FEATURE: Greatest Love of All: Remembering an Icon: Whitney Houston at Fifty-Nine

FEATURE:

 

 

Greatest Love of All: Remembering an Icon

Whitney Houston at Fifty-Nine

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ON 9th August…

 PHOTO CREDIT: Paul Drinkwater/NBCU Photo Bank/NBCUniversal via Getty Images

it will be Whitney Houston’s fifty-ninth birthday. We lost the legend in 2012. I have written about her before but, as she is someone whose music I love and deserves to be marked, I wanted to showcase her amazing work. I am going to finish with a playlist of some of her best tracks. Before, and as I have done before, AllMusic give a fulsome biography of a musical icon:

Whitney Houston was inarguably one of the biggest pop stars of all time. Her accomplishments as a hitmaker were extraordinary. Just to scratch the surface, the mezzo-soprano powerhouse became the first artist to have seven consecutive singles hit number one, from "Saving All My Love for You" (1985) through "Where Do Broken Hearts Go" (1988). Her version of Dolly Parton's "I Will Always Love You" (1992) became nothing less than the biggest hit single in rock history. Whitney Houston and Whitney, her first two albums, each went diamond platinum, followed by a string of additional multi-platinum LPs including the likewise diamond-earning soundtrack for The Bodyguard. Houston was able to handle big adult contemporary ballads, effervescent, stylish dance-pop, and slick contemporary R&B with equal dexterity. The result was an across-the-board appeal that was matched by few artists of her era, and helped her become one of the first Black artists to find success on MTV in Michael Jackson's wake. Like many of the original soul singers, Houston was trained in gospel before moving into secular music. Over time, she developed a virtuosic singing style given over to swooping, flashy melodic embellishments. The shadow of Houston's prodigious technique still looms large over nearly every pop and R&B diva who has followed. A six-time Grammy winner, Houston was inducted into the Rock and Roll Hall of Fame in 2020, eight years after her tragic death.

Whitney Elizabeth Houston was born in Newark, New Jersey, on August 9, 1963. Her mother was gospel/R&B singer Cissy Houston, and her cousin was Dionne Warwick. By age 11, Houston was performing as a soloist in the junior gospel choir at her Baptist church; as a teenager, she began accompanying her mother in concert (as well as on the 1978 album Think It Over), and went on to back artists like Lou Rawls and Chaka Khan. Houston also pursued modeling and acting, appearing on the sitcoms Gimme a Break and Silver Spoons. Somewhat bizarrely, Houston's first recording as a featured vocalist was with Bill Laswell's experimental jazz-funk ensemble Material; the ballad "Memories," from the group's 1982 album One Down, placed Houston alongside Archie Shepp. The following year, Arista president Clive Davis heard Houston singing at a nightclub and offered her a recording contract. Her first single appearance was a duet with Teddy Pendergrass, "Hold Me," which reached number five on the R&B chart in 1984.

Houston's debut album, Whitney Houston, was released in February 1985. "You Give Good Love," its second single, became Houston's first hit, topping the R&B chart and hitting number three on the Hot 100. Houston's next three singles -- the Grammy-winning romantic ballad "Saving All My Love for You," the brightly danceable "How Will I Know," and the inspirational "The Greatest Love of All" -- all topped the Hot 100, and a year to the month after its release, Whitney Houston hit number one on the Billboard 200. It eventually sold over 13 million copies in the U.S., making it the best-selling debut ever by a female artist. Houston cemented her superstar status on her next album, Whitney. It became the first album by a female artist to debut at number one, and sold over ten million copies in the U.S. Its first four singles -- "I Wanna Dance with Somebody (Who Loves Me)" (another Grammy winner), "Didn't We Almost Have It All," "So Emotional," and "Where Do Broken Hearts Go" -- all hit number one, an amazing, record-setting run of seven straight. In late 1988, Houston scored a Top Five hit with the non-LP single "One Moment in Time," recorded for an Olympics-themed compilation album.

Houston returned with her third album, I'm Your Baby Tonight, in 1990. A more R&B-oriented record, it immediately spun off two number one hits in the title track and "All the Man That I Need" and sold over four million copies. Houston remained so popular that she could even take a recording of "The Star Spangled Banner" (performed at the Super Bowl) into the Top 20 -- though, of course, the Gulf War patriotism had something to do with that. Appeal across mediums fueled Houston as she began focus on an acting career, which she hadn't pursued since her teenage years. Her first feature film, a romance with Kevin Costner called The Bodyguard, was released in late 1992, just after she married singer Bobby Brown. It performed well at the box office, helped by an ad campaign that seemingly centered around the climactic key change in Houston's soundtrack recording of the Dolly Parton-penned "I Will Always Love You." In fact, the ad campaign undoubtedly helped "I Will Always Love You" become one the biggest singles in pop music history. It set new records for sales (nearly five million copies) and spent weeks at number one (14), later broken by Elton John's "Candle in the Wind 1997" and Mariah Carey and Boyz II Men's "One Sweet Day," respectively. Meanwhile, the soundtrack eventually sold an astounding 18 million copies, and also won a Grammy for Album of the Year. "I Will Always Love You" itself won Grammys for Record of the Year and Best Pop Vocal Performance, Female.

Once Houston had stopped raking in awards and touring the world, she prepared her next theatrical release, the ensemble drama Waiting to Exhale. A few months before its release at the end of 1995, it was announced that she and Brown had split up; however, they called off the split just a couple months later, and rumors about their tempestuous relationship filled the tabloids for years to come. Waiting to Exhale was released toward the end of the year, and the first single from the soundtrack, "Exhale (Shoop Shoop)," topped the charts. The album sold over seven million copies. For her next project, Houston decided to return to her gospel roots. The soundtrack to the 1996 film The Preacher's Wife, which naturally featured Houston in the title role, was loaded with traditional and contemporary gospel songs, plus guest appearances by Houston's mother, as well as Shirley Caesar and the Georgia Mass Choir.

In 1998, Houston finally issued a new full-length album, My Love Is Your Love, her first in eight years. Houston worked with pop/smooth soul mainstays like Babyface and David Foster, but also recruited hip-hop stars like Missy Elliott, Wyclef Jean, Lauryn Hill, and Q-Tip. The album went quadruple platinum and received Houston's most enthusiastic reviews in quite some time. Moreover, it produced one of her biggest R&B chart hits (seven weeks at number one) in the trio number "Heartbreak Hotel," done with Faith Evans and Kelly Price. Additionally, it yielded the Grammy-winning "It's Not Right But It's Okay." She also duetted with Mariah Carey on "When You Believe," a song from the animated film The Prince of Egypt.

Arista released the two-disc compilation Greatest Hits, a multi-platinum anthology that featured one disc of hits and one of remixes and included new duets with Enrique Iglesias, George Michael, and Deborah Cox, in 2000. It was also announced that year that Houston had signed a new deal with Arista worth $100 million, requiring six albums from the singer. The self-styled comeback album Just Whitney arrived in 2002, followed by One Wish: The Holiday Album in November of the following year. Two years later, her private life became more public through the 2005 reality television series Being Bobby Brown. She eventually divorced her husband and went into intense rehabilitation for drug addiction.

An album of new material was initially set for release by the end of 2007, but delays pushed it -- titled I Look to You, featuring collaborations with Alicia Keys and Swizz Beatz, R. Kelly, Akon, and Diane Warren -- back to September 2009. It became Houston's first number one album since the Bodyguard soundtrack. She toured the world in 2010, and talked about beginning recording for her next album, but entered outpatient rehab in the summer of 2011 for continuing drug and alcohol problems. That fall, Houston filmed a role in a remake of the 1976 musical film Sparkle, starring alongside Jordin Sparks. In early 2012, rumors swirled that Simon Cowell was courting Houston for a mentor spot on The X Factor, but before anything came of it, tragedy occurred. On February 11, the day before the 2012 Grammys, Houston was found dead in her bathroom at the Beverly Hills Hilton. The cause of death was found to be accidental drowning caused by heart disease and cocaine intoxication. The Grammy ceremony paid tribute to her life with a Jennifer Hudson performance of "I Will Always Love You." Houston was posthumously inducted into the Rock and Roll Hall of Fame in 2020”.

On what would have been her fifty-ninth birthday (on 9th August), the music world will think about the great Whitney Houston. Even though she is not with us anymore, her legacy and huge influence lives on! To celebrate her incredible power and importance, the below is a selection of…

HER best tracks.

FEATURE: Spotlight: Dylan

FEATURE:

 

 

Spotlight

Dylan

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WHEN it comes to young artists…

 PHOTO CREDIT: Phoebe Cowley for NOTION

who deserve a load of success and a long career, Dylan is right up there. She has been putting out music for a few years now, but I think her work post-pandemic (if this is what you can call it?!) is lifting her to new heights. The No Romeo EP and latest single, Girl of Your Dreams, show that Dylan is releasing some of her best material this year. I know there will be a lot of talk and interest around a studio album. I have seen on her Twitter feed how she has been noticed in America and her music is making waves there. An international success story who is going to go on to be a legend, I wanted to use this opportunity to spotlight Dylan. To do that, it is worth sourcing a few interviews. Most of them are from a couple of years ago (as I cannot see any recent ones). It gives us a chance to know more about a sensational artist. F WORD introduced Dylan in an extensive chat. I have chosen a few questions and answers that caught my eye:

R.E Hey Dylan! Is your real name Dylan? D: No it’s Tash - Dylan is what my parents were going to call me if I was a boy... and I really didn’t want to be called Tash! They still call me Tash but everyone in the industry calls me Dyl or Dylan. I’m so used to having two names now!

