder last year about he helped to write the song which is, perhaps, the best-known from the Eagles:

“When I first joined the band, my high school band mate Bernie Leadon told me, ‘If you want to wrote songs with Don [Henley] and Glenn [Frey], just make musical beds for them, don’t try to give them full songs with lyrics, because that’s their job’. So ahead of making what turned out to be the Hotel California album, I wrote 15 or 16 demo songs, based on that approach.

"Two of them ended up on the record, one of which was Victim Of Love, and the other which became the title track. Truthfully, at the time, Hotel California was just another song on the cassette. I didn’t necessarily think it was the best song, but Don called me up after a few days living with the music and said, ‘I really like that one that sounds like Mexican reggae’, and I knew which one he meant.

"So we started kicking around ideas for it. Glenn came up with the original concept of Hotel California, and then Henley sat down and wrote those fantastic lyrics. His lyrics are like little photographs, which, much like reading a book rather than watching a movie, allows you to draw pictures in your mind. ‘On a dark desert highway’, that’s five words, but it already puts a picture in your head: ‘Cold wind in my hair’, you can feel it, you can see it."

"The guitar solo was straight from my demo. Joe Walsh and I had played together on [1976 live album] You Can’t Argue With A Sick Mind, before he joined the Eagles, and so I wanted to write something that would incorporate how he and I played together. It was just a guide solo, but by the time we got to make the Hotel California record, Don Henley had been living with that music for over a year, and he wanted the solo done note-for-note, so the solo on the song is identical to what was on the demo.

"To be honest, I thought the song was too long. In the ’70s AM radio wouldn’t play songs longer than 3 minutes and 30 seconds, but Hotel California has one minute of music before Don even starts singing, and a two minute guitar solo at the end. It was just the wrong format. But Henley insisted the record company put it out as a single. And I’ve never been so delighted to have been proved so wrong.

"It’s an honour and unexpected surprise to have been part of writing, producing and playing on a record that has had such global success. About four or five years ago I played a show for the United Nations at the Waldorf Astoria hotel in New York, to an audience of about 500 people, including presidents and heads of state. I played Hotel California and no matter what language people spoke, or what country they were from, everyone sang the entire song. That’s when I saw that the song truly had a global impact”.

On 22nd February, Eagles’ Hotel California turns forty-five. Anthemic, epic and absolutely exceptional, Hotel California is a song we will be talking about for years to come. For its anniversary, go and find the song, turn it up and sing along. I think that it is impossible not be fall in love…

WITH this classic cut.

FEATURE: A Plea to the Fans… The Long-Held Ambition to Get a Kate Bush Podcast Completed

FEATURE:

 

 

A Plea to the Fans…

IN THIS PHOTO: Kate Bush photographed in 2014 to promote her hugely successful residency, Before The Dawn/PHOTO CREDIT: Trevor Leighton

The Long-Held Ambition to Get a Kate Bush Podcast Completed

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I have written about this a few times…

 IN THIS PHOTO: Kate Bush in 1978

but this and next year are important ones in terms of Kate Bush. Although the anniversary I am most interested in happens next year, there are a couple this year. Later in the year, it is also the fortieth anniversary of The Dreaming in September. I am going to write quite a few features about it in the run-up. Next year is the forty-fifth anniversary of her debut album, The Kick Inside. In February, the world will celebrate forty-five years of one of the most impressive and original debuts ever. Whilst I might do a podcast beyond that album, it will definitely be a starting point. I also want to go deeper into her work. Rather than, at the moment, it being a series of podcasts, I want to do an extensive one where I speak with fans of her work. Including musicians, broadcasters and other semi-famous superfans, I was hoping that it could be recorded in a room or studio so that a select audience of fans could also attend. I have previously suggested Abbey Road for the location, as Bush recorded there a bit through her career. The Kick Inside was recorded at AIR Studios in London, so that is another possibility. In terms of size, there needs to be room for the guests to speak and sit, in addition to potential filming equipment were it to be filmed. I have previously speculated how musicians could provide cover version of Kate Bush songs to go alongside everything else. Whereas a live performance and stage might prove too demanding and costly, I am keen on the idea of them recording songs before the time. They would then be interspersed through the broadcast.

In terms of the title, I am keen to stick with All the Love (it is the title of a track from The Dreaming), and maybe adding : The Work of Kate Bush. The forty-fifth anniversary of The Kick Inside would be the jumping-off point. In terms of date of release/broadcast, it would be a bit before the album’s anniversary on 17th February. I would hope to have it recorded, were it not live, several months beforehand. Such an important anniversary will probably not be marked in such a way by anyone else. To the best of my knowledge, there has not been a podcast or recent broadcast where Kate Bush fans have properly discussed her work. People can correct me if I am mistaken. I have a vague guestlist in mind, though this is always subject to change. I want a broad spectrum of people who, in different ways, have been impacted by Bush. This would also include one or two who run fan sites and have a connection of this manner. Playing songs, interview clips and live performances, it would be a podcast that I have been thinking about for years now! I cannot do it single-handed. I do not own the space to realise such a vision. Also, in terms of funding, it may be beyond my budget. I know that Abbey Road do not host podcasts and recordings from those who raise money through crowd-funding. That may rule them out. Regardless, there are other general studios and locations that the podcast could be held from.

I want to make it a location special to her. As I am starting with The Kick Inside, something linked to that debut. Maybe AIR Studios is possible. I know she took dance lessons in Covent Garden, so that may be another possibility. As much as anything, I want to get people together to express their love for Kate Bush! There has been a general surfeit of podcasts or anything like this lately – or at all come to think about it! Although there is time to get it together, funding and location are the biggest considerations and obstacles. The latter can be booked when the former is dealt with. I have been reluctant to launch a crowdfunder until I can decide who will be involved and when it will happen. But, as soon as I have that detail firmed up, I will reveal it. The biggest plea is to the fans; the question is whether they might fund something like this were there rewards that they would receive. Again, those details are not 100%, but it would be worth their money! Now that things are opening up and there is a bit more certainty regarding events and gatherings, I should not imagine any real issues between now and the end of the year. If there is a surge again in the winter, I hope to have things recorded before any potential restrictions. From previous posts, there has been encouragement and support for a Kate Bush podcast. I will do a specific one about The Kick Inside at some point. In order to give her entire career a proper focus, I want to start off more broadly. It has been a dream of mine for a while, so I wondered whether people would support the concept. Of course, if there is backing (people would go to a crowdfunder) then I can release dates, guests and more details. At the moment, I wondered whether Kate Bush fans would back All the Love, so that we can mark the anniversary of The Kick Inside next year (or before, as we would need it edited well in advance)? It is a rare chance to get a lot of people together to mark and celebrate…

THIS woman’s amazing work!

FEATURE: Reel-to-Real: Michel Gondry: Lucas – Lucas with the Lid Off (1994)

FEATURE:

 

 

Reel-to-Real

Michel Gondry: Lucas – Lucas with the Lid Off (1994)

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SOME people say…

that music videos are no longer relevant or as influential as they used to be. Once was the time when stations like MTV were showing the biggest music videos from the major artists of the time. A lot of my most vivid and memorable musical moments came from discovering videos from artists like Madonna, Michael Jackson, and Soundgarden. Whilst music T.V. does not really exist and we are relying on YouTube and other platforms for our entertainment, that is not to say music videos lack importance and weight. I think one of the issues is that the videos are not shared as much as audio; maybe artists favouring the quality of the song rather than the visual aspect. Looking back, there are videos that have stuck with me and are iconic. In this short feature, I will run through a few of the videos that I feel rank alongside the very best. For this first outing, I am looking at my favourite video of all. Lucas’ Lucas with the Lid Off was released in 1994. A great song from Danish rapper Lucas Secon, it was released as the lead single from his second album, Lucacentric (1994). It features a sample from the 1935 Benny Goodman song, When Buddha Smiles. Before explaining why the video is so powerful, here is some biography about its director, Michel Gondry:

“Michel Gondry is a film, music video, and commercial director as well as an artist and a screenwriter. He was born and raised in Versailles, France. His parents were musicians and hippies. His grandfather was inventor Constant Martin, who perfected and successfully commercialized radio sets, most famously the Clavioline, a precursor to the synthesizer. Gondry's parents encouraged him and his brother, Olivier "Twist" Gondry, also a television commercial and music video director, to pursue their artistic interests. At a young age, Michel Gondry would create animated short films using his father's Super 8 Camera and complex flip-books. After high school, he enrolled in an art college in Paris.

Gondry started his filmmaking career while living in Paris by directing music videos for his rock band, Oui Oui (he was the drummer). His work caught the attention of Icelandic songstress Bjork, who selected Gondry to direct the music video for her debut single "Human Behaviour" in 1993. Like the song, the video is inspired by British broadcaster and naturalist David Attenborough. It is about the relationship between humans and animals, and Gondry shot the video from a bear's point of view. The video debuted to much acclaim and Michel Gondry moved to London and started directing commercials. In 1997, he relocated to New York City, despite his limited understanding of English. Nevertheless, Gondry became one of the most sought-after music video directors in the business, collaborating with bands like Daft Punk, The White Stripes, The Chemical Brothers, The Vines, Stereogram, Radiohead, and Beck.

In 1998, while directing a commercial for Smirnoff Vodka, Gondry developed the "bullet time" special effect, which creates as slowed-down version of an unfilmable event, like a bullet flying. Later that year, the Wachowski siblings adapted this technique for their 1999 smash hit film, The Matrix. Gondry's 2004 commercial for Levi's 501 Jeans holds the title for "most awards won by a TV commercial" in the Guinness Book of World Records.

Michel Gondry segued into feature film directing in 2001 with Human Nature, a quirky comedy-drama written by Charlie Kaufman and starring Patricia Arquette, Rhys Ifans, Tim Robbins, and Miranda Otto. It had its world premiere out of competition at the 2001 Cannes Film Festival and was released in the United States by Fine Line Features in April 2002. The film was a box office disappointment and garnered mixed reviews from critics, who nonetheless appreciated Gondry's quirky style.

Kaufman and Gondry collaborated again to make Eternal Sunshine of the Spotless Mind, which opened in 2004. It became one of the most critically acclaimed films of the year, and Kaufman, Gondry, and Pierre Bismuth won the Academy Award for Best Original Screenplay. Star Kate Winslet was nominated for Best Actress for her performance as Clementine Kruczynski, but lost to Hilary Swank in Million Dollar Baby. In 2010, critics for periodicals and websites like Empire, Premiere, Time Out New York, Entertainment Weekly, and The A.V. Club revisited [Eternal Sunshine] calling it one of the best films of the decade.