RE: How did you get here today? D: I drove miles to get here!

R.E: Where’s home? D: Suffolk. I was in London last year but I moved home just because it was getting a bit expensive and there’s no real reason for staying in London if no work is going on!

R.E: How has it been? D: It’s been really good - I’m not angry at the whole corona thing because it’s given me so much time to find my real sound and discover what really feels like me. I’m so happy with how it’s all sounding and where it’s going and the music that’s about to come out!

R.E: What would you say the biggest lesson you’ve learned since being in the industry is?

D: Don’t expect anything to happen overnight! I used to think that all of the people who were doing well at the moment were just overnight successes but after getting to know a lot of them I realised that they’ve been doing it for years.

R.E: Do your family listen to your music in the house a lot? D: Oh yeah, we have listening parties with wine! I stand on the table and perform - lipsyncing my own songs! It’s so embarrassing because I like this music so much that I will just sit and listen to it”.

I am going to move onto an interview from NOTION. In 2020 (when the interview took place), we were at the start of the pandemic. Dylan, a relatively fresh artist then, was in the position so many others were: charged with promoting herself and getting music out without being able to play gigs or see people. Despite that, she was gaining success and adulation:

The 20-year-old musician from Suffolk in England notes AC/DC and Guns N’ Roses as some of her musical heroes, as well as Flume. With her sights set on a Wembley show in the future, DYLAN isn’t afraid of putting in the work to get results. It’s an approach that’s obviously paid off as she’s just been selected as one of Virgin Money’s Emerging Stars.

As part of Virgin Money’s exciting programme, DYLAN joins a number of up-and-coming artists heading for the stars. The music initiative, supported by ambassador Laura Whitmore, aims to identify, encourage and amplify the best emerging talent in the UK.

Thanks to the programme, DYLAN will be putting her Virgin Money bursary development fund back into recording new music and playing live shows. “I think those are the two most important things for me because they’re my favourite parts of the job and they’re what I really want to develop, and where we’ve been slightly saving before so definitely going to progress the live show,” she explained.

DYLAN’s already been getting airtime on BBC Radio 1 and has had gigs at legendary venues such as London’s Electrowerkz. Her performance at the venue has become a treasured memory “because it was the first time that I heard anyone sing my songs back to me.”

PHOTO CREDIT: Phoebe Cowley

How does it feel to be one of the first Virgin Money Emerging Stars?

It’s crazy to me because Virgin Money is quite a big company and I’m a very small artist so having them believe in me is insane.

What is the highlight of your career so far?

Maybe “Sour Milk” getting BBC Radio 1’s track of the week because it was my second single ever and something like that was slightly ridiculous and out of reach at that point, but it happened.

If you could be on the line up with any two artists in history?

Tough one, I’ve got to say Flume because I’m obsessed with him. And then maybe Nina Simone as she was a massive part of my upbringing.

What is the best thing about being in the music industry?

That you’re allowed to do what you love, and no one tries to change you for it. It’s being able to write for a living, like writing is just the thing I love most in the world and for it to be a job is insane.

How has music helped you get through lockdown – have you been listening to and/or creating/writing/producing more music than you typically would have before lockdown?

Definitely writing more, despite having a massive lack of inspiration. I’ve been writing a lot more and almost going further into my problems that I’d written about before than I ever had – getting deep into them and writing more emotional, more vulnerable songs than I normally would.

But then also I’ve been going into writing happy songs which has never happened. I’ve written my first happy song that I actually like”.

Before coming to something more recent, Wonderland. chatted with one of the finest artists in this country. There is no doubt that Dylan is going to be a major artist and make a lot of tremendous albums. If you have not discovered her, then go and follow her now:

What was the moment you realised you wanted to go into music?

I don’t remember ever not wanting to do it. It’s been the only real constant in my life. I think if I had to pinpoint a moment it would be playing on stage for the first time. I was 11, in a band called Clueless, and we wrote all our own songs cause none of us could read music. Looking back at it now, we sounded horrific, but it was the biggest adrenaline rush. And the feeling hasn’t been any less than what it was since.

Who did you listen to growing up?

I was introduced to a weird mix of music as a kid. Mum loved jazz and musicals, and Dad was obsessed with rock’n’roll. I very quickly became a wannabe rock god and listened to a lot of AC/DC, Guns and Roses, and Aerosmith. I spent most of my childhood on the kitchen table singing stupidly loudly practising the air guitar.

At this time of uncertainty why do you think music is important – and how do you think your music is playing a part in the dialogue?

Music ties everyone together. It’s the only thing we’ve got right now so I think continuing is incredibly important. It’s certainly not going to stop me; weirdly because we’ve all been shut inside I’ve been more productive than ever. If this is going to last a while then at least I’ll be playing a part in giving people something new to listen to.

What’s next for you/what are you excited about?

Everything and anything to keep me entertained. I’m working on my master plan to take over the world”.

Girl of Your Dreams is an amazing new song from Dylan. It is among her best songs to date. When the Horn Blows featured it recently. I love the new track and I cannot wait to see what comes next from the magnificent Dylan:

The Suffolk-born singer-songwriter released her first song ‘Sour Milk’ in 2019. Since then, DYLAN has brought out 3 EPs, with the latest being her ‘No Romeo EP’,  which features the hit track ‘Nineteen’, and has gained over 40 million Spotify streams. With recognitions from Dork, Clash, and Notion, the 22-year-old has received support from a variety of music platforms. This year alone, DYLAN has toured with Bastille, Tate McRae, and recently Ed Sheeran, where she has been playing her new single ‘Girl Of Your Dreams’ in stadiums across the UK.

The much-awaited track gained widespread attention even before its release, after a clip of the song went viral on TikTok and amassed over 1 million views. DYLAN describes how the concept for ‘Girl Of Your Dreams’ came from the frustration of wanting someone to like her back, as she pitches herself as the ideal girlfriend. The song combines catchy guitar hooks and steady drum beats with DYLAN’s impressive vocal range, to create a feel-good summer anthem that is perfect for festival season. The studio version of Girl Of Your Dreams was premiered on BBC Radio 1 on 13th July, just ahead of its release, after being selected as Jack Saunders’ ‘Power Play’.

With various festival appearances over the summer, her sold-out UK tour in November, and a headline show scheduled for 20th February 2023 at Shepherd’s Bush Empire, it seems that DYLAN has a lot of plans for the coming months”.

Someone primed for the big time, Dylan is an original and seriously impressive talent who is her forging her own path and making her music. I think that the next year r two will see her play big stages and get big recognition. She is already known in the U.S., but I feel like there are no limits when it comes to her music. Some artists have limits and they are restricted. When it comes to Dylan, you just know that she will go…

ALL the way.

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Follow Dylan

FEATURE: Feel Your Feet Start Kissing the Ground: The Title Track of Kate Bush’s The Red Shoes

FEATURE:

 

 

Feel Your Feet Start Kissing the Ground

The Title Track of Kate Bush’s The Red Shoes

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I am going to focus on a track…

that does not get a lot of love. There are a few reasons why I am concentrating on The Red Shoes. From the 1993 album of the same name, the single was released on 5th April, 1994. It was one of the first Kate Bush songs that I remember hearing when I was at school. Ten at the time, it definitely caught me unaware! The lead track of the movie The Line, The Cross and the Curve, the film premiered on the same day as the single’s release. Reaching twenty-one in the U.K., many people are divided. The short film scored mostly negative reviews. A feeling that it was a missed opportunity and just not that good, Bush distanced herself from the project soon enough. I do love a lot of The Line, The Cross and the Curve, and I think The Red Shoes and its video is excellent. The Red Shoes as an album is very strong and remains underrated. Maybe it is a little top-heavy when it comes to the best songs but, opening the second side, the title track really strikes you! One of Bush’s best vocal performances on the album, I also really love the lyrics. About a girl who puts on a pair of enchanted ballet slippers and can't stop dancing until she breaks the spell, it was inspired by a character in the Michael Powell and Emeric Pressburger film, The Red Shoes. The whole album needs to be reappraised. The first album where Bush did not appear on the cover, it is a pair of feet in the red shoes. A shot taken by her brother, John Carder Bush, there is a sense of mystery and romance I feel. Bush re-recorded some of the songs from The Red Shoes for 2011’s Director’s Cut. Included was The Red Shoes. I think I prefer the original.

I cannot find any interviews where Bush goes into depth about that song. I can vaguely remember The Red Shoes being released as a single. It was exciting. The Red Shoes was released in the U.K. as a 7" single, a cassette single and two different C.D. singles. On the B-side for the 7" single and cassette was the excellent You Want Alchemy. C.D. single one had on it Cloudbusting (Video Mix) and This Woman's Work. I really dig the composition. The Red Shoes sees mandola, whistles, musical bow and vocals by Paddy Bush (Kate’s brother), valiha by Justin Vali, and a brilliant performance by the rest of the band. Kate Bush draws you into the world of the song instantly! With this huge energy and excitement, one cannot help but resist The Red Shoes. The opening verse sets out the stall: “Oh she move like the Diva do/I said "I'd love to dance like you."/She said "just take off my red shoes/Put them on and your dream'll come true/With no words, with no song/You can dance the dream with your body on/And this curve, is your smile/And this cross, is your heart/And this line, is your path”. Without a real or distinct chorus, instead the story flows and you get this development. Bush, as the dancer/narrator, puts on the shoes. This once-dream is now really happening. There is something child-like about putting on a pair of red shoes and having this magic flow through your feet. It is like a fairy-tale. In some ways, The Line, the Cross and the Curve affords the story a more gothic twist.

It does seem like the shoes are possessed and sort of lure you in: “She gotta dance, she gotta dance/And she can't stop 'till them shoes come off/These shoes do, a kind of voodoo/They're gonna make her dance 'till her legs fall off”. The way Kate Bush thinks and writes is like nobody else. On tracks such as The Red Shoes, there is something filmic and theatrical. Rather than her writing an ordinary song about love, we get this captivating tale of a woman (Bush or a heroine) putting on these coveted and magical red shoes and dancing almost to her feet fall off. It is a reason why I think more people need to hear and love this song. The track never really lets the energy and sense of sensation fade. Beguiling to the very end, Bush ensures that the listener is deeply involved in the story: “Feel your hair come tumbling down/Feel your feet start kissing the ground/Feel your arms are opening out/And see your eyes are lifted to God/With no words, with no song/I'm gonna dance the dream/And make the dream come true/I'm gonna dance the dream/And make the dream come true”. As someone who trained as a dance before she released her debut album, it is only natural that she would keep it close to her heart. Some of Kate Bush’s greatest and most moving moments have come about where dance is very much at the centre. I am thinking of the video for Running Up That Hill (A Deal with God). The way she moves and tells a story is like nobody else! Even if some do not like 1993’s The Red Shoes, its brilliant 1994 single…

IS well worth your time.

FEATURE: Second Spin: N-Dubz - Love.Live.Life

FEATURE:

 

 

Second Spin

N-Dubz - Love.Live.Life

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AS N-Dubz are back…

and experiencing this resurgence, I wanted to include their latest studio album in Second Spin. Back in May, they released their first single after eleven years. There is a reunion tour and, who knows, they may be back in the studio. An album I first heard when it came out on 29th November, 2010, Love.Live.Life received a lot of positive reviews from critics. There were also some mixed ones in the pack. Maybe not as revered as 2009’s Against All Odds, Love.Live.Life is n album that has its strengths. I have listened to it again recently and it is far finer than most critics gave it credit for. After Against All Odds became such a success, N-Dubz embarked on a trip to the United States in an attempt to secure a record deal for themselves there. That was hindered because of Visa issues. Eventually, they got a five-album, deal with Island Records. I guess the group will be back with a new album and a new label. In August 2011, it was reported N-Dubz parted ways with Island, feeling unhappy about the way the label was trying to change them for the worse (in their view). In addition, Tulisa was a judge for season eight of The X Factor. Dappy released a solo single, No Regrets, and an N-Dubz gig on 18th September, 2011 was their last before this hiatus. Some reunions have been talked about for as long time. That is the case with N-Dubz. Now, in 2022, it has happened!

There were some positive reviews for Love.Live.Life. I want to highlight one from AllMusic that, whilst constructive in some criticisms, also had some good things to say about N-Dubz’s third studio album. This is an album that I think more people should hear – even if they are not aware of Tulisa, Dappy and Fazer:

Whereas U.K hip-hop artists previously struggled to compete with their American counterparts, the last few years has seen the likes of Tinie Tempah, Dizzee Rascal, and Tinchy Stryder more than hold their own. While they may not be able to match the glamor, super-expensive videos, and star-studded collaborations of Jay-Z, Kanye West, or Eminem, their unique home-grown sound has resonated with audiences able to relate to their tales of everyday British life. Three-piece R&B/rap trio N-Dubz have enjoyed a transformation in their fortunes perhaps more than anyone else, after breaking out of their underground London-centric roots to become one of the biggest and most controversial urban acts in the U.K., scoring several platinum albums, Top Ten singles, and MOBO Awards in the process. But following their slow-burning debut, Uncle B, and their breakthrough second album, Against All Odds, which included the aptly named chart-topper "Number One" and a track written by pop maestro Gary Barlow, 2010 has reversed their steady rise toward commercial and critical respectability, thanks to several tabloid scandals involving drugs, paintball guns, and a death threat sent to a radio listener by outspoken member Dappy.

Their third album in three years, Love.Live.Life, therefore, is their opportunity to wisely let the music do the talking. Having secured a five-album deal with influential label Def Jam, it's no surprise that several of its 15 tracks have one eye firmly on the U.S. market, with songs co-produced and co-penned with the likes of Jim Jonsin (Usher), Soundz (Ciara), and Salaam Remi (Nas). It's certainly their most polished offering to date, thanks to the likes of "Took It All Away," based around a Michael Jackson-esque rock guitar solo, their reworking of Compton rapper YG's "Toot It and Boot It," and the military-styled dancehall of "Love Sick." However, despite the slick production, much of Love.Live.Life is still quintessentially British. "Scream My Name" is a synth-led slice of grime which harks back to their street beginnings, "Skit" is a frenetic jargon-filled tale which is surely unintelligible by anyone outside their native North London, while "So Alive" is a squelchy, bass-driven collaboration with former Boy Better Know MC, Skepta. Thankfully, the unintentionally comedic Dappy doesn't dominate proceedings as much as he did on their previous two albums. His irritating "Na Na Niii" catch phrase is still ubiquitous throughout, but instead it's Tulisa, an undeniably gifted singer who's more than a match for any X-Factor warbler, who shines, particularly on the techno, dancefloor-filler title track and the bouncy, Dr. Dre-inspired "Living for the Moment." Of course, with their macho bravado, immature lyrical content, and occasional early-'90s console-game-soundtrack instrumentation (particularly on the dreadful "Girls"), Love.Live.Life is still undoubtedly an acquired taste, and despite its slightly more commercial leanings, it's difficult to see how it can possibly translate outside the U.K.. But its unrelenting upbeat and infectious nature, several potential hit singles, and uncompromising attitude make it impossible, however begrudgingly, not to admire”.

I leave N-Dubz in the midst of the private airfield in France. They clamber on and off the jet they've hired for this scene, in line with the director's instructions, hefting the Louis Vuitton luggage, singing the hook to "Best Behaviour". They wave me off and thank me for coming; they are a fantastically courteous bunch of celebrities, perhaps the most civil I've met. "You've got to be polite, in't you darling?" Dappy told me, back in London. "You've got to have manners."

You have, Dappy, I thought at the time. You really have. Now, I think: you wouldn't necessarily turn to N-Dubz first for life lessons. And yet N-Dubz are grafters and also dedicated, loyal, authentic, unspoiled by success, ingenuous, unexpectedly kind, inadvertently funny and, yes, really very polite. All in all, you could do a lot worse”.

I think we will see more albums from N-Dubz. Whether you are new to the group or have been a fan for a while, I would advise you spend a moment with 2010’s Love.Live.Life. I like the group’s performances throughout, but I always feel that Tulisa is the standout in terms of her talent and sheer command and strength. She released a solo album, The Female Boss, in 2012. It wasn’t overly well-received, and I feel she deserved more! There were a lot of collaborators and producers, muddling an overcrowding the album. Let’s hope she comes back with an album that is much more hers; one where she talks about her world now and the decade since her last solo album. Both a new Tulisa album and one from N-Dubz would be interesting! In the meantime, go and check out the London trio’s…

UNDERRATED Love.Live.Life.

FEATURE: Only You: Yazoo’s Upstairs at Eric’s at Forty

FEATURE:

 

 

Only You

Yazoo’s Upstairs at Eric’s at Forty

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WHEN a classic album…

comes up to a big anniversary, I do like to write about it. In the case of Yazoo’s amazing debut, Upstairs at Eric, it is forty on 20th August (23rd in the U.S.). Vincent Clarke and Alison Moyet created something truly timeless and breathtakingly beautiful. Know for the two huge hits, Only You and Don’t Go, Upstairs at Eric’s succeeds and endures because all its consistency. Most of the songs were written by Clarke. But a couple of the highlights, Bring Your Love Down (Didn't I) and Midnight, were written by Moyet. With Clarke’s innovative and remarkable instrumentation and songwriting alongside Moyet’s staggering and uniquely brilliant vocals (and her amazing songwriting), Yazoo’s debut sounds like nothing else that was released in 1982. The fact that Only You and Don’t Go sound completely different yet both sound completely natural on Upstairs at Eric’s is testament to its genius. From the iconic and perfect cover to the fact the album never drops a step, a lot of people will discuss Upstairs at Eric’s ahead of its fortieth anniversary. I want to highlight a couple of reviews in order to give you a critic’s-eye view of a 1982 diamond. In their feature from 2012, The Quietus took a look back at an undeniable classic. I have selected parts from the feature that especially caught my eye:

In 1982, at my rundown grammar school in a grey suburb of Manchester, musical battle lines had been drawn - you either liked Japan or The Human League. You couldn't like both and had to display an allegiance. It was akin to Bloods versus Crips or Montagues versus Capulets but with a penchant for Roland synths and lots of floppy hair. I loved both bands but in an early display of shameful social fence-sitting, I hid this decadent truth and publicly sided with Japan.

Very little united us: Soft Cell were a tad too edgy and The Smiths were still a few months away. As pre-pubescent 12-year-old boys, we defended our choices with a bullish swagger and a vast ocean of ignorance. Then, in the springtime, a single was released that comfortably straddled the great divide. Every last one of us loved 'Only You' by Yazoo. While the electronics were familiar, the stark ballad offered something very different – soul.