In 2005, Gondry directed Dave Chappelle's Block Party, a musical documentary about the comedian's efforts to organize a large, free concert in Bedford-Stuyvesant, Brooklyn. Gondry's next narrative feature film The Science of Sleep, came out in 2006. The film, which Gondry wrote, was based on a 10-year-old's bedtime story. It combines elements of surrealism, science fiction, fantasy, and comedy and was generally well-received by critics. He used design elements from the film to create an installation called "The Science of Sleep: An Exhibition of Sculpture, and Pathological Creepy Little Gifts" at Deitch Projects in New York City. From 2005-2006, Gondry was an Artist in Residence at the Massachusetts Institute of Technology (MIT) in Cambridge, Massachusetts.

In the mid-2000s, Gondry tried his hand at television, directing an episode of HBO's Flight of the Conchords. In 2008, he wrote and directed Be Kind Rewind, a $20-million comedy starring Jack Black and Mos Def as video store clerks who must re-create the store's entire catalog of VHS films after a freak disaster erases the tapes. It performed fairly well at the box office, earning approximately $30 million worldwide.

The documentary A Thorn in the Heart, which Gondry made about his Aunt Suzette and her son Jean-Yves, came out in 2009. In 2011, Gondry took on his biggest budget film to date, The Green Hornet, a comic book adaptation starring Seth Rogen. The reviews were fairly dismal (especially in comparison to Gondry's previous work). Additionally, the film's inflated budget and rushed 3-D conversion drew the ire of viewers and critics alike and it performed tepidly at the box office. Gondry went back to his independent, quirky roots with his following feature film, The We and the I, which screened as part of the Directors' Fortnight at the 2012 Cannes Film Festival. It has thus far only been released in France.

To date, Michel Gondry has directed close to 100 music videos for a diverse array of artists like Paul McCartney, Kanye West, Cody ChestnuTT, Lenny Kravitz, The Rolling Stones, Sinead O'Connor, Belinda Carlisle, Wyclef Jean, Sheryl Crow, The Foo Fighters, The White Stripes, The Polyphonic Spree, and Kylie Minogue. His commercial portfolio includes spots for Adidas, Coca-Cola, Fiat, GAP, Heineken, Motorola, Nike, Polaroid, and Volvo. He continues to be a visual innovator, making short films and releasing them on his Vimeo channel. Gondry's son, Paul, has followed in his father's artistic footsteps, directing music videos and creating art. They live in Brooklyn, New York”.

The video is a one-take black-and-white thing of beauty. I have a special love of one-take videos. It takes that extra level of skill and concentration to execute it! One reason why Lucas with the Lid Off strikes a chord is because it is complicated. Even though there are no edits and it is all shot in one take, the video is about the process of a song being recorded and released. We see Lucas at the decks creating the song before the camera tracks around a studio. Taking in a couple driving, Lucas on the Tube and him ending up in a cinema, it is almost like a biography of a song! The action ends back up at the start. Although the sets are fairly basic and there are not too many layers in terms of extras, the fact that everyone hits their mark and it is such a smooth process blows me away! Almost like a theatrical play, the actors are all in sync and there is no room for error. There are some camera angles and shots that I am not sure how they happened. One occurs when we see Lucas’ feel dangling off of a bed. Occurring near the start, the camera twists and turns so that the reveal shows Lucas on the bed. Another great moment happens when he is on a train and there is a reflection of him and the other passengers. As there is no mirror present by the looks of things, I wonder how that effect was created live!

This series explores videos from various years that are striking and stunning. Not to be too subjective, but I feel Lucas with the Lid Off is the greatest video ever. In 1994, there were not too many one-shot videos being made. Michel Gondry has made amazing videos for the likes of Kylie Minogue, The White Stripes, Björk, and Daft Punk. One of his earliest videos, Lucas with the Lid Off is a majestic and masterful moment that confirmed Gondry as one of the most innovative and intelligent video directors. Other artists have done one-take videos since 1994, though I feel Gondry’s video is a bit of a trailblazer and foundation – others would have seen the video and been inspired by it. Such a fascinating and original video, it is one that will continue to compel me for years to come. I do think music videos have the power to move people and take songs to new levels. Although I love the track, it is the video for Lucas with the Lid Off that makes it so staggering. For the first part of this Reel-to-Real feature, I was eager to highlight my favourite music video. From the French pioneer Michel Gondry, it is a beautiful, energetic and hugely impressive video that is as wonderful now as it was almost twenty-eight years ago! If you have not seen the video, then make sure you play it a few times. As far as music videos go, it is…

A true masterpiece.

FEATURE: Inspired By… Part Fifty-One: Annie Lennox

FEATURE:

 

 

Inspired By…

Part Fifty-One: Annie Lennox

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NOT to get too focused…

on a particular style and layout, I want to keep the structure of Inspired By… the same. It is important to learn about the artist who I am highlighting. I owe AllMusic a lot of thanks for their extensive insight. Here is some valuable information about the iconic and genius Annie Lennox:

“Following the disbandment of Eurythmics in 1991, vocalist Annie Lennox began a solo career that rivaled Eurythmics' in terms of crossover popularity. Born and raised in Aberdeen, Scotland, Lennox began playing music as child, learning how to play both the piano and flute. In her late teens, she won a scholarship to London's Royal Academy of Music, but she dropped out before she took her finals. For the next several years, she worked around London, performing various jobs during the day and singing at night. In the late '70s, she met guitarist Dave Stewart through a friend. Stewart, who had previously played with Longdancer, asked Lennox to join a new band he was forming with a songwriter named Peet Coombes. The band was named the Tourists, and they released three albums between 1979 and 1980 and scored a number four U.K. hit with a cover of Dusty Springfield's "I Only Want to Be with You."

While they were collaborating in the Tourists, Lennox and Stewart became lovers. Soon, tensions within the band grew, and by 1980 the pair had left the band to begin Eurythmics. During the early '80s, the sleek synth pop of Eurythmics became one of the most popular sounds of new wave, racking up a number of hits in both the U.S. and U.K., including "Sweet Dreams (Are Made of This)," "Love Is a Stranger," "Who's That Girl," and "Here Comes the Rain Again." Midway through their career, Eurythmics began pursuing a harder, more straightforward rock & roll sound.

In 1990, following the release of Eurythmics' commercial disappointment We Too Are One, Lennox announced that she was taking a two-year sabbatical to have a child. During this time, the group quietly dissolved, Lennox had a baby, and she began working on her first solo album. Diva, her solo debut, arrived in 1992 and showcased a calmer, more mature vocalist designed to cross over into the adult contemporary market. On the strength of the singles "Walking on Broken Glass" (number 14) and "Why" (number 34), Diva sold over two million copies in the U.S. alone; the album was also nominated for three Grammy awards.

Lennox delivered her second solo album, a covers collection entitled Medusa, in 1995. Peaking at number 11, Medusa spawned the hit single "No More I Love You's" and went platinum by the end of 1995. Lennox took some time off to raise her child and become more actively involved with humanitarian endeavors. A full eight years after Medusa was released, she returned with Bare, one of the strongest and most personal albums of her career. After another break, she released Songs of Mass Destruction in September 2007 and made plans to embark on an extensive North American tour, starting in October. Three years later, Lennox returned to recording with her first holiday album, entitled A Christmas Cornucopia. In 2014, she delivered another covers-oriented album, the Mike Stevens-produced Nostalgia. The following year, Lennox re-released the album as Nostalgia: An Evening with Annie Lennox, which included both the original studio album and a bonus Blu-Ray disc of her live PBS concert recorded on-stage at Los Angeles' historic Orpheum Theatre backed by a 19-piece ensemble”.

One of the greatest artists the world will ever see, Annie Lennox has affected so many other artists. From Lennox’s unique style and her amazing voice, the power and beauty she puts into her songs has been take to heart by so many. Below is a playlist of songs from artists who are inspired by…

THE one and only Annie Lennox.

FEATURE: Revisiting… Thom Yorke - ANIMA

FEATURE:

 

 

Revisiting…

Thom Yorke - ANIMA

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WHILST is it accrued a lot of positive reviews…

I have not heard too many tracks from Thom Yorke’s ANIMA played on the radio lately. It is an album that, maybe, has a niche and particular sound that means it is not as accessible as others. Less frequently heard than a lot of Radiohead albums, ANIMA is one of the best from 2019. Produced by Nigel Godrich (longtime producer for Radiohead), ANIMA is a magnificent album where Yorke penned the lyrics; he worked with Godrich on the music. I am going to come to a couple of reviews for ANIMA soon. The album was accompanied by a fifteen-minute film directed by Paul Thomas Anderson. Yorke’s most-recent solo studio album, one wonders if we will hear one from him or Radiohead this year. He has a new group, The Smile, that features and Radiohead’s Jonny Greenwood and Sons of Kemet drummer Tom Skinner (in collaboration with Nigel Godrich). ANIMA is an album that warrants some fresh spins and new attention. When speaking with Zane Lowe on Apple Music’s Beats 1, Yorke talked about the album:

 “Speaking about ‘ANIMA’, Yorke revealed that the album was relatively quick to make thanks to the concept of “anti-music” behind the album. “We’ve had most of this stuff for ages, and the joke was, it was really quick to do. We set up as we do the live shows for most of it…and knocked it out.

“It was really fun. It was quick and easy and we knew where we were going because we lived with it for so long. The therapy of ‘I don’t want to write a bunch of songs. I want to just make noise’ was great and I found myself immersing myself in old musique concrète and all this anti-music and it was great. I loved it.”

Yorke also revealed more about the ideas behind the album’s title: “I think the reason it ended up being called ‘ANIMA’ was partly because I’m obsessed with this whole dream thing, and it comes from this concept that [Carl] Jung had. But, also, we have started to emulate what our devices say about us and emulate the way we behave from that.

“The reason we can watch Boris Johnson lie through his teeth, promise something that we know will never happen is: we don’t have to connect with it directly because it’s a little avatar. It’s this little guy with a stupid haircut waving a flag…..“That’s all right, that’s funny”. And the consequences are not real. The consequences of everything we do are not real. We can remain anonymous. We send our avatar out to hur abuse and poison and then trot back anonymous.”

On the back of this, Yorke addressed the current state of politics, saying that “fundamental structural change was needed.”

Yorke continued: “People have come to terms with the idea, [that] the only way that things change is fundamental structural change. And the only way that can happen when you have a bunch of clowns, is to be angry”.

I think that Anima is one of the best albums from 2019. It is one that deserves to be played and talked more about now. The anger Yorke expressed towards Boris Johnson seems especially relevant now. One wonders what Yorke will come up with on a new album considering the corruption and lies from the P.M. In their review, this is what AllMusic said about the wonderful ANIMA:

“It sounds counterintuitive to say Thom Yorke delivers uneasy music with a sense of ease, yet ANIMA unfurls with a slow, steady confidence that can be called comfortable. Perhaps this relaxed gait is due to how ANIMA finds Yorke treading familiar territory, revisiting the kind of jittery, chilly electronica that has been his solo specialty ever since he snuck out The Eraser in 2006. During the 13 years that separate The Eraser and ANIMA, indie and electronic music underwent several changes, but Yorke and his longtime producer Nigel Godrich aren't especially interested in chasing trends. They're working with a similar tool box that they did in a previous decade, running loops, distorting acoustic instruments, operating faders, and leaning into glitches and skittish rhythms. All these sounds mean ANIMA sounds superficially similar to its predecessors (The Eraser, plus 2014's Tomorrow's Modern Boxes), but Yorke and Godrich are craftsman, offering a different perspective on a familiar subject. That subject is, naturally, a distrust of the modern world and a fear of a creeping dystopia, a paranoia that suits the troubled times of 2019. Perhaps the world has turned to meet Yorke on his old stomping ground, but that's where his light touch comes into play. Where he once seemed consumed with dread, Yorke gently argues for the importance of humanity within a cold, alienated world. When he attempts to articulate this stance in his lyrics, he can be a shade direct -- witness how he rails against "goddamned machinery" on "The Axe" -- but his bluntness is softened by the slow, shifting soundscapes that populate ANIMA. Against all odds, Yorke's eerie electronic shimmer doesn't inspire fear so much as console; in this dark time, it's reassuring to hear a human heart beating the digital clutter”.

To round off, I want to quote NME’s take on one of Thom Yorke’s best releases. They note that, whilst there is very little in the way of happiness to be found on ANIMA, it is a remarkable album that is fascinating, stunning and hugely emotive:

“There’s little hope in ‘ANIMA’. Little in the way of joy. It sounds exactly like a record trying to say something about 2019 should sound. Often the record approaches the realm of the atonal. The song ‘The Axe’ owes much to Yorke’s challenging work on last year’s Suspiria soundtrack. ‘Impossible Knots’ recalls the caustic experiments that Portishead have conducted in recent times. And yet – thanks to the extraordinary voice that’s long defined Yorke’s career – there’s grace here too. ‘Twist’ could be an ‘In Rainbows’-era Radiohead song, while midway through the record there’s a song called ‘Dawn Chorus’. In many ways it’s ‘ANIMA’’s signature song. It, at once, sounds completely resigned, absolutely world weary, while also unparalleled in its beauty. It evokes visions of flowers growing on a rubbish dump.

And yet there’s no question that ‘ANIMA’ is a record that looks at the world it’s been born into with disgust. It’s filled with songs that sound like they were written just after breaking point. Closer ‘Runwayaway’, as well as being notable for featuring some blues guitar that is uncharacteristically pretty for a record baring just Yorke’s name, is best described as an audio interpretation of what insanity sounds like. It’s like a lullaby written during a fever dream, with snippets of strange sci-fi tinged samples creeping in and out of the composition. Yorke’s enduring fascination with dreams again works itself into the DNA of the record. ‘ANIMA’ was launched with an innovative viral marketing campaign that has seen strange adverts surface across the globe, purportedly placed by a company called ‘Anima Technologies’, that promote a ‘dream recovery service’.

Fittingly, there’s shades of the 2007 videogame Portal here. A bit of Blade Runner. It’s hard to hear these songs without thinking of the bleached white film sets so often seen in Kubrick movies. Anything that depicts a broken future, where humanity has been traded in for progress, and still we lost. You know what? It might be worth listening – really listening – to what Thom Yorke has to say”.

I am going to leave it here. Go and listen to ANIMA if you have not done already. A wonderful album that will definitely make an impression, it is one that still sounds relevant. The songs are as powerful and potent now than they were almost three years ago. One of the great albums from 2019, ANIMA should be played widely and reinvestigated. The third solo album from Yorke is so strong. Perhaps we shouldn’t be surprised, as he is a very…

SPECIAL artist indeed.

FEATURE: Revisiting… Bree Runway - 2000AND4EVA

FEATURE:

 

 

Revisiting…

Bree Runway - 2000AND4EVA

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WHEREAS I normally include albums…

 PHOTO CREDIT: Hannah Diamond for DIY

in this feature, I am highlighting a mixtape in this Revisiting… 2000AND4EVA is the debut mixtape from the Hackney-born rapper, it confirmed Runway as one of the hottest talents in the world. A rising talent who, with the mixtape, released her strongest work to date, I think many will ask if an album is arriving this year. The work of a remarkable artist, 2000AND4EVA was released on 6th November, 2020. Released during the earliest stages of the pandemic, it wasn’t an ideal situation and time to put out such a stunning work. That said, Bree Runway did do promotion for her mixtape. I am going to come to a couple of reviews for a mixtape that, to me, needs to be revisited now and heralded. Whereas there is not the same attention and focus on mixtapes and E.P.s compared to albums, there was a lot of fascination and interest around her. DIY inducted Bree Runway into their Class of 2021 in 2020. They were keen to chat with an amazing artist who signed to EMI Records in 2018 and released the E.P., Be Runway, in 2019:

“Growing up, Bree’s influences were as diverse as her sound suggests. Obsessing over everyone from emo rockers The Used (“I definitely found my crew in that scene”) to Lady Gaga, she even took to wearing a singular leather glove and carrying around a teacup in homage to Miss Germanotta. “I took it on the train,” she notes of the latter. “That’s 100% true.”

PHOTO CREDIT: Hannah Diamond for DIY 

A melting pot of different styles and ideas, Bree’s fresh approach to pop is breathing new life into the UK music scene. Across the pond, she cites the likes of Lil Nas X, Lizzo and Doja Cat as changing what it looks and sounds like to be a pop star. But over here, she’s carving her own path. “I feel like, in the UK, people often bash what they don’t understand rather than opening themselves up to something different,” she reckons as to why our pop stars all seem to fit a certain mould. “And not to sound mean, but I can see that sheep culture thing here,” she continues. “Like, ‘Let’s only hype up what everyone else is hyping up’, rather than stepping out of line and hyping something else that’s a bit different. But it doesn’t really bother me honestly, because I’m not a sheep, so whatever.”

Bree’s individuality is her superpower, but she didn’t always see it that way. As a child growing up in East London, she was badly bullied, with colourist remarks prompting her to bleach her skin in the hope she’d be accepted into the fold at school. But despite a difficult childhood and an emotionally tough year (Bree lost pregnant friend, YouTuber Nicole Thea, this summer; a track on the mixtape is dedicated to her), Bree radiates positivity and confidence, no signs of past or recent trauma weighing her down. In a year packed with so much negativity, we could all use a little schooling on how to lift the fog.

“There are two things you need to make use of: awareness and choice,” she says more convincingly than any £70-an-hour therapist. “You need to be aware of what makes you feel lesser than you are. And you also have to realise you have the choice, like, what do you want to do with this feeling? Do you just let it weigh you down and waste your life?

However, as well as investing in herself, it’s Bree’s prioritisation of solid female friendships that has helped her grow into the self-assured artist she is today. Her best friend is Victoria’s Secret model Leomie Anderson who, after years of bullying, helped Bree see herself as beautiful and embrace her dark skin. The pair met at college and are tight to this day. “I’m such a girls’ girl. I just love being close to great girls where we lift each other up, we support each other’s ventures. It’s more than just looking pretty in pictures – you can genuinely be each other’s backbones. That’s very, very, very very important to me,” she stresses.

And it shows. For ‘2000AND4EVA’, Bree amassed a small crew of exciting female artists to jump on her songs (Rico Nasty and Maliibu Miitch, alongside Tate and Missy) - women who celebrate their differences and won’t be defined by industry standards.

“When you’re stepping out into music, you can think, ‘I better do what people would like and I better do what’s popular’,” she says of her earlier, R&B-focused sound. “But again, the choice thing: if it doesn’t feel good and it doesn’t feel completely natural to you, then don’t do it. I’m so much more than what I was doing when I first started. The amount of people that listen to me, the different countries, the amount of fan accounts… The conversations are different, the opportunities are different, everything is different. That saying is true: when you work hard for a year, things can really really change.”

Being a pop star in 2021 is harder than it was twenty years ago. In the early noughties, Lady Gaga could control the image she projected to the world, not setting foot outside without an encasing of bubble wrap, a dress made of flesh or, at the very least, a really, really uncomfortable pair of shoes. It all helped build the cult of Gaga. But in an always-on social media age where everyone, famous or not, is expected to share constantly, is that level of stardom still achievable?

“There’s a Bree Runway gloss, and I love my stuff looking star-studded, but sometimes I don’t mind breaking out of character and showing people how silly I am or how funny in a very non-corny way, because I actually am really funny, aren’t I?”

Oh. We’re supposed to answer. “Yes, yes. You’re really funny, yes.” It’s the only hint we’ve had all day that Bree needs any kind of validation. We’re kind of flattered”.

Before I conclude, I want to bring in a couple of reviews. Although Bree Runway is played on radio and the songs from 2000AND4EVA were commended, one does not hear as much buzz now as there should be. NME reviewed one of 2020’s best releases. They have been a supporter of Bree Runway for a long time - so it is no surprise that they had a lot of good things to say about 2000AND4EVA:

“Bree’s fearless versatility on the mixtape further challenges any remaining assumptions that Black musicians can’t partake in certain genres. By successfully balancing a number of different flows and deliveries across its nine tracks, Bree is able to showcase myriad personalities throughout ‘2000AND4EVA’. One such illuminating comparison can be made between ‘APESHIT’, a chugging fusion of hip-hop and rock, and ‘Damn Daniel’, her colourful, ‘80s-inspired pop collaboration with Yung Baby Tate.

Thankfully, as she dips her toes into these various genres, the mixtape doesn’t come across like a sonic mishmash of ideas and experimentation, as Bree instead reaches an equilibrium where her multiple musical personalities converge into a signature sound. Every part of this mixtape feels well thought-out, from the plain-spoken lyricism to the impressive roll call of featured guests.

It’s almost no surprise to see Bree’s musical ‘mommy’ Missy Elliott collaborating with her on ‘ATM’, as the vibrant hip-hop track oozes with witty one-liners such as Elliott’s “I got so much drip you can see me surfing”. Bree’s main lyrical themes, meanwhile, collide as images of wealth, sex and opulence fuel the chant “ATM, push my button again”.

‘2000AND4EVA’ also features Maliibu Miitch’s husky stint on the luxurious anthem ‘Gucci’ and a new version of Bree’s September single ‘Little Nokia’, now featuring Rico Nasty. Although her appearance is brief, Rico doesn’t shy away from displaying her high-powered and dynamic style, complementing the thunderous, electric production that rings out. This energy remains high in Bree’s irreverent freestyle ‘No Sir’ and the reggae-infused ‘Rolls Royce’, which features such boastful lines as: “Skin dark like the window tinted / I’m already better than this next bitch”.