Yazoo were a duo from Basildon, comprising of synth-king Vince Clarke and singer Alison Moyet. They quickly followed 'Only You' with a storming second single – 'Don't Go' was a belting synth-pop anthem which showcased a bouncing Clarke melody and Moyet's rich and glorious voice. Then, in August of 1982, the pair released their debut album Upstairs At Eric's; a record that married a number of strikingly simple melodies to dark lyrics and Moyet's extraordinary vocal range.

In 1982, we already knew about Vince Clarke. He'd been in Depeche Mode when they'd released the singles 'New Life' and 'Just Can't Get Enough'. The tough Human League lads at school thought Depeche Mode were too weedy but I (again) quietly liked them. In November 1981, Clarke had quit the Mode citing a combination of touring boredom and a disdain for pop stars' goldfish bowl existence. However, he'd written a new song and wanted to find someone to record the vocals.

Weeks later, Clarke responded to a Melody Maker advert looking for someone to form a "rootsy blues band”. The ad had been placed by fellow Basildon resident Alison Moyet, who he knew from the local post-punk pub circuit. The new song was 'Only You' and when the pair agreed to meet up, Moyet instantly nailed the vocal and Yazoo were up and running. They quickly wrote a batch of songs and recorded them on the first floor of Blackwing Studios in London with engineer Eric Radcliffe – hence the album title Upstairs At Eric's.

Three decades on, Upstairs At Eric's remains a fascinating listen. Packaged in Joe Lyon's iconic cover photography, there is a simplicity in the compositions – perhaps born out of Clarke and Moyet's technical naivety at that time – which swathes the record in an uncluttered charm.

What were your first impressions of Alison?

Vince Clarke: By the time Alison and I started working together I did kind of know her. I'd seen her perform in a couple of local R&B bands and a punk band [The Vandals], so I knew she had a great voice. When I finally got to meet her I found her to be incredibly shy, which was opposite to her personality in this particular punk band.

What was it about Alison that made you want to work with her?

VC: Well, I only had one song, 'Only You', which I wanted to demo and that was the sole purpose of hooking up in the first place. I knew that she could sing with a lot of emotion and this particular track was a love ballad. I was looking for someone who could put that across.

What's your favourite song on Upstairs At Eric's?

VC: It's probably 'Only You' just because it was the first song that was written and I remember the song coming together really easily. Other than that, my favourite would be 'Midnight', a song that Alison wrote. She had it already and at the time I thought it was a real challenge to orchestrate and write music for. I didn't appreciate it at the time, and I certainly didn't appreciate her vocal performance on that track. Now I do.

Do you think Upstairs At Eric's has aged well?

VC: The sound of the album has stood up well, even if some songs have aged better than others. When we did the recent [2008] tour, I hadn't played that stuff for 20 years or even listened to it. When I started analysing the tracks I was amazed at how simple they were and how straightforward the arrangements were. There wasn't anything complicated going on; it was just the singing and the tune”.

Seen as one of the best albums of 1982 and one of the finest from the decade, Upstairs at Eric’s reached number two in the U.K. Although Yazoo’s second and final studio album, You and Me Both, was released a year later and hit number one in the U.K., I still feel their debut is their peak and crowning glory. I knew about Yazoo as a child and, as a fan of theirs, I was especially interested in Alison Moyet’s solo career. There is nobody in music quite like her. The same goes for Vincent Clarke. An amazing duo who released a wonderous debut album, it is no wonder so many critics lined up to give it praise at the time. Since its release, Upstairs at Eric’s has gained a lot of respect and inspection. This is what AllMusic said in their assessment:

Vince Clarke can claim involvement in two stunning debuts in only two years: Depeche Mode's Speak and Spell and Yaz's Upstairs at Eric's. While Speak and Spell is, by far, the more consistent record, Upstairs at Eric's is wholly more satisfying, beating the Depeche record on substance and ambition, and is light years ahead in emotion. "Don't Go" and "Situation" are absolutely killer with Clarke's bubbling synth and singer Alison Moyet's bluesy and powerful delivery. They're both rightful dance floor staples, and have since undergone numerous remixes, both official and bootleg. "Bring Your Love Down (Didn't I)" is just as good a thumper, adding a wonderful mumbled bridge that shows how much Clarke enjoyed messing with pop music. The softer "Only You" would have sounded silly and robotic if it had appeared on Speak and Spell, but Moyet's vocals makes it bittersweet and engaging. The clumsier experimental tracks make most people head for the hits collection, but to do so would be to miss the album's great twist. The loony tape loop of "I Before E Except After C," the skeletal "Winter Kills," and a disruptive phone call in the middle of the naïve "Bad Connection" offer up more complex and intimate moments. Like its curious cover, Upstairs at Eric's presents a fractured, well-lit, and paranoid urban landscape”.

I am going to end by sourcing Sputnikmusic’s impassioned take on Upstairs at Eric’s. They labelled it a classic in their review from back in 2011:

Vince Clarke was never one for remaining static for very long, shifting from immediate success with Depeche Mode's first album (Speak & Spell) in 1981, to Yazoo (or 'Yaz' as the duo is known in the US, due to legal reasons), to a short lived project called 'The Assembly', before ultimately settling with Andy Bell to form 'Erasure' in 1985. Whichever formation garners the most pleasure from listeners is a matter of subjectivity, but when regarding objectivity, i.e. which of his projects, in hindsight, has produced the highest level of innovation and influence, Yazoo's debut (Upstairs at Eric's, 1982) makes for a very strong contender.

The Basildon boy with an obsession for analogue synthesisers made important groundwork with innovating Depeche singles like 'Just Can't Get Enough' and 'New Life', but for the most part 'Speak & Spell' sounded like a clumsy sonic experiment, ending in mixed results. Clarke's early toying around with synths finally came into full fruition on 'Upstairs at Eric's', and he managed to grow from rather awkward, misguided efforts like 'Boys Say Go!', into touching and observed, synth-pop ballads like 'Only You'.

'Only You' is a perfect summation of why 'Upstairs at Eric's' remains so acclaimed and adored, as it showcases the curious blend of danceable synth-pop and powerful, bluesy vocals the duo is remembered for. Alison Moyet's consistently sublime purr gives Clarke's robotic beats and rhythms a human touch, providing listeners with songs that are as equally danceable as they are heartfelt. On paper it doesn’t work, but in reality it's most definitely satisfying. Take, for example, the iconic opener 'Don't Go', beginning with what has to be one of the most memorable and infectious synth riffs of all time, it finds its sprightly electronic melody getting warmed up by Moyet's aggressive, emotional delivery.

There's an abundance of other concise, synth-pop classics on the album, including (on most versions) 'Situation' with its low, bubbling melody and 'Bad Connection' with its undeniably cheesy, but utterly charming chorus, "Can you hear me? Can you hear me at all? Gotta get the operator, make a telephone call" - it's just one of several instances of pure, synth-pop perfection to be heard on 'Upstairs at Eric's'. Clarke's love of experimenting with early synth technology finds it's home on the instrumental 'I Before E Except After C', whose 4 minutes and 43 seconds length is comprised of a repeated loop of a voice reading out the same 3 or 4 sentences, spliced with scarce blips and beeps in the background. 'Winter Kills' (one of Moyet's few lyrical efforts, the others being; the soulful 'Midnight', the energetic 'Goodbye 70's', and the anthem that should’ve been, 'Bring Your Love Down (Didn't I)') changes the flavour, with an icy cold piano melody and airy wailing, floating behind Moyet's deliberate vocals.

Yazoo have influenced many in the years subsequent their 1983 break-up, evidenced by the astonishing amount of times tracks like 'Don’t Go' and 'Situation' have been remixed or referenced as an influence. After listening to 'Upstairs at Eric's' it's not difficult to understand why. Each track just nailed what it needed to achieve, producing songs that were perfectly accessible and hooky, whilst simultaneously managing to be contemporaneously groundbreaking and innovating. Yazoo would sadly call it a day a year later, and although it's expected (seeing as the restless Vince Clarke was at the helm) it's part of what makes this record so special. If Yaz carried on they'd inevitably become tiresome, but the point is they didn't. The duo only released 2 albums so they never had a chance to lose momentum, and Clarke's ideas and energy didn't get a chance to rest and become stale, leaving fans with an immediate blast of uncluttered and catchy synth-pop classics”.

On 20th August, Upstairs at Eric’s turns forty. A classic 1980s record, it has this amazing legacy and stands alongside some of the greatest albums ever! I know that there will be a lot of love for this album on its anniversary. There is no doubt that Upstairs at Eric’s affected me greatly when I first heard it as a child. There is also no doubt that is…

MOVES me still.

FEATURE: Go Under the Ivy, Under the Leaves: Kate Bush: The Gardening Playlist

FEATURE:

 

 

Go Under the Ivy, Under the Leaves

Kate Bush: The Gardening Playlist

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IT is a shame…

 PHOTO CREDIT: Alamy

that Kate Bush’s Under the Ivy is not available on Spotify. I am putting together a gardening playlist and, to be honest, that song would have been perfect! The reason I am doing this is, back in June when Bush spoke with Woman’s Hour, she mentioned that she is gardening a lot now. Emma Barnett sort of asked what Bush is doing, with a view of seeing whether new music was coming. Bush was emphatic that gardening was her passion and that is what she is busy with. Bush has written about the garden and its beauty before. In fact, the second disc of her double album Aerial, A Sky of Honey, puts you in nature and the surroundings of an English country garden. Whether perfect for getting into the gardening mood, relaxing you, or provoking images of calm or inspiring moods, the songs below is a Kate Bush gardening playlist. Not that Bush listens to her own songs when gardening, but if you are a fan of hers, these songs can accompany you as you do your gardening! Take these with you when you are sat…

UNDER the ivy.