One track that makes a successful departure from Bree’s usually theatrical sound is the minute-long interlude ‘Nicole Thea & Baby Reign’. Serving as a sombre tribute to her late friend Thea — a popular YouTuber who passed away earlier this year while eight months pregnant with her son Reign — the stripped-back song implores the listener to focus on the poignant, emotionally wrought words sung by Bree: “I’ll see you on the other side”.

As a debut full-length project, ‘2000AND4EVA’ is a menacing and carefree offering — one in which Bree Runway manages to be bold, belligerent yet vulnerable throughout — from a different and altogether exciting new pop star”.

CLASH were among those lining up to show their praise of Bree Runway. One hit of 2000AND4EVA and it definitely stays with you! This is what they had to say when they spent time with an incredible collection of songs:

“Clocking in at just over 17 minutes long with an impressive slew of features from Yung Baby Tate, Malibu Miitch and Rico Nasty, not to mention one of Bree Runway’s most-cherished icons Missy Elliott, the London native has used her ever-growing platform to touch on various topics including colourism, stereotypes for Black women in the music industry and more. Filled from start to finish with an assortment of flavoursome textures and complex layers, ‘2000AND4EVA’ is set to represent the new generation of ‘the Black female in pop’; Bree Runway has took it in her stride to dismantle the narrative and pave a lane of her own.

Opening the mixtape with the rolling licks of an electric guitar, ‘APESHIT’ instantly emerges you into a Rockstar-esc realm. Bursting through with a bouncing and anthemic energy, the female force laces the backdrop with an unquestionable female prowess enriched with a roaring confidence and sass. Swiftly transitioning into a rhythmic and hip-moving breakdown, Bree Runway unleashes a run of infectious bars all whist boasting her ability to switch up her flow. Effortlessly moving into the distorted sounds of ‘LITTLE NOKIA’, this track is embellished with roaring guitars that play as a seamless contrast against Bree’s slick vocals and seeping harmonies.

Having co-written all eight tracks alongside some of the industry’s highly talented producers including Moon Willis, LIOHN, Finn Keane and more, Bree Runway has been able to capture a sound fit for every personality. Shining a luminous light on diversity, ‘2000AND4EVA’ weaves a warm essence of inclusivity from start to finish.

Calling on one of her biggest idols for ‘ATM’, this is without a doubt one of the stand-out tracks from the mixtape. Clearing the way for an anthemic, infectious and bold hook, this track is filled with a piercing energy from the onset. Brimming with cinematic effects, Bree Runway and Missy Elliott go back to back on this bad b chant! However, that wasn’t the powerhouse’s only feature, enlisting American hit-makers Maliibu Mitch and Yung Baby Tate, both ‘DAMN DANIEL’ and ‘GUCCI’ are filled with a seductive and commanding feel that are bound to leave you up and moving.

Paying a heart-felt and moving tribute to her late friend, ‘NICOLE THEA AND BABY REIGN’, this track slows things down for a second as the East Londoner unveils a more vulnerable and warming side to her. Encouraging her listeners to feel-out the pain behind the loss of a loved one; clocking in at just over one minute long, Bree’s angelic vocal tone and wordsmith take centre stage as she sings; “I’ll see you on the other side / This pain I know will pass us by / I know that all these tears will dry”.

Weaving in and out of the warm reggae rhythms that illustrate ‘ROLLS ROYCE’, we find ourselves stumbling out of the mixtape through the crunching sounds of the ‘NO SIR FREESTYLE’. Embodying the meaning of reckless, this potent cut smoothly shifts into ‘LITTLE NOKIA’ featuring no other than pop-rap queen Rico Nasty. Bouncing off each other’s thrilling energy, this collaboration serves at the ultimate powerful link up.

In creating a bold, dynamic and cohesive body of work, this mixtape only solidifies Bree Runway’s rise to fame. Having re-written the rule book and put her own stamp on music, the luminary is proving herself as one to watch this coming 2021”.

In this feature, I look back on albums (normally) that were popular and well-reviewed when they were released, yet do not get as much focus and airplay as they should a time later. 2000AND4EVA was a real revelation in 2020. It still sounds astonishing now. I think this year will be a massive one for the London rapper. A brilliant artist with a massive future, 2000AND4EVA is a terrific mixtape! If you have not heard it, then you really need to listen to it…

AS soon as possible.

FEATURE: Inspired By… Part Fifty: Gwen Stefani

FEATURE:

 

 

Inspired By…

Part Fifty: Gwen Stefani

___________

MARKING the fiftieth part of this feature…

 IN THIS PHOTO: Gwen Stefani with No Doubt in 1992

I wanted to show the influence of a terrific artist. Gwen Stefani, as lead of No Doubt and a solo artist, has influenced so many other artists. One of the coolest and most talented artists of her generation, it is no surprise that so many have followed her lead! Whilst there is only one Gwen Stefani, one can feel and hear her inspiration far and wide. Before I come to the playlist of songs from artists influenced by her, AllMusic’s biography gives us some useful information about the captivating Gwen Stefani:

“Gwen Stefani parlayed her breakout stardom as the lead singer of the SoCal ska-punk outfit No Doubt into an enduring career as a pop star. Stefani reached the top of the charts many times during No Doubt's peak. "Spiderwebs," "Just a Girl," and the ballad "Don't Speak" -- all pulled from their 1995 album Tragic Kingdom -- were enduring alternative rock hits. The early-2000s smashes "Hey Baby," "Hella Good," and "Underneath It All" found the group dabbling in pop, dance, and R&B, a musical expansion that coincided with Stefani stepping outside of the band as a featured vocalist on the hits "South Side" by techno superstar Moby and "Let Me Blow Ya Mind" by the rapper Eve. All this extracurricular activity helped set up the launch of Stefani's solo career in 2004 with the album Love.Angel.Music.Baby., a platinum blockbuster that gave her a number one single with the thumping Neptunes collaboration "Hollaback Girl," plus the hits "Cool," "What You Waiting For?," and "Rich Girl," the latter a reunion with Eve. The 2006 record The Sweet Escape consolidated her pop success thanks to the Top Tens "Wind It Up" and "The Sweet Escape," but by that point, Stefani began to venture outside of music. She launched her fashion line L.A.M.B. in 2004, a pursuit she'd develop over the coming decade. She started to dabble in film, an interest that eventually led to her joining the televised singing competition The Voice in 2014. Music remained essential to Stefani's appeal -- she reunited with No Doubt on occasion in addition to returning to her solo career with This Is What the Truth Feels Like, an album released a decade after The Sweet Escape -- yet her position on The Voice underscored how she was a multifaceted star who shone upon every aspect of the entertainment industry.

Born and raised in Fullerton, California, Stefani had a musical epiphany at the age of 17. She had fallen in love with the Madness and Selecter records her brother Eric was constantly spinning. Seeing Fishbone, the Untouchables, and other bands involved in Los Angeles' ska revival scene only reinforced her interest, so she was more than ready when her brother asked her to join a ska band he was forming with a friend named John Spence. Gwen originally shared lead vocals with Spence, but in December of 1987 he committed suicide, leaving the band -- now called No Doubt -- with an uncertain future. According to numerous interviews with the bandmembers after their breakthrough, Gwen was the glue that held No Doubt together during these hard times, pushing the group to keep trying. She was also romantically involved with the band's bass player, Tony Kanal, by this time.

After playing numerous gigs and parties, No Doubt were signed to Interscope in 1991. The label considered their 1992 debut album a flop and refused to financially support a tour or further recordings, but the band refused to give up. The self-financed Beacon Street Collection appeared in 1994 and did well enough to make nice with Interscope, but the band was once again going through a traumatic period behind the scenes. Eric Stefani left to become an animator for The Simpsons and Gwen and Tony's relationship had ended. Gwen wrote a collection of songs focused on heartbreak and rebirth that would become No Doubt's third album, Tragic Kingdom, and the rest, as they say, is history.

With the smash singles "Just a Girl," "Spiderwebs," and "Don't Speak," the album reached the number one spot in Billboard and garnered two Grammy nominations. The press began to focus on Stefani's role in the band. Voted one of People magazine's "50 Most Beautiful People," video and photo shoots focused on her and rumors spread that the other three members of the band were unhappy with the lack of attention they received. This topic of discussion continued as the band released Return of Saturn in 2000 and the heavily reggae-influenced hit album Rock Steady a year later. During this time, Stefani's romantic relationship with Bush frontman Gavin Rossdale became a frequent topic of No Doubt's songs. The pair married on September 14, 2002. She also started doing some work outside the band, lending her vocals to the remix of Moby's "Southside" and rapper Eve's "Let Me Blow Your Mind."

After Rock Steady, No Doubt took a break. Stefani approached Kanal about producing an off-the-cuff solo project that would be influenced by her non-ska favorites. Prince, the Time, Club Nouveau, and Madonna were the names thrown around and the idea was to make the project "fast and easy." Over time, the "fast and easy" record morphed into something much bigger. Old friend, former labelmate, and hit songwriter Linda Perry became involved and the project became much more polished, slick, and dance-oriented. A pile of high-profile collaborators -- Dr. Dre, the Neptunes, Dallas Austin, Andre 3000, Nellee Hooper, Jimmy Jam, and Terry Lewis -- became involved. In September of 2004, the infectious and hyper dance single "What You Waiting For?" appeared with its accompanying video dominating MTV.

The album, Love.Angel.Music.Baby., hit the shelves in November with surreal artwork that introduced Stefani's four-woman "posse," the Harajuku Girls. The all-Asian Harajuku Girls were inspired by Stefani's fascination with the Harajuku girls of Japan, young club kids with a flippant and fun attitude toward fashion. Appearing with Stefani live, in videos, and in photos, the Girls quickly drew criticism from the Asian community, angry about the rumor that they had to sign a contract to never speak English even though they could, and that Stefani's Girls looked nothing like the "real" Harajuku girls. Nonetheless, the album was a hit and continued to roll out singles. Based on a dancehall cover of Fiddler on the Roof's "If I Were a Rich Man," "Rich Girl" became the next smash, reuniting Stefani with Eve. The cheerleader kiss-off anthem "Hollaback Girl" was the third success. While the singles were dominating pop and dance radio, Stefani appeared as Jean Harlow in Martin Scorsese's The Aviator. With music and movies checked off, Stefani moved into the world of fashion and introduced her clothing line, L.A.M.B. Taking her influence to the world of tech, she designed the Harajuku Lovers' 4.1 MP Digital Camera for Hewlett-Packard. The camera was released in a limited edition with a Stefani-designed case and a biographical DVD.

Late in 2005, Stefani discovered she was pregnant with her first child, but her schedule remained busy in 2006: along with working on L.A.M.B., she released a line of limited-edition fashion dolls complete with outfits from her videos and tours, and worked on her second solo album with producers including Akon, Swizz Beatz, Tim Rice-Oxley of Keane, Nellee Hooper, the Neptunes, and Tony Kanal. That spring, Stefani gave birth to a boy. The Neptunes-produced, Sound of Music-sampling "Wind It Up" arrived later that fall and heralded the full-length The Sweet Escape, which was released on the same day as the live DVD Harajuku Lovers Live.

No Doubt announced a return to the studio in 2008, but progress slowed to a crawl as the band experienced a bout of writer's block and the Rossdale-Stefani family continued to grow with their second child, Zuma Nesta Rock. The band maintained their momentum by touring through 2009. No Doubt eventually released Push and Shove in 2012, featuring a mix of Rock Steady-esque dancehall bangers and new wave ballads similar to Stefani's solo material. In February 2014, Stefani and Rossdale had their third boy, Apollo Bowie Flynn. Later that year, Stefani joined the judges panel on The Voice with her friend Pharrell, opening the pair to a number of subsequent collaborations. Stefani lent her vocals to fellow Voice coach Adam Levine for Maroon 5's "My Heart Is Open." She also appeared on tracks with Calvin Harris and Snoop Dogg.

By late 2014, Stefani was in the midst of a full-scale comeback, releasing a pair of singles: the Ryan Tedder/Benny Blanco-penned "Baby Don't Lie" and another Pharrell production, "Spark the Fire." The following year, she contributed the song "Shine" to the Paddington Bear movie soundtrack and a duet with Eminem on "Kings Never Die" from Southpaw. In August 2015, Stefani and Rossdale filed for divorce. A third song -- "Used to Love You" -- was released months later. It gained moderate airplay and was the only comeback single to be included on her third project, This Is What the Truth Feels Like, which was released in March 2016 and debuted at number one on the Billboard 200. The second official single from the album, "Make Me Like You," was accompanied by a video that Stefani recorded live during the 2016 Grammy Awards. Later that year, she provided the voice for the DJ Suki character in the animated movie Trolls and, along with Justin Timberlake, appeared on several songs from the film's soundtrack.

In September 2017, she released the seasonal album You Make It Feel Like Christmas, which featured a duet with her Voice co-star -- and current romantic partner -- Blake Shelton. Stefani duetted with Shelton on his 2020 single "Nobody But You," a song featured on the compilation Fully Loaded: God's Country, and added "Here This Christmas" to a reissue of You Make It Feel Like Christmas. At the end of the year, she returned to pop music with "Let Me Reintroduce Myself," a single that built upon the effervescent sounds of No Doubt”.

The magnificent, magnetic and utterly wonderful Gwen Stefani is a true legend who has compelled and inspired a wave of artists. Still writing and releasing solo music – let’s hope there is more No Doubt too -, we will see that influential power continue for many years! Below is a playlist of songs from artists who, in some way, have been influenced by…

THE great Gwen Stefani.

FEATURE: Spotlight: Blue Bendy

FEATURE:

 

 

Spotlight

Blue Bendy

___________

AS I am keen to cove…

 PHOTO CREDIT: Jason Sheehan

a range of artists from different genres for my Spotlight run, I come to a sextet who are very promising. You do not hear of many larger bands. Apart from the likes of Black Country, New Road, and a few others, most bands are four or five-piece. One band I am new to but very excited about are Blue Bendy. They do not have too many tracks and videos on YouTube at present, so it is best to check them out on Bandcamp and Spotify. I am going to pepper in some of their tracks. So we can discover more about a brilliant young band, there are some good interviews out there. The next two are a bit shorter and punchier. Loud and Quiet spent time with the band early last year. It is exciting seeing this fascinating band cement their sound and take steps forward:

“It seems that the band has come a long way since those early show. Formed in 2017 by Nolan and guitarist/synth player Joe Nash shortly after both had moved to London from Scunthorpe (“I was just sort of making some music on my own and Joe had heard them. He approached me and said, ‘You’re amazing, can I start a band with you?’ and I said, ‘Yeah fine.’”), the band was initially completed by bassist Sam Wilson, Harrison Charles on guitar, and Oscar Tebbit on drums. “We asked [Oscar] to join because he could ride a motorbike and we thought that’d be a good idea. It’s good for posing with,” Nolan deadpans. It wasn’t until they’d been gigging for almost a year that Morgan joined the group, bringing with her another synthesiser and softly-uttered vocals that serve as the perfect counterpart to Nolan’s Lincolnshire drawl – think Laetitia Sadier meeting Mark E. Smith. “Since Olivia joined, it feels like we’ve been trying to make something weirder, and poppier,” says Nash.

Their first show as a six-piece was in June 2018, although Morgan was yet to learn all the parts. “I’d only been playing for a week or something, so I was kind of fake playing on stage,” she laughs. “No one knew.” More gigs followed, including coveted support slots with Squid, The Magic Gang, Scalping and Omni, which won them plenty of new fans, including Franz Ferdinand frontman Alex Kapranos, who approached them backstage after the Omni show. “We came offstage and he was just there talking to us,” says Nolan. Do they keep in touch? “I think we sent him a meme,” quips Morgan. “We have a bit of back and forth with him on Instagram,” says Nash, “he’s a part-time commenter on our posts.” Surely enough, when a picture of the band crops up on my feed that evening, Kapranos has commented: “Great photo!”.

The band are planning on sending him their new music once it’s done, and they share a collaborator – the producer Margo Broom, who has worked with Goat Girl and Fat White Family, and at whose Hermitage Works Studios Blue Bendy have been spending increasing amounts of time. Broom comes up a lot over the course of our chat, and it’s clear that access to her and her studios has had a major impact in developing the band’s sound.

“She heard ‘Suspension’ and wanted to get us in,” Nolan recalls. “I guess she liked it to some degree and thought she could do a better job, basically.” Broom seems to be a kind of mentor and, at times, a seventh member. “I don’t think [she] would like me saying this, but we’re often sort of all over the shoulder, keeping an eye on what she’s doing. They say not to make certain things part of a committee, but it’s quite a lot of give and take, I think.”

IN THIS PHOTO: Tom Porter for Loud and Quiet 

Making things happen genuinely by committee, in a band of six, is no mean feat, but it is clear that each member has a real say in every aspect of Blue Bendy. “It’s democratic, isn’t it?” Charles says, as the others appropriately nod. “I think when there’s six of you, you’ve gotta realise – and it’s taken a while – that sometimes less is more. And you’ve just got to strip everything back.”

“I mean, we all have the same end goal,” says Nash, adding that having Hermitage Studios at their disposal has helped the group dynamic. “Before, you’d be in like a pressure cooker of a three-hour studio that you’re renting for £15 an hour. And everybody wants their part at the end of the day, and you’re trying to argue for it but also trying to think about it fitting into the song. We’re much better at it now, but in the past there have been times where you had to either stand your ground and stake your claim, or just think, ‘This isn’t worth it’ and accept the change.”

“There’s a lot of slaying of darlings isn’t there?” posits Nolan.

“There’s a lot of slaying of dreadful songs as well,” replies Charles, much to the others’ amusement. Even watching them interact over Zoom, it’s obvious how well and how easily they get along.

“I wanted to basically come out of it a new band,” says Nolan. “Lots more things recorded, nearly a completely different setlist – to feel like we’re taking it up a notch. And I think that’s kind of what we’re achieving, I think we are much tighter, I think we’re better musically than we were before. We’ve never felt more cohesive. I certainly haven’t felt as happy with everything as a whole as I do now”.

I like Blue Bendy a lot. They released the E.P., Motorbike, on 11th February. I am sure that we will get even new music this year from them. If you have not followed them, then make sure that you keep abreast of all their happenings. Fred Perry fired some questions their way. I have selected a few that caught the eye:

“Name, where are you from?

JN: We’re Blue Bendy (Arthur Nolan (Vocals), Joe Nash (Guitar), Harrison Charles (Guitar), Olivia Morgan (Keys & Vocals), Sam Wilson (Bass) and Oscar Tebbutt (Drums)), based around New Cross in London, as individual members we’re far-flung. Scunthorpe, Warrington, Guildford, Devon and Woodbridge.

Describe your style in three words?

AN: Do not crease.

OM: Still The Same.

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

JN: We played the Crescent Community venue in York not so long ago, the whole set up was great, really friendly staff and punters and it sounded great.

A song you wished you had written?

AN: 'Happy Hour' by The House Martins.

Best song to turn up loud?

JN: 'Something For Joey' by Mercury Rev.

A song people wouldn’t expect you to like?

OM: Probably something like 'Into Dust' by Bladee. Maybe people would expect that? I don’t know.

Best song to end an all-nighter on?

AN: 'Clock' by Plaid.

OM: 'Best Days' by Blur.

Any new music you are listening to right now?

AN: No one you don’t know already. Everyone we know in London is making uncompromising music; not least Jean Penne and Legss.

JN: I really love the new Vanishing Twin album, I’d say we share a big crossover of influences with them. GLOWS keeps bringing out consistently great singles too.

OM: My friend showed me Helena Celle recently and I’m really loving it – again just loads of obscure synth sounds. Also, Keg are really great live and really excited to hear more from them”.

Prior to concluding, there is one more interview that I want to highlight. This one is from DIY. They asked some more general and non-music-specific questions of one of the most promising bands of 2022:

“Describe your music to us in the form of a Tinder bio.

Sextuple looking to experiment.

What’s your earliest musical memory?

Probably listening to something in my dad’s car when he’d pick me up on a friday. Enon’s knock that door comes to mind.

Who were some artists that inspired you when you were just starting out (and why)?

Just anything dark or weird or poppy. Iceage, Broadcast, Orange Juice.

You’re from South London! What do you think of the music scenes there at the moment?

I’m not sure we personally feel connected to any London scenes, but we have lots of friends in London making great music.

Are there any other artists breaking through at the same time that you take inspiration from?

Seeing bands you know personally, playing to arenas and being nominated for Mercury Prizes has without doubt pushed us to work a lot harder and expand our musical capabilities. We’d be less good if it wasn’t for that without doubt. Ned Green and the Legsss boys are very old friends so there’s a touch of healthy competition there too.

Who would be your dream collaborator?

Lord knows. A post session becks blue with JPEG might be wild.

Musically or otherwise, what are you most looking forward to this year?

Just more recording and lots of shows. We play in Europe for the first time in a couple of weeks and we’re excited.

If people could take away one thing from your music, what would it be?

I suppose just thinking it’s cool. Everyone we speak to seems to take something different from it”.