FEATURE: Spotlight: Ezra Collective

FEATURE:

 

 

Spotlight

Ezra Collective

__________

ON this outing of Spotlight…

I wanted to concentrate on a group who might not be known to everyone. Ezra Collective are a London five-piece whose sound mixes Jazz with Hip-Hop and Afrobeat. Described by some as distinctly London in origin, Ezra Collective comprises of Femi Koleoso, TJ Koleoso, Joe Armon-Jones, James Mollison, and Ife Ogunjobi. There is this familial bond between the members. This comes through in the very passionate and excellent music. Their current studio album, You Can’t Steal My Joy, arrived in 2019. It was met with critical acclaim. I wonder whether the group have plans for a new album this year. I will come to a fairly recent review with group member Joe Armon-Jones. Before that, I want to look back to an interview from Loud and Quiet. They featured Ezra Collective in 2019:

The strength of Ezra Collective’s music, then, is also testament to the strength of their friendship. The group met just down the road from where we are today, at Tomorrow’s Warriors, a youth jazz programme run by bassist and all-around British jazz icon Gary Crosby. Having initially come together for a competition to play at Ronnie Scott’s, the band became firm friends, and after a few line-up alterations they haven’t looked back since. “It was essentially a school project we fell in love with,” Femi laughs. As such, the group buzzes with that chemistry that’s unique to school mates. Crammed into a booth, they jostle with one another and pick at the remains of lunch as we talk. Our conversation frequently erupts into fits of laughter, drawing a couple of sideways glances from the kind of couples whose romantic ideal is a Pizza Express within walking distance of Waterloo Station. At one point I look across from me and realise that Joe has been covertly rolling a joint under the table.

Like the best of friendship groups, the members of Ezra Collective aren’t afraid to show their appreciation for one another. “Being with these guys, it’s given [me] a chance to be real and comfortable,” says TJ.  “When you’re with your friends you’re comfortable, and there’s no façade that you’ve got to put on.” He admits that while the group have always been close, Ezra Collective hasn’t always been as laidback a project as it is today. “In the early days we tried other things, but they didn’t feel good. We tried to wear suits; it didn’t feel good,” he says, looking around the table at his bandmates who are dressed in a mix of streetwear, afro-centric jewellery and pieces from high street retailers. “It came down to the fact that we just enjoy playing music together, so we took that and ran with it. It was only recently, really, when we realised that we were going against the narrative.”

“The narrative of a young man in London is so often portrayed as negative in every way,” his brother elaborates. “They’re angry; they’re depressed; there are so many issues that surround being a young man growing up in London. Even though most of us are subject to these things that make life difficult, London’s a happy place, I would argue for that. Regardless of what’s happening on a daily basis, the fact we can go to Steam Down freely and have a dance and have fun, or go to Fabric or Wireless, or whatever it is, [makes us happy].”

Having either grown up across London or spent a lot of time in the city thanks to Tomorrow’s Warriors, the members of Ezra Collective are as united by their love for grime, soul and hip hop as they are by their passion for jazz. Femi’s first career break came as a live drummer for veteran rapper Pharaoh Monch, and alongside his duties in Ezra he plays in Jorja Smith’s band, touring the world with the singer. On Twitter and Instagram last summer he shared a picture of himself, along with the rest of her band, chilling backstage with Snoop Dogg.

It’s an approach that underpins not just Ezra Collective’s sound but the sound of London’s young jazz scene as a whole. Moses Boyd, a drummer, friend of the band and fellow Tomorrow’s Warriors graduate, has a residency on Radio 1Xtra. Kamaal Williams teamed up with grime MC Mez for a rework of the Yussef Kamaal track ‘Strings of Light’. Meanwhile, Theon Cross, the tuba player in Sons of Kemet and a respected solo artist in his own right, joined Kano as part of his band for the Made in The Manor tour. Whereas once jazz was seen as stuck-up and over-intellectual, in London, and increasingly further afield, it’s a progressive part of youth culture – increasingly so since Kendrick released ‘To Pimp A Butterfly’ in 2015”.

I think Ezra Collective are drawing more people are becoming aware of the Jazz scene in London because of Ezra Collective. The Jazz community in London is very close and supportive. I want to move onto an interview from HAPPY. In 2020, the group were asked about the wave of affection and attention for the Jazz scene, in addition to how London’s Jazz scene seems particularly tight:

HAPPY: You seem to be on the forefront of this new wave of jazz in London. What do you think primarily caused this surge for the genre?

EC: I think the surge really was down to several things, a boredom of the same things being on a pedestal. We all love DJs, but when it’s all you see on stages, instruments are as exciting as ever. I feel as though that played a part. The use of social media, openness from festival bookers, and then a huge surge of talent in the field sparked it.

HAPPY: London’s jazz community seems to be very close-knit, with crossovers that include Femi on Nubya’s album, Nubya on Ezra’s record, and then other features from members of KOKOROKO and Theon Cross. What contributes to this collaborative community?

EC: I think it’s the love for each other. Everyone wanting to see each other do well. Void from rivalry or ego, I think when it’s just good vibrations at the core of things, it lends itself to an atmosphere of collaboration, advice sharing, inspiration, and so on.

HAPPY: Your second studio album, You Can’t Steal My Joy, defines your ethos of bringing happiness to those who experience it. Do you find the audience reciprocate?

EC: Yes. Definitely. Even the ones we don’t expect it from. The joy is beyond language, age, race, gender. People love joy. And it’s there for everyone if you look hard enough”.

There are not many recent interview from Ezra Collective. I hope that this changes very soon. Joe Armon-Jones chatted with WhyNow last year about working in Ezra Collective, in addition to having his own project. I do hope that we get more insight and interviews from Ezra Collective as we head through the year:

Asked how it feels to be a forefront component of a new jazz wave in London and the UK at large, Joe replies, “It’s definitely special but t’s been going for a while. It’s not new. I don’t consider myself at the forefront so much, there are other guys who’d take that title: Shabaka [Hutchings] is more that kind of figure, the generation above me…”

Joe is 26, Shabaka is 36, “…but it’s been weird not seeing all those guys at this time.” With jazz being such a collaborative form, I wondered how the enforced distance the pandemic required affected his approach, but for Joe, it’s been nice having no commitments, no deadlines, just allowing him to focus on the music.

“It’s still possible, I’m just making music, writing,” he explains. “You can still get people together and make music. I’m working on a project with my housemate, Maxwell Owin, working with my own band, doing lots of things.”

“There are no gigs, so that’s the main difference… It’s been nice having no commitments, no deadlines, just allowing me to focus on the music… so it’s good, really good.”

What’s the difference between writing and recording with his own band and with Ezra Collective? “With Ezra,” Joe answers, “we write together and once we’re finished, we record in one day, two days. But with my band we’ll write and record it in the same kind of time, but then I’m producing and mastering it for a year! It’s a long process.”

Joe’s life before London was murky. Asked where he moved to London from, he replied, “Way out in the middle of nowhere, man,” and little else. He came to London to study jazz and, honestly, why would you leave?”.

A terrific group who are hugely original and influential, go and check out Ezra Collective. A lot of people have still not discovered them, so this is a perfect opportunity to do so. An urge and demand for a new album from them is clear. Let us hope that these wishes are fulfilled before too long. They are an awesome force that…

EVERYONE should know about.

_____________

Follow Ezra Collective

FEATURE: Second Spin: Monica – Miss Thang

FEATURE:

 

 

Second Spin

Monica – Miss Thang

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THERE is a bit of…

information from Wikipedia regarding the incredible Monica. Whereas many know her from the duet with Brandy, The Boy Is Mine (from Brandy’s 1998 album, Never Say Never), she is so much more than that. A hugely successful R&B artist, I wanted to include her debut album, Miss Thang, in this Second Spin. Before that, Wikipedia provide some information regarding the success Monica has accrued:

Monica has sold 5.3 million albums in the United States and she is recognized as one of the most successful urban R&B female vocalists to begin a career in the mid to late 1990s. According to Billboard, she is the youngest recording act to ever have two consecutive chart-topping hits on the Billboard Top R&B Singles chart, as well as the first artist to top the US Billboard Hot R&B/Hip-Hop Songs chart over the span of three consecutive decades (1990s, 2000s, and 2010s). In 2010, Billboard listed Monica at number 24 on its list of the Top 50 R&B and Hip Hop Artists of the past 25 years.[6] A four-time nominee, she won a Grammy Award for Best R&B Performance by a Duo or Group with Vocals for her contribution to "The Boy Is Mine" alongside Brandy, at the 41st awards ceremony and has been the recipient of one Billboard Music Award, one BET Award, and two BMI Pop Awards”.

An album that received mixed reviews upon its release, perhaps a lack of experience did contribute to that. Monica was only fourteen when the album came out. A remarkably mature and accomplished album from someone so young, Miss Thang was conceived under the guidance of Rowdy head Dallas Austin. He would emerge as a father figure to Monica and serve as Miss Thang's sole executive producer. Miss Thang has sold over three million copies and was a chart success upon its release. Including wonderful singles like Don't Take It Personal (Just One of Dem Days) – which reached number two int the U.S. -, this is an album that won love and support from buyers, but not quite as much from critics. Before moving on, AllMusic wrote this in their review of Miss Thang:

Monica had signed to Arista's Rowdy imprint several years prior to this release, so she had ample time to ensure her debut would be nothing short of successful. The album focuses on hip-hop and contemporary urban cuts, including a pair of R&B chart-toppers. The first is "Don't Take It Personal," also a massive pop hit, propelled by a heavy bottom bass with Monica's indelible vocals ringing as she embraces an introspective lyric. The second, "Before You Walk Out of My Life," is a bittersweet lyric with unwavering vocals. "Like This and Like That" has that pocket beat; the song's flow is dictated by Monica's vocal chorus and an animated rap by Mr. Malik. Monica gives her own rendition on several numbers; while they all are plausible, the blues number "Let's Straighten It Out" is the most engaging, as she shares vocal duties with Usher. In spite of her youthful age, Monica conveys a surprisingly mature sound”.