Go and follow Blue Bendy and show them some love. With a great and possibly busy year ahead of them, it is a good time to be a fan. I am hoping to see them live if they have any London gigs coming up soon. A fantastic group with a compelling sound, there is no doubt that Blue Bendy…

ARE going to go far.

______________

Follow Blue Bendy

Instagram:

https://www.instagram.com/blue.bendy/

Twitter:

https://twitter.com/bluebendyband

Bandcamp:

https://bluebendy.bandcamp.com/

Facebook:

https://www.facebook.com/bluebendyband/

YouTube:

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

Spotify:

https://open.spotify.com/artist/7Fv9bX6Oy7AhbhKXh5dgIG?si=shoeSO4IQo2PTT-Of989LQ

FEATURE: Kate Bush and the Rock & Roll Hall of Fame: Will It Be Third Time Lucky for The Iconic Artist?

FEATURE:

 

 

Kate Bush and the Rock & Roll Hall of Fame

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

Will It Be Third Time Lucky for the Iconic Artist?

___________

AT the time…

 IN THIS PHOTO: Kate Bush in 1985

of writing this (5th February), the standings for this year’s Rock & Roll Hall of Fame sees Kate Bush in the bottom five. The voting is open until 29th April. She appeared in the longlist last year and missed out. Whilst it is great she is reappearing so quickly – one feels the way her music has been shared and adored this past year accounts for that -, one feels she might not be inducted into the prestigious Rock & Roll Hall of Fame. This year sees a mix of new inclusions and previously-nominated in the running. This NME article explains more:

“Eminem, Kate Bush, Beck, Eurythmics, Duran Duran, Dolly Parton, Lionel Richie, Rage Against The Machine, A Tribe Called Quest, Carly Simon, Judas Priest, Fela Kuti, New York Dolls, Dionne Warwick, MC5, DEVO and Pat Benatar have made the nominees list.

A body of more than 1,000 artists, industry members and historians will help decide which five acts out of the 17 will progress into the final round of induction consideration. Fans also have the chance to contribute to the selection process by voting every day here or at the museum in Cleveland, Ohio.

Five acts will then be tallied among the other ballots to ultimately decide the Class of 2022.

This year marks the first time that Eminem has become eligible for a nomination. The Rock Hall’s rule is that an act must have released their first commercial recording 25 years earlier than the year of the nomination.

Eminem joins Beck, Duran Duran, Lionel Richie, A Tribe Called Quest, Carly Simon and Dolly Parton in being a first-time Rock Hall nominees this year, although several of those acts have been eligible before 2022.

As Billboard notes, this is the sixth nomination for Detroit rockers MC5 and the fourth nod for Rage Against The Machine. Kate Bush, Judas Priest, New York Dolls, Eurythmics and Devo have all now been nominated three times.

It’s the second nod for Dionne Warwick and the late Fela Kuti after being nominated in 2021. It’s also Pat Benatar’s second nomination, after first appearing on the 2020 ballot.

Advertisement

The Rock & Roll Class of 2022 is revealed in May. A date and location for the ceremony itself has yet to be announced but the event will happen sometime this autumn.

IN THIS PHOTO: Lionel Richie/PHOTO CREDIT: Alan Silfen 

Last May Rock & Roll Hall Of Fame CEO Greg Harris defended the lack of heavy metal inductees following the announcement of that year’s shortlist.

Foo Fighters, Jay-Z and Tina Turner all featured in the 2021 cohort of inductees alongside The Go-Go’s, Carole King and Todd Rundgren in the Performers category. Kraftwerk, Gil Scott-Heron and Charley Patton, meanwhile, each received the Early Influence Award.

However, Rage Against The Machine and Iron Maiden – who were confirmed to be in the Rock Hall’s Class Of 2021 last February – were not included in the final list, prompting renewed conversation around the ceremony’s lack of heavy metal acts.

“It’s an interesting one, because we do [celebrate metal],” Harris told Audacy Music during an interview. “We celebrate all forms of rock’n’roll… We nominated Maiden, Judas Priest have been nominated, we put Def Leppard in.”

Harris explained that “over 80 per cent of [nominees] eventually do get inducted” into the Rock & Roll Hall Of Fame.

“So it’s really a question of: let’s keep nominating them, let’s get ​’em on the ballot, and let’s get it out to the voting body,” Harris continued. “This ballot had 16 artists on it. They just can’t all go in”.

Although there is a long way to go until voting closes, it would be a shame to think that, once more, the worthy Kate Bush is nominated and fails to get into the Rock & Roll Hall of Fame. She is obviously not going to travel to the U.S. and attend a ceremony later in the year. It would be credit and acceptance of an artist whose relevance and importance in music is established and growing. I think one of the problems is that U.S. critics and sources have never really embraced Bush. She has a large fanbase in the country and she has inspired so many artists there, yet there is that divide between the press and public. One cannot say the Rock & Roll Hall of Fame is solely about Rock artists and a narrow soundscape. The longlist this year sees Pop and Country artists sit alongside artists from various corners of music. One of the most influential artists ever, Kate Bush is someone who is celebrated and yet underrated. She has won awards through her career, and yet she should be more prized. I have spent a lot of time discussing how Kate Bush has been overlooked when it comes to some proper honours and awards.

I think that Bush does deserve a place in the Rock & Roll Hall of Fame. She has had a career that has lasted over four decades. There is such a wave of support behind her that, whilst it is humbling and heartwarming, maybe that will not translate into a  place in the Rock & Roll Hall of Fame. One feels Dolly Parton will earn a place this year. That is deserved - though I wonder why Parton is doing so well in the votes whereas Kate Bush is not. Both have had extraordinary careers, but I would argue Bush’s contribution to music is even greater than Parton’s. Whatever comes about after voting closes in April, it may be another year Kate Bush has missed out. It does beg the question as to why she does not rack up huge votes. Whilst the Rock & Roll Hall of Fame gets votes from all around the world, I think most of the votes will come from America. Not that awards and exclusive music clubs are everything. One can see the huge love there is for Kate Bush. It would be nice it she was provided an honour, given the fact her music and work garners so much admiration and scurrility. Three nominations for entry into the Rock & Roll Hall of Fame may lead to a third denial, as baffling as that sounds! We can only hope that 2023 is the year when the public vote her into…

THE Rock & Roll Hall of Fame.

FEATURE: Modern Heroines: Part Eighty-Five: AURORA

FEATURE:

 

 

Modern Heroines

Part Eighty-Five: AURORA

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FOR have this eighty-fifth…

part of Modern Heroines, here is an artist who has just released an album that will rank alongside this year’s best. That may seem extremely premature, but I believe that AURORA’s The Gods We Can Touch is exceptional! It has received such positive reviews. I will come to a couple at the end. I wanted to get to a couple of interviews with AURORA. The Norwegian singer, songwriter, dancer and record producer is one of the finest talents in the world. Although it is dangerous and ill-advised to label women as ‘female songwriters’ and differentiate in terms of gender – as they should be seen as songwriters and artists without the need to add gender -, this feature is designed to highlight amazing women who are inspirational and will be future legends. I do think that AURORA is an artist with so many years ahead of her. She began writing her first songs and learning dance at the age of six. After some of her songs were uploaded online and became popular in Norway, she signed a recording contract with Petroleum Records, Decca and Glassnote Records. A sensational artist who has only grown stronger and more complete with each album, I want to head back to her previous L.P. In 2018, she released the E.P., Infections of a Different Kind (Step 1). That was followed by the 2019 album, A Different Kind of Human (Step 2). In 2018, AURORA spoke with the Evening Standard. At this point, she was, perhaps, not as well-known as she is now. A Different Kind of Human (Step 2) definitely established her as a major artist:

“The singer-songwriter, who performs under her first name, didn’t like all the dust, which hurt her eyes, and worried for the plants, which looked so dry. Here in Bergen, a waterfront city surrounded by mountains where it is constantly raining, she fits.

“I feel like a city is strange when there is no source of escape,” she says. “You need mountains, ocean, or forest. My parents have a sailboat and love being in the ocean. I am a forest person. I like to climb trees, to have things over me, to be isolated and hidden.”

Being hidden is going to be harder for her this year as she steps up to bigger things with a second album on which her dark sounds open out to welcome the world. Her comeback single, Queendom, is a whooshing synth-pop anthem of empowerment that sees her setting out a rulebook for her own country. “You have a home in my Queendom,” she sings.

“It’s a celebration of the people who today’s society is not built around,” she explains. “Quiet people, shy people, introverts. The world is based around those who are very loud — we like them for some reason. I am fighting for everything that can’t fight for itself, which is the planet, the children, animals, sometimes the women, sometimes the men.”

This tiny 21-year-old, who grew up in Os, an even quieter area just south of Bergen, seems an unlikely leader of an army, even if she does call her fans “warriors” and her haircut, a sharp blonde bob with two longer strands framing her face, is rather Game of Thrones. She speaks high, soft and giggly, with a trace of a childhood stutter, her hands wafting through the air. I feel like I’ve tumbled into a children’s storybook to meet a magic fairy.

When the museum where she planned to meet me turns out to be closed for an event, she strides in her red shoes, oversized coat and floaty skirt to a nearby café, where they serve “the BEST hot chocolate”. She drinks it as though she cannot comprehend the miracle she is experiencing.

Occasionally she ramps up the kookiness to such an extent that I start to wonder if she’s teasing me. What was the first thing you did when you got home? I ask. “Well, I put on my big grey jumper that I got from my mum. Then I washed my right foot because that’s the one I prefer to wash in the evening. I wash my left foot in the morning. I don’t know why. It’s just a habit I’ve had since I was a child. Just in the sink — I don’t have a bath..”

Okaaay. And how about pets? Did anyone miss her while she was away? “I have an algae ball. He’s big and round and green and kind of furry. He’s called Igor and he likes to be cold, so sometimes he lives in my fridge. I brought him on tour once but it was hard to get him through the airports.” I look this up later and it is a real thing. They’re called marimo, and are popular in Japan.

The overall impression is that here is someone who couldn’t have less in common with the blokey rock of Oasis, which strangely, is probably how you know her. In 2015 she was the voice of the John Lewis Christmas ad — the one with the lonely old man living on the moon — covering the Oasis song Half the World Away on piano. When she was first asked, she thought John Lewis was a man and wondered when she was going to meet him.

Her relaxed, pretty interpretation is her only UK hit, reaching number 11 in the charts, but her own music is a more interesting proposition. Her debut album, All of My Demons Greeting Me as a Friend, arrived in 2016 full of icy electronic songs. Check out her creepy ballad Murder Song (5, 4, 3, 2, 1) for a contrast to that cosy cover version.

“That album was meant to make people look into themselves, to make them feel like individuals that were seen by me and my songs,” she tells me. “The next album, the perspective is wider. It’s more like there’s a whole army instead of one individual”.

I want to come more up to date, as there was a great recent interview. Every interview AURORA does – and there aren’t that many of them – is amazing. You get this wit, humour, incredible personality and warmth. Couple that with amazing talent and hugely impactful songs, and here is somebody primed to be iconic. Official Charts chatted with an artist who, whilst seen as enigmatic, is very accessible and has a hugely wide and adoring fanbase:

“Congratulations - The Gods We Can Touch is officially out into the world. How do you feel?

I'm feeling relieved! And very free. Like I've just become free again after giving birth and I can drink wine again! [The album] feels like a child, it deserves to have the love of the world instead of just me. It's a very nice experience.

The album has such an evocative title - and you've spoken about its connections to ancient myths and mythos like the Greeks. What made you want to tell this kind of story?

The key words [for the this project] are the divine and the human. For me, they're the same and I don't know why we've made them different things. I've been reading up lots on ancient religions and how [the way we worshipped] changed. We used to worship the Earth, and music was a way of connecting us to something divine. I love Greek mythology because [they didn't] put shame on being a woman, or being gay, or being trans or sexual and curious. I'm fascinated by how much we've lost over time, and how much shame we put into beautiful things. Music is a reminder of the thing's we've forgotten.

The Gods We Can Touch is currently tracking to become your first-ever UK Top 10 album. Congratulations! Why do you think this work is resonating so much right now?

Many people just want to be free, to be allowed to be who they are. Maybe we're just tired of being suppressed? It's time for us to unleash the full potential of ourselves and our experience of this beautiful life, where we don't have to fight for the right to exist. I think that's a very important thing. Our obsession with perfection is absurd; we should just worship what's natural and imperfect, like you or me. It's important for me to erase that line”.

Back in October, triple j interviewed AURORA about the recording of her new album and the success she has achieved on TikTok. I have embedded the interview below, but there were a few segments that stood out:

 “Her new single ‘Giving In To The Love’ was inspired by Prometheus

AURORA clarified that’s NOT the 2012 film in the Alien franchise, but the OG Greek myth Prometheus.

“I was thinking – one day, as you do - about how he supposedly made mankind in clay, and how he stole the fire from the gods to make us alive and complete us."

“I was thinking about this clay and how much we obsess with this clay that kind of means nothing. And how it seems to distract us from the value of the fire that we keep inside. That’s very sad.”

 “The world today makes a lot of people very unhappy because we obsess with these strange things about how we look. So many people base their whole worth on how they look, and they never feel like they look beautiful enough. I find this obsession with beauty both very fascinating and scary."

“It’s kind of about that. I guess: Clay? No, no. Fire? Yes, yes.”

Wiser words have never been spoken.

On ‘Runaway’ going viral on TikTok

“It hit me in quite a magical way," she remarks of the 2015 single, which has found a second life on the platform, soundtracking everything you can imagine, from card tricks to a man walking his pet tiger.

I was very moved by people allowing my song into their hearts… It’s very brave to let anything into your heart and touch it. So, I felt very touched by it.”

“I wrote [‘Runaway’] when I was 11 - very young. It’s very surreal – but I guess it makes sense also, because…

“…whatever comes from an authentic place on the inside will hit authentic places on the outside for other people.”

“I think people needed a song like that,” she continues. “It’s nice to see people uniting during such a separated time and keep themselves busy with this trend – isolated in their rooms. It’s very touching but it’s also very absurd.”

The track, which opened both her debut EP and 2015 album, has been used in over 1.8million videos on TikTok. She’s found great success on the platform too, reaching nearly 4 million followers by just being positively lovely self.

On recording her new album in a castle

‘Giving In To The Love’ arrives ahead of The Gods We Can Touch (out 21 January), which was recorded during a month-long stay at the Insta-worthy Baroniet Rosendal, self-described as a “Manor House from 1665 between fjord, glacier, mountains and waterfalls.”

"It's this little castle here in Norway,” AURORA explains. “I know the people that keep it… warm.”

“You have to jump on a boat, or you can technically walk of course… It takes two hours and you arrive in this beautiful little place called Rosendal. There’s many huge mountains there and they bend over the little village like they’re taking care of it.”

 “The castle is 400 years old. It was owned along long time ago by a French baron who was very interested in arts and the healing possibilities of music. That’s why I went there, it just felt right.”

“It was a beautiful adventure. I made this album asking a lot of questions – not really claiming that I have any answers. I’m asking a lot of important questions about this one tiny little life we have been given and whether we spend it in the right way.”

On the difference between Norwegian and Australian bats:

AURORA is embarking on a big European tour next year, and fingers crossed, she’ll make her way back Down Under sooner rather than later.

“I hope. I love being in Australia. I always feel so alive there and I love the bats, and I also love the people. You’re so freaking friendly and it’s so nice.”

Bats > people. But wait… they don’t have bats in Norway?

“We have them, but they’re very small and they’re not as impressive. They have no – erm- confidence”.

The Gods We Can Touch is genuinely one of the finest albums this year. Even if we are in February, one can tell that not that many albums this year will equal its brilliance. The Norwegian artist is hitting a peak that is wonderful to see! There was a lot of love for her third studio album. This is what The Line of Best Fit said in their review:

“Though, here she largely avoids the societal commentary that often permeated her previous work in favour of a more intimate examination of love - and of all the joys and horrors that ensue from it. This juxtaposition is best captured on “A Dangerous Thing”, where AURORA sings “Something about you is soft like an angel / And something inside you is violent and danger”. Again, on “Everything Matters”, the seemingly sweet and innocent (“you sleeping in the seat next to me / Like a baby”) is subverted by Tori Amos-esque, off-kilter piano playing that suggests a brewing storm.

Meanwhile, album highlight and pre-release single “Heathens” blurs the boundary between what is inherently good and bad; offering an ode to the Biblical Eve and painting her as a saviour who gifted humankind free will - acknowledging the inherent terror and boundless opportunity this entaled.

“Exist For Love” best captures the sentiment expressed by this album’s title - the idea of love as something deeply spiritual; the closest thing we have to heaven on earth. The song’s focus begins expansively (“They say there is a war / Between the man and the woman”), but it soon moves to the intimate and personal (“And then you take me in / And everything in me begins to feel like I belong”), which is where she excels. Here, she makes not just love - but her own music - sound like heaven on earth. Here she is not just a musician, but a generational talent capable of creating transfixing otherworlds and, with The Gods We Can Touch, an ethereal masterpiece”.

I wanted to end with AllMusic’s assessment of The Gods We Can Touch. AURORA is an amazing artist whose music is certainly provoking a lot of interest and fascination:

“Whereas her debut album, All My Demons Greeting Me as a Friend, was an introspective work, and follow-ups Step 1: Infections of a Different Kind and Step 2: A Different Kind of Human concerned broader humanity, Norwegian pop star Aurora Aksnes examines behavior through the lens of mythology on her fourth album, The Gods We Can Touch. She came up with the unifying idea after writing the electro-pop ditty "Cure for Me," a song about divesting herself of shame ("I don't need a cure for me"); it made her think of Panacea, the Greek goddess of remedy. AURORA's next step was to rent a castle in the mountains to record the rest of the album (with longtime producer/co-writer Magnus Skylstad and others). Unexpectedly immediate and often warm and restrained despite its elaborate approach, The Gods We Can Touch mixes natural, live-sounding vocals and acoustic instrumental performances with ethereal processed harmonies, drum machines, synthesizers, and various programming. Committing to a more spontaneous sound, songs including "Artemis" and "Exist for Love" were reportedly first takes. The sparse "Artemis" tells its seductive narrative with a Mediterranean flair that includes fingerstyle guitar and bandoneon as well as some of those otherworldly layered vocal harmonies (and Theremin). An album highlight, "Exist for Love," is a more tender, likewise mostly acoustic, track that begins with the line "They say there is a war between the man and the woman." It soon eases into a soaring, strings-swept melody as the singer professes her love. "Exist for Love" isn't the only song here with a dreamy, almost '40s Disney-like musical romanticism that contrasts with club-ier synth-bass tracks to epic effect. Members of the latter category include "Temporary High," a dark, post-punk-shaded outing that warns of fleeting affection, and the forbidden-love anthem "Blood in the Wine," which channels a defiant electro-pop softened with piano and acoustic guitar. The album's varied textures and elevated subject matter culminates in the four-minute outro "A Little Place Called the Moon," which returns to a vintage, theatrical orchestral pop and leaves listeners on a magical note. While The Gods We Can Touch is ultimately a pop record, it only expands upon AURORA's already mystical bearing”.

An artist who is going to be legendary and influence so many others, I am a big fan of AURORA. She is a sensational songwriter and performer. I know that she will get a lot of festival bookings this year. If you have not discovered her music and brilliance, then make sure that you rectify that. I have included a collection of her best tracks in the playlist at the bottom. It is sonic proof that AURORA is an artist…

EVERYONE should know.

FEATURE: Vinyl Corner: Beck - Mutations

FEATURE:

 

 

Vinyl Corner

Beck - Mutations

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THE sixth studio album from Beck…

 IN THIS PHOTO: Beck at Foxboro Stadium in 1998/PHOTO CREDIT: Sam Erickson

I wanted to include Mutations in this Vinyl Corner. An album I would recommend people buy on vinyl, it was a different pace to the more eclectic and colourful Odelay (1996) and Midnite Vultures (1999). Perhaps displaying a more mature side and a more Folk-Rock sound (that would be explored again on 2002’s Sea Change), it showed that Beck Was an artist you could not define or predict what he would do next. Definitely seen as one of Beck’s best albums, he produced it alongside Nigel Godrich. Although it did not get the same sales and acclaim as Odelay, Mutations was a chart success. It won a Grammy Award for Best Alternative Music Album. I want to include a review of Mutations, as critics have had some interesting things about an album that is one of the best of the 1990s. Many fans and followers would not have expected Mutations to follow Odelay. The two albums are very different, yet both are exceptional and are typically and predictably masterful. Before I get to that review, there are a couple of features that further investigate and explore a remarkable album. Stereogum wrote about Mutations in 2018 on its twentieth anniversary. They noted the shift and changes between Odelay and Mutations:

“By 1998, Beck was in the rare position of being both unimpeachably cool and absolutely huge. His 1996 everything-at-once album Odelay was an era-defining smash. He lodged alt-rock radio hits in an era where that still mattered, performed at the Grammys, losing Album Of The Year to Celine Dion. He swept the 1996 Village Voice Pazz & Jop Awards, made the cover of Rolling Stone, and was named the Most Important Artist In Music by Spin. He had become such a shorthand for “Smart But Accessible Alt-Culture Figure” that MillerCoors even shamelessly ripped off his whole steez for a beer campaign based around a slacker character named Dick.