Gifted with a stunning voice and command of her material, Miss Thang is a triumphant album that was not afforded the credit and respect it deserves. In a more positive and expansive feature, Albumism revisited Miss Thang on its twenty-fifth anniverssary in 2020. On 18th July, 1995, the public were treated to this brilliant album from a truly wonderful young artist:

Nothing prepared us for her Hummer of a voice that summer of 1995. B♭3 isn’t that low a note, but when Monica hit it on the fourth “baby” in the vamp of “Don’t Take It Personal (Just One of Dem Days),” its unique resonance took the listener aback.

How did that little girl do that? Wait. How old is she again? Is there a beer-swilling blues singer named Cleotha hiding in her throat? The same baited hook caught us when we first met Michael Jackson, “Little” Stevie Wonder, LeAnn Rimes, and Shanice Wilson. The public just can’t resist a musical wunderkind with advanced gifts.

Monica’s team played their cards expertly for Miss Thang. They avoided unnecessary comparison to contemporaries Brandy and Aaliyah by delivering Miss Thang while neither artist had big singles splitting the female teen R&B market. Her manager, Queen Latifah, got her a guest role on Living Single in April 1996. By year’s end, she booked the Whitney Houston collaboration “Somebody Bigger Than You and I,” alongside Faith Evans, Ralph Tresvant, Bobby Brown, and Johnny Gill.

Great marketing made her visible and accessible, but Monica became a chart-topper on the strength of her voice alone. Beneath her old soul and short pixie haircut—usually only sported by actually grown women—Monica was still just a kid. That kid threw a hell of a punch with her debut album though. The success of Miss Thang assured that if you ever underestimated Monica from College Park? I bet you won’t do it again.

That introductory single from Monica’s triple-platinum debut Miss Thang charted #2 on the Billboard Hot 100 and #1 Billboard R&B, making her the youngest female artist ever to achieve the latter. That was pretty gutsy to lead with a Jeep-rocker about enforcing personal boundaries when you’re on your monthly cycle. It paid off though, yielding a platinum single right out of the gate.

The next offering, “Like This and Like That,” slid nonchalantly onto radio in the fall. The bassy banger found Monica warning a non-committal beau if their relationship didn’t solidify, “I can’t wait around…I’m gonna move along!” Rapper Mr. Malik laughs off her ultimatum with a melodic 24-bar verse that rides the beat and gives respect to the Slick Rick classic “Mona Lisa” all at once. The single’s All Star Remix rocked even harder, swapping Malik’s verse for a more gutter one from Queensbridge duo Mobb Deep.

On the flipside of that double A-side single was the more chilled-out affair, “Before You Walk Out of My Life.” This singalong favorite came courtesy of Danish team Soulshock & Karlin. They wrote it with Andrea Martin for Toni Braxton’s Secrets album, but it became huge for Monica. Moreover, pairing the hip-hop “Like This” with the pop-friendly “Before You Walk Out” was shrewd. Their combined stats resulted in dual belt-notches for Monica: two Top 10 pop and #1 R&B singles for the marketing push of one.

Monica coasted on those wins until the following summer, when her next hit single revved up at radio: the Darryl Simmons-assisted “Why I Love You So Much.” Even with some “Cleotha” in her voice, she still reaffirms her girlhood on a bridge as sweet as the rainbow swirl-pop on the single’s artwork”.

You may have heard of Monica, but I would urge you to check out her albums. Miss Thang, her amazing debut, has many highlights. Singles such as Tell Me If You Still Care sit beautifully alongside awesome deeper cuts like Angel. I think that Miss Thang was not given enough time and love back in 1995. In years since there has been some kinder retrospection. But it is interesting seeing how commercially successful it is, and yet critics were not fully on board. To me, Miss Thang is a great album. It is certainly worthy of…

ANOTHER spin.

FEATURE: Hardly Dime a Dozen...: The Dreams and Realities of Getting a Music Comedy Feature to the Big Screen

FEATURE:

 

 

Hardly Dime a Dozen…

The Dreams and Realities of Getting a Music Comedy Feature to the Big Screen

__________

I have written a couple of features…

about a comedy feature that I am working on. Rather than blowing my own trumpet or being self-indulgent, I have been startled by the realities of trying to get a screenplay to the screen. I have no previous comedy writing experience. As a music journalist, I can write well, but the discipline of screenwriting is very different. Regardless, I have had this idea and been obsessed with it since coming up with it a few months back. The title, Dozen a Dime, has a specific relation to the central plotline. It is set in 1986 in Haight-Ashbury, San Francisco. We look inside the lives of five teens and five adults: the former group is struggling at high school, trying to dodge bullies, whilst also planning a future they are not sure about. The latter threads relate to a group of friends who moved from New York as they struggled financially under the presidency of Ronald Regan (and an L.G.B.T.Q.I.A.+ female couple also felt opressed and discriminated against). They are disillusioned in California. Feeling stifled in their jobs, they devise a scheme that provides financial relief, excitement, and a sense of rebelling against the government. The teens are huge music lovers, and they cemented their friendships when they met at Live Aid in London in 1985 (they were kicked out for heckling Freddie Mercury before Queen’s set). They are trying to find a way to escape the struggles of school and pursue their passion for music.

A spark is lit when they see a T.V. advert for a new music-buying subscription. The company, International Sounds, offers fans twelve albums on cassette for a dime. There is a quick disclaimer at the end of the advert but, intrigued by the seemingly too good to be true offer, they order a dozen albums (a mix of the best from 1985 and 1986). They soon realise that they can order batches of a dozen albums by applying under different identities and sending them to different addresses (so they do not get rumbled). As a way of placating their bullies – who are extorting the teens for money -, they sell albums to their peers for $1 a dozen. The other students want to take advantage of the T.V. deal themselves, but they are too fearful and have parents who do not approve. Seemingly fool-proof, things start to deteriorate when International Sounds discover their scheme and deploy their collection agency, Madonna, and Prince to track down the teens. Through the story arc, Dozen a Dime looks at the romance between two of the female teens, depression and AIDS, economic struggle, bullying, redemption, and bonding. It is a comment that also looks at difficult topics. At the end, the teens find themselves in a chase and showdown with International Sounds – though they manage to get away and, at the very end, set off into the sunset out of San Francisco for the summer.

 IN THIS PHOTO: Gillian Anderson

I have cheekily posted a tweet to this article tagging Gillian Anderson. She will not read this I am very sure, but I have thought about the cast. In the central adult roles, I have in mind Rachel Brosnahan, Keke Palmer and Elizabeth Olsen (there are two male roles I am not sure who will go to). Anderson, in my mind, would be perfect playing the owner of the local record shop the teens visit, Groove Is in the Heart. They are banned from it for trying to steal albums, and Anderson would make a formidable and remarkable fit for the role. She is a brilliant comic actor, but her range (of accents, moods and emotional range) is also phenomenal. I have been watching some of her film and T.V. appearances and writing specifically around her. Within Dozen a Dime, there would be an amazing soundtrack – Prince, Madonna, Peter Gabriel, The Bangles, Run-D.M.C., Dire Straits, and Janet Jackson included -, a title sequence that I think will rank alongside the all-time best, tremendous (I hope) comedy moments, a nightmare sequence based on the Michael Jackson Thriller video, a sequence that replicates some of the video for Peter Gabriel’s Sledgehammer, some incredible set pieces and a twist ending nobody will see coming! I am very proud of the idea and have been working on it for months.

Whilst the budget might be a bit large for a comedy feature – as there would be a fair bit of CGI needed to replicate Haight-Ashbury in the 1980s -, I do think that it has potential. Not only will Dozen a Dime have repeatability and nuance; the soundtrack and its marketing would be brilliant. As the characters in the film would listen to albums on a Walkman, I had an idea of partnering with a company like Sony to remake the Walkman and updating it for this decade (based on a 1986 design, it would have digital elements). I can write some of the script myself, but I am looking for someone else to write it with me. I am keen for a female director to helm the project. I have contacted both Margot Robbie and Rachel Bosnahan, as they run production companies that look to highlight and foster the work of female creatives. I think Dozen a Dime could be a classic modern comedy. It is a mix of the bratpack and coming-of-age films of the 1980s (some of which Dozen a Dime references) and something more complex and cerebral (think Christopher Nolan and films like Memento and Inception). I have only skimmed the surface. There is so much more to the idea in terms of the plot, themes, standout moments and layers. It will be an adult comedy - as thwere are sex scenes, swearing and drug references -, but I hoping it could be a 15 certificate as not to alienate a target audience. I know that, by making this idea visible with its title, someone else can take it on board and make it themselves! With a fantastic cast and the right crew, I do believe that a comedy feature like this could be a success! The realities of getting something like this made, let alone making it onto the screen and turning it into a box office success, are very different.

I am struggling to even get anyone to read the treatment, let alone a script! I have contacted various actors and figures; I have contacted production companies and got nothing back. How do you get something like Dozen a Dime made if you do not already have a foot in the door?! As this would be set in America, it is extra hard for a London-based peep like me to get the idea seen. Getting the film idea to a studio in America seems like an impossibility! Streaming services like Netflix are struggling now, so the option of getting it made for them seems riskier and less likely than make a film for cinemas. I would love, in a couple or few years, to get the script green-lit, have a cast and crew attached, and film it in California. I know countless other people have the same ambitions, but I feel this idea is particularly promising. Comedies don’t always do too well, and they can be divisive and less likely to profit. I feel there is a broadness and relatability to Dozen a Dime that would make it successful. Little revelations like bonding with Gillian Anderson’s body of work adds something to the mix. How do you get actors involved before a production company picks up an idea? I have written to a few already but, again, you hear nothing back. I am not going to let the idea go, as I think the concepts, jokes, characters, and references/parodies would prove popular with a wide age range. You do not have to be around in the 1980s to relate to the film and the soundtrack/politics in the U.S. The realities of turning a passion project into something tangible is getting me down. Even getting someone to develop it or provide feedback is such a challenge. The more I write, the more I love Dozen a Dime. I would like more than anything to get it made one day. I just hope that this dream is…

NOT out of reach.

FEATURE: “1,2,3,4…”: The Five Best Opening Tracks from The Beatles’ Studio Albums

FEATURE:

 

 

“1,2,3,4…”

PHOTO CREDIT: Apple Corps Ltd

The Five Best Opening Tracks from The Beatles’ Studio Albums

 __________

I have been thinking about The Beatles…

and how they always opened their studio albums with a terrific introductory track. From their 1963 debut, Please Please Me, and I Saw Her Standing There (which opens with the “1,2,3,4…” call), the band have never really let their foot off the gas in that sense. Their albums are events, so ensuring the listener is engrossed and arrested from the first bars is essential. Not many bands would be up to the task! Because of that, I wanted to write a feature where I pick the best five opening tracks. This is only for their studio albums (including soundtracks), rather than compilations, extended/double-E.P.s, or U.S. releases. I will take this chronological. Here are five tracks from Beatles albums that get off to…

A great start!

_____________

A Hard Day’s Night

From the Album: A Hard Day’s Night

Album Release Date: 10th July, 1964

Producer: George Martin

Main Songwriter: John Lennon

Single Chart Position (U.K.): 1

Song Information:

In the studio

‘A Hard Day’s Night’ was recorded on 16 April 1964 in Abbey Road’s Studio Two. It took The Beatles nine takes to complete, just five of which were complete, and was finished in under than three hours.

The backing track – two rhythm guitars, bass guitar and drums – was recorded onto track one of the four-track tape, and Lennon and McCartney’s lead vocals were recorded live on track two.

Track three of the four-track tape was filled with acoustic guitar, bongos played by Norman Smith, more vocals by Lennon and McCartney, and cowbell.

I only ever played on one Beatles song, and that was ‘A Hard Day’s Night’. I played the bongos. Ringo couldn’t do it. I went down to the studio and showed him what to do, but he just couldn’t get that continual rhythm. So I said, ‘Okay, forget it, I’ll do it.’ We overdubbed it, and I left my Tape Op behind upstairs to operate the equipment.

Norman Smith
Recording The Beatles

The recording was finished with a solo, played by George Martin on piano and George Harrison on guitar, on track four, plus an extra bass guitar part after the solo, underneath the line “so why on earth should I moan”.

The only reason he [Paul] sang on ‘Hard Day’s Night’ was because I couldn’t reach the notes. ‘When I’m home, everything seems to be right. When I’m home…’ – which is what we’d do sometimes. One of us couldn’t reach a note but he wanted a different sound, so he’d get the other to do the harmony.

John Lennon, 1980
All We Are Saying, David Sheff
” – The Beatles Bible

Help!

From the Album: Help!

Album Release Date: 6th August, 1965

Producer: George Martin

Main Songwriter: John Lennon

Single Chart Position (U.K.): 1

Song Information:

In the studio

The Beatles recorded ‘Help!’ in a single night, on 13 April 1965. The four-hour session took place from 7pm at Abbey Road’s studio two.

Twelve takes of the song were recorded. The first eight were of the rhythm track only, with vocals appearing for the first time on take nine.

Some discussion at the beginning of take four indicates that George Harrison is having a little trouble executing the complicated, fast riffs; he’s also worried about having to play and sing at the same time, though Paul assures him that won’t be necessary, as there are two voice tracks available.

The Unreleased Beatles
Richie Unterberger

The final attempt was the best, and onto this Ringo Starr overdubbed a tambourine, and George Harrison added the series of descending Chet Atkins-style guitar notes which close each chorus” – The Beatles Bible

Drive My Car

From the Album: Rubber Soul

Album Release Date: 3rd December, 1965

Producer: George Martin

Main Songwriter: Paul McCartney

Song Information:

Paul McCartney‘s first draft of the song featured a chorus based around the line, “You can buy me golden rings”. He and John Lennon reworked the song with some difficulty, eventually discarding the clichés and settling upon the idea of a headstrong woman.

The lyrics were disastrous and I knew it… This is one of the songs where John and I came nearest to having a dry session. The lyrics I brought in were something to do with golden rings, which is always fatal. ‘Rings’ is fatal anyway, ‘rings’ always rhymes with ‘things’ and I knew it was a bad idea. I came in and I said, ‘These aren’t good lyrics but it’s a good tune.’ The tune was nice, the tune was there, I’d done the melody. Well, we tried, and John couldn’t think of anything, and we tried and eventually it was, ‘Oh let’s leave it, let’s get off this one.’ ‘No, no. We can do it, we can do it.’ So we had a break, maybe had a cigarette or a cup of tea, then we came back to it, and somehow it became ‘drive my car’ instead of ‘gold-en rings’, and then it was wonderful because this nice tongue-in-cheek idea came and suddenly there was a girl there, the heroine of the story, and the story developed and had a little sting in the tail like ‘Norwegian Wood’ had, which was ‘I actually haven’t got a car, but when I get one you’ll be a terrific chauffeur.’

Paul McCartney
Many Years From Now, Barry Miles

The song contained clear sexual overtones, from the first verse’s “You can do something in between” to the suggestive promises of “a better time”.

’Drive my car’ was an old blues euphemism for sex, so in the end all is revealed. Black humour crept in and saved the day. It wrote itself then. I find that very often, once you get the good idea, things write themselves.

Paul McCartney
Many Years From Now
” – The Beatles Bible

Back in the U.S.S.R.

From the Album: The Beatles

Album Release Date: 22nd November, 1968

Producer: George Martin

Main Songwriter: Paul McCartney

Song Information:

In the studio

Unusually, the drums on ‘Back In The USSR’ were recorded mainly by Paul McCartney, with contributions from John Lennon and George Harrison, after Ringo Starr had temporarily walked out of the group.

According to Barry Miles, Starr left when McCartney criticised him for messing up a tom-tom fill. With the atmosphere in the studio already often tense, the altercation was enough for the normally amenable Starr to reach his limit. He left London and spent a fortnight on Peter Sellers’ yacht in the Mediterranean.

I left because I felt two things: I felt I wasn’t playing great, and I also felt that the other three were really happy and I was an outsider. I went to see John, who had been living in my apartment in Montagu Square with Yoko since he moved out of Kenwood. I said, ‘I’m, leaving the group because I’m not playing well and I feel unloved and out of it, and you three are really close.’ And John said, ‘I thought it was you three!’

So then I went over to Paul’s and knocked on his door. I said the same thing: ‘I’m leaving the band. I feel you three guys are really close and I’m out of it.’ And Paul said, ‘I thought it was you three!’

I didn’t even bother going to George then. I said, ‘I’m going on holiday.’ I took the kids and we went to Sardinia.

Ringo Starr
Anthology

The recording of ‘Back In The USSR’ was completed in just two days. On the first takes, recorded on 22 August 1968, McCartney played guitar and Harrison was on snare drum. On later takes McCartney switched to piano, and Lennon strummed chords on a bass guitar. They taped five tracks, the last of which was the best.

Paul completely. I play the six-string bass on that. [Sings as he pretends to play bass guitar] ‘Da da da da da…’ Try writing that on your typewriter.

John Lennon
All We Are Saying, David Sheff
” – The Beatles Bible

Come Together

From the Album: Abbey Road

Album Release Date: 26th September, 1969

Producer: George Martin

Main Songwriter: John Lennon

Single Chart Position (U.K.): 4

Song Information:

In the studio

The Beatles began recording ‘Come Together’ on 21 July 1969, recording eight takes in Abbey Road’s studio three. Three of the takes – four, five, and seven – were incomplete, and take six was selected as the basis of the album version.

Take one, with slightly different lyrics and a raw vocal from John Lennon, can be heard on the Anthology 3 album, and take five can be heard on some formats of the 50th anniversary reissue of Abbey Road.

Lennon sang without his guitar, and clapped while singing the line “Shoot me”. The words allegedly referred not to a desire for martyrdom, but to a fix of heroin. They were adapted from the unreleased ‘Watching Rainbows’, a song The Beatles rehearsed on 14 January 1969 during the Get Back/Let It Be sessions.

On the finished record you can really only hear the word ‘shoot’. The bass guitar note falls where the ‘me’ is.

Geoff Emerick
The Complete Beatles Recording Sessions, Mark Lewisohn

Although ‘Come Together’ was conceived as a Chuck Berry-style rocker, The Beatles slowed it down at Paul McCartney’s suggestion.

He originally brought it over as a very perky little song, and I pointed out to him that it was very similar to Chuck Berry’s ‘You Can’t Catch Me’. John acknowledged it was rather close to it so I said, ‘Well, anything you can do to get away from that.’ I suggested that we tried it swampy – ‘swampy’ was the word I used – so we did, we took it right down. I laid that bass line down which very much makes the mood. It’s actually a bass line that people now use very often in rap records. If it’s not a sample, they use that riff. But that was my contribution to that.

Paul McCartney
Many Years From Now, Barry Miles

The Beatles began recording ‘Come Together’ on four-track tape. The initial takes had McCartney’s bass guitar on track one; George Harrison’s guitar on track two; Ringo Starr’s drums on track three; and Lennon’s vocals, handclaps and tambourine on track four.

‘Come Together’ changed at a session. We said, ‘Let’s slow it down. Let’s do this to it, let’s do that to it,’ and it ends up however it comes out. I just said, ‘Look, I’ve got no arrangement for you, but you know how I want it.’ I think that’s partly because we’ve played together a long time. So I said, ‘Give me something funky,’ and set up a beat, maybe, and they all just join in.

John Lennon, 1969
Anthology
” – The Beatles Bible

FEATURE: Inspired By… Part Seventy-Two: Gloria Gaynor

FEATURE:

 

 

Inspired By…

Part Seventy-Two: Gloria Gaynor

__________

FOR this outing…

I wanted to include the legendary Gloria Gaynor in Inspired By… An iconic artist who is best known for her 1978 hit, I Will Survive, she has undoubtedly influenced so many other artists. I am ending with a playlist of songs from artists who have been inspired by Gaynor. One can definitely feel her essence and sound in other artists. Before coming to that playlist, AllMusic provide a biography of the sensational and timeless Gloria Gaynor:

There are many reasons why Gloria Gaynor is synonymous with "I Will Survive." The 1978 single topped Billboard's disco and pop charts, went platinum, and won Best Disco Recording the only year the Grammys recognized the subgenre. A belter if there ever was one, it set the standard by which all subsequent perseverance anthems have been measured. Its eternal appeal has been recognized by the Grammy Hall of Fame and the National Recording Registry. The inextricable links, however, obscure the depth and range of Gaynor's career. A soul singer through and through, Gaynor wasn't an overnight success. When she went supernova, her debut recording was 13 years old, and she had hits including a 1974 version of "Never Can Say Goodbye" that topped Billboard's first club chart and crossed into the Top Ten of the pop chart. Although she has recorded infrequently since the early '80s, her number one club hits span almost 30 years, through the early-2000s singles "Just Keeping Thinking About You" and "I Never Knew." She releases new material occasionally, including the 2019 gospel LP Testimony, and remains an active performer.

Gloria Fowles grew up in a Newark, New Jersey household attuned to a wide range of music. During childhood, she had a desire to become a singer to herself, and eventually followed her father as a performer. In her mid-teens in 1965, she debuted as Gloria Gaynor with "She'll Be Sorry," a low-profile single produced and released by Johnny Nash (who had suggested the name change). Gaynor was a seasoned performer at nightclubs and other small venues by the time she was signed by Clive Davis to Columbia, the label that released her second single, 1973's "Honeybee," a sweet and sweeping proto-disco number arranged by Norman Harris and produced by Paul Leka.

Following Columbia's dismissal of Davis, Gaynor was scooped up by MGM, which re-released "Honeybee" (as "Honey Bee") and steered it into Billboard's R&B chart in April 1974. Gaynor soon followed up with "Never Can Say Goodbye," popularized by the Jackson 5 for Motown. The driving cover gained traction in clubs. That October, it appeared at the top of Billboard's first Disco Action chart, and in a survey of New York City club DJs conducted by Tom Moulton, who noted in the accompanying column that the number one entry had been the hottest club record since mid-September. "Never Can Say Goodbye" entered the pop chart in November and peaked at number nine the following January, around the release of the like-titled album. Side one of Never Can Say Goodbye consisted of "Honey Bee," the title track, and a remake of another Motown hit, the Four Tops' "Reach Out, I'll Be There," mixed continuously for dancefloors by the inventive (and uncredited) Moulton. The suite almost topped Disco Action, and "Reach Out, I'll Be There" peaked on the pop chart at number 60.

Dust had yet to settle on Never Can Say Goodbye -- a number 25 hit on the Billboard 200, about to be nominated for a Grammy in the R&B field, and on its way to platinum status in the U.K. -- when MGM eagerly released Gaynor's second album. Experience Gloria Gaynor was cranked out during the third quarter of 1975. Like the breakthrough LP that preceded it by only eight months, Experience contained a nonstop side-one sequence courtesy of Moulton, and a ballad-heavy side two with some material written by Gaynor. This set reached number 64 on the Billboard 200 and number 32 on the R&B chart, while its first side crowned the disco chart. Still moving quickly, Gaynor made a lateral shift to Polydor. The singer had continued commercial success, primarily in the club sector, with I've Got You, Glorious, and Gloria Gaynor's Park Avenue Sound, released from 1976 through 1978. A cover of the Righteous Brothers' "Substitute," the first single from a second 1978 album, Love Tracks, didn't fare as well, but DJs found much to like in the B-side and album cut "I Will Survive." The theatrical dancefloor epic, written and produced by Dino Fekaris and Freddie Perren, truly took off once it was converted to an A-side. It debuted on the pop chart in December 1978, topped it early the following year, and was awarded a Grammy for Best Disco Recording. Love Tracks consequently became the biggest full-length of the singer's career -- number four pop and R&B, a platinum-certified million seller in the U.S., and an international smash to boot.

As the disco era continued to play out and fizzle in the early '80s, Gaynor released three additional Polydor albums: 1979's I Have a Right, 1980's Stories, and 1981's I Kinda Like Me. The second of these was her seventh and final LP to register on the Billboard 200, peaking at 178. Three LPs for as many labels followed throughout the rest of the decade. Gaynor best adapted to the increasingly electronic sound of dance music with her 1983 version of "I Am What I Am" (from La Cage aux Folles), a number three hit on the club chart. During this period, she also re-recorded "I Will Survive," revising the lyrics to reflect her born-again Christianity. Her studio sessions then became limited, typically balancing R&B and electronic dance music with elements of gospel. In 2000, she published I Will Survive: The Book, a memoir that revealed how much she has needed the message of her most popular recording throughout her life, and shortly thereafter topped the club chart two more times with "Just Keep Thinking About You" and "I Never Knew." The enduring cultural relevance of "I Will Survive" was recognized in 2012 when it was inducted into the Grammy Hall of Fame. Synchronized with a like-titled album, Gaynor's second book, We Will Survive, followed the next year. Its audio version was up for a Grammy in the Best Spoken World Album category. "I Will Survive" entered the Library of Congress' National Recording Registry three years later. Busy as a performer all along, Gaynor resumed studio work later in the decade, and in 2019 released the full-fledged gospel album Testimony”.

With a remarkable body of work, Gloria Gaynor will continue to influence artists for decades more. Her latest album, 2019’s Testimony, won the Grammy Award for Best Roots Gospel Album at the 62nd Annual Grammy Awards. Below is a playlist of songs from a collection of artists who either count Gaynor as an influence or have been compared with her. As you can see, there are some huge acts…

IN the mix.

FEATURE: Kate Bush’s The Kick Inside at Forty-Five: Why She Deserved Bigger Success in the U.S. Market

FEATURE:

 

 

Kate Bush’s The Kick Inside at Forty-Five

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

Why She Deserved Bigger Success in the U.S. Market

__________

NOW she is a success in the U.S…

but it has, arguably, taken her whole career to get there! Even if Kate Bush was never really concerned about success in America, that is not to say it was undeserved. As I have written before, Bush’s first real wave of appreciation and recognition there was in 1985 following the release of Hounds of Love. Her biggest album, it was impossible to resist and deny the genius of it! Even if there wasn’t a massive push to get The Kick Inside to U.S. markets, I do wonder why it was not taken to heart. In August 1977, Bush completed recording of her debut album. One that she dreamed about for a long time. I don’t think it is the case that The Kick Inside is too eccentric or English. I am going to continue on. First, as I am really invested in the album and its origins, the Kate Bush Encyclopedia provided interviews where Bush spoke about her debut album:

Hello everyone. This is Kate Bush and I'm here with my new album The Kick Inside and I hope you enjoy it. The album is something that has not just suddenly happened. It's been years of work because since I was a kid, I've always been writing songs and it was really just collecting together all the best songs that I had and putting them on the album, really years of preparation and inspiration that got it together. As a girl, really, I've always been into words as a form of communication. And even at school I was really into poetry and English and it just seemed to turn into music with the lyrics, that you can make poetry go with music so well. That it can actually become something more than just words; it can become something special. (Self Portrait, 1978)

There are thirteen tracks on this album. When we were getting it together, one of the most important things that was on all our mind was, that because there were so many, we wanted to try and get as much variation as we could. To a certain extent, the actual songs allowed this because of the tempo changes, but there were certain songs that had to have a funky rhythm and there were others that had to be very subtle. I was very greatly helped by my producer and arranger Andrew Powell, who really is quite incredible at tuning in to my songs. We made sure that there was one of the tracks, just me and the piano, to, again, give the variation. We've got a rock 'n' roll number in there, which again was important. And all the others there are just really the moods of the songs set with instruments, which for me is the most important thing, because you can so often get a beautiful song, but the arrangements can completely spoil it - they have to really work together. (Self Portrait, 1978)”.

I do wonder how Bush’s career would have changed and taken off were she embraced