Of course, no one stays in their imperial period forever, and one can only imagine how Beck felt, watching as the wildly free-flowing sound he and the Dust Brothers created on Odelay was immediately turned into frat-boy fodder by the likes of Smash Mouth and Sugar Ray. So with Mutations — which turns 20 tomorrow — he made a hard pivot, setting aside his free-associative hip-hop sensibilities for a series of cosmic folk songs that saw him trading Irony for Feelings.

After the tour for Odelay wound down, Beck recruited Nigel Godrich for his major work after helming Radiohead’s OK Computer, the other huge era-defining alt-rock album of the late ’90s. Beck and his crack live band cut a song a day for 14 days, for an off-the-cuff feel that Godrich would soak in his trademark antiseptic, Kubrikian sheen. The original plan was that Bong Load Records, the tiny Los Angeles label that first released Beck’s breakout “Loser” would also release Mutations.

Beck had worked out an unprecedented deal with Geffen Records that would allow him, in theory, to release albums with smaller labels, which is how K Records was able to release his collection of early lo-fi recordings One Foot In The Grave and Flipside released his hodgepodge Stereopathetic Soulmanure the same year as Geffen released his official debut Mellow Gold. But after hearing Mutations, Geffen pulled rank and insisted on releasing the album, marketing it as a detour for hardcore Beck fans while he stayed hard at work on the “real” follow-up to Odelay. No videos were made for the album, and aside from appearing on Saturday Night Live, Beck did little to promote it, but such was his stature at the time that the album eventually went platinum and won Best Alternative Music Album Grammy.

I get the sense that amongst critics and fans, Mutations is often considered Beck’s dress rehearsal for his 2002 heartbreaker Sea Change, trying sadness on for size before later going Full Desolation. But honestly, this is probably because of the album highlight “Nobody’s Fault But My Own,” which finds Beck beating himself up over unspecified mistakes over a sea of psychedelic strings that could have been sampled from Rubber Soul. It was a startling turn at the time, the effortlessly cool guy from “Where It’s At” asking aloud, “Pointing a finger, throw the book at you/ And who would want to dance with you?”

But listening to Mutations today, I think what the album tells us is that even when he’s trying to be serious, Beck is still a playful guy. “Cancelled Check” and “Bottle Of Blues” have a light, Hank Williams-worthy sway to them, complete with some light piano rolls on the former; you can practically see Beck copping a sheepish grin while tinkling the ivories at a frontier barroom for a bunch of prospectors during happy hour. “O Maria” might revolve around an oddly moving couplet that signifies the need to grow up already (“Everybody knows/ the circus is closed”) but it glides by on a ’60s melody that feels cloned from Donovan.

There’s enough fingerprints of classic rock songwriters, from the Lennon-ish melodies and chord changes on “Dead Melodies” through the Bob Dylan worthy whines of “Lazy Flies” that it sometimes feels like Beck’s aim was to make an album that if you found it in a dusty vinyl pile, you might mistake as a lost prize from the ’60s, à la Inside Dave Van Ronk. But while Beck is a scholar of music, he’s never been content with merely reproducing his record collection. Mutations is filled with dozens of tiny little Beckisms, choices only he would make, be it contrasting a wheezing harmonica with sci-fi synth wiggles on “Cold Brains,” undercutting the Beatles-like reverie of “We Live Again” with dread-inducing negative space or spicing his Brazilian-music homage “Tropicalia” with post-modern lyrics about isolation and a noisy sound collag”.

Another great feature that dove into Mutations noted how a different producer (Nigel Godrich) accounts for the sonic changes in Mutations. Wanting to make something more beautiful and emotionally deep than Odelay, perhaps, Godrich was a perfect producer to work with. It is noted how Mutations might be one of Beck’s prettiest albums:

“A new production collaborator

As Odelay rolled over towards a US double platinum circulation, it was time to get back on record, with a new production collaborator. Beck now teamed with Nigel Godrich, the British producer who had come to the fore with his brilliant coordination of the talents of Oxford, England tastemakers Radiohead. Far from any extended studio contemplation, they recorded Mutations in two weeks.

Working at Ocean Way, the Hollywood studio that proudly declares sales from records made there at one billion units, Beck, Godrich and a crack team of musicians started recording on March 19, 1998 and wrapped on April 3. What emerged was as confident, concise and cutting-edge as one had come to expect, no mere Odelay doppelganger but an even deeper, joyfully melodious exploration of Beck’s individuality.

Immediately after completion and before release, he was on to new challenges that included the premiere of a performance art piece featuring his grandfather, Beck and Al Hansen: Playing With Matches, at the Santa Monica Museum of Art in California. On May 24, on his only UK date of the year, a remarkable triple bill combination saw Beck and John Martyn playing at the homecoming show, at Haigh Hall in Wigan, by the British modern rock champions of the time The Verve.

Beck’s own summer tour of North America began on June 1, on shows that featured the additional attractions of Sean Lennon and Elliott Smith. On a massive show in New Jersey, this writer had the privilege of seeing Beck, on a bill that also featured Ben Folds Five, playing a triumphant set opening for the all-conquering Dave Matthews Band.

An album of exotic instrumentation

When it was released, on November 3, 1998, Mutations unveiled arrangements by Beck’s father, David Campbell and exotic instrumentation including tamboura, sitar, and the cuica drum. There were also contributions from distinguished players who remain with Hansen to this day, such as keyboard player Roger Manning, bassist Justin Meldal-Johnsen, and drummer Joey Waronker.

The album went straight into the US chart at its No.13 peak, and was gold inside a month. Even if it didn’t go on to mirror the commercial achievements of Odelay, the record overflowed with evidence that Beck was now firmly established as one of the most innovative artists in the world. The following February, Mutations beat Fatboy Slim, Tori Amos, Moby, and Nine Inch Nails to the Grammy Award for Best Alternative Music Performance.

Gone was the sample-heavy hip-hop veneer of his previous triumph, and critics were united in their admiration of Beck’s refusal to take the easy option of repeating himself. “A collection of psychedelic folk-rock and country waltzes that couldn’t have wandered much further from Odelay,” purred the Los Angeles Times in its year-end round-up. “Another fully formed creative facet of Beck we haven’t seen before.”

The NME, meanwhile, advised: “You’d better sit down. Mutations sees Beck replacing the spinning turntable with the acid-rock lightwheel, the concrete streets with the long and winding road, retreating further from glaring expectation into the complex little universe between those fluffy sideburns.

“‘Nobody’s Fault But My Own’ strings its nerves out across those Wichita telegraph poles; ‘Sing It Again‘ is ‘Norwegian Wood’ tinged with rabbit-skinning pedal steel, while the deceptively cheery honky-tonk of ‘O Maria’ casts Beck as saloon showgirl, playfully chucking grizzled cowboys under the chin.”

Beck’s prettiest record?

Rolling Stone’s Nathan Brackett observed the album’s distinctive juxtaposition of dark lyricism (“the night is useless and so are we,” declared ‘O Maria’) and attractive melodies. “The twenty-eight-year-old Beck Hansen’s new album…brims with death, decay and decrepitude,” he wrote. “But in its own peculiar way, it’s also his prettiest record to date”.

To round off, I want to quote a positive review for Mutations. NME tackled the album when it came out. They observe how Beck did not release Mutations as a follow up or companion to Odelay:

“SO YOU'VE HAD ENOUGH FROM the all-you-can-wear trainer buffet, kicked a soda can moodily round the old-skool yard, and whatever the game is, you're pretty damn sure you know the score. Ready for the next round, you genuflect in the direction of the hipsters' Mount Rushmore, from where Yauch, Horowitz, Diamond, and there on the end, young Mr Hansen, stare down unimpeachably. You won't, however, be expecting their winter collection to include velvet tabards and incense, and as for the cacti and spittoons, well, you'd rather eat plaid.

You'd better sit down. 'Mutations' sees Beck replacing the spinning turntable with the acid-rock lightwheel, the concrete streets with the long and winding road, retreating further from glaring expectation into the complex little universe between those fluffy sideburns.

To be fair, Beck insists 'Mutations' isn't the official follow-up to 'Odelay' - that should hit the planet some time next year - but a continuation of the wax-cylinder folk unearthed on 1994's 'One Foot In The Grave'. There's no white-suited, jewel-fingered pirouetting possible here, the singer retreating to a massively unfashionable time where consciousness was peeled raw by hallucinogens, where psychedelia toppled into psychosis and the open spaces of country rock offered fresh air amid the patchouli fumes.

More 'Ohdearlay' than a joyous whoop from a cultural swinger, it's a bleak and gentle record - the opening 'Cold Brains' wobbles like a nervous breakdown on a plate, while the disillusioned 'We Live Again' suggests a man weary of the hip hype. "Dredging the night, drunk libertines", he croons, desolate, "I grow weary of the end". Only cocktail-shaker single 'Tropicalia' fits his now-established image, Antonio Carlos Jobim hanging in the 'hood while preposterous synth scrunching suggests a guest appearance by Ross from Friends. Yet as Beck's ancient voice becomes all the more intimate, the mischievous angel takes a turn for the worse, tapping into a timeless mythology of melancholy. 'Nobody's Fault But My Own' strings its nerves out across those Wichita telegraph poles; 'Sing It Again' is 'Norwegian Wood' tinged with rabbit-skinning pedal steel, while the deceptively cheery honky-tonk of 'O Maria' casts Beck as saloon showgirl, playfully chucking grizzled cowboys under the chin.

Once out on the road, though, Beck soon reins himself back into inner space, passed out on the floor of the Fillmore Ballroom watching his brain go by. The beautiful medieval whimsy of 'Lazy Flies' sounds like Beck was surrounded by jesters and maidens playing finger-cymbals. 'We Live Again' steps back even further to the days when Pink Floyd still had a definite article, but most terrifying is freakout, 'Diamond Bollocks' where booted fairies stomp out the peace-and-love embers. From fly irony to Iron Butterfly is one hell of a leap, and Beck makes it like Neil Armstrong on a helium bender.

You would expect nothing less. 'Mutations' might be the inveterate individualist's way of keeping ahead, but more gladdeningly, it swerves the style diktats and mint-condition rareties in favour of pure emotion. Sure, Beck remains the Midas Of Cool, but most importantly, it's his heart that's made of gold”.

One of Beck’s best albums is well worth getting on vinyl. A signal of what was to come on albums like Sea Change and Morning Phase (2014), those who were expecting an album as kaleidoscopic and weird as Odelay might have been surprised. Even though Mutations does have some exotic instruments in the mix, it is a much more composed and acoustic-based. Beautifully crafted and with no weak songs on the album, Mutations is beautiful. I have no hesitation in recommending it…

FOR Vinyl Corner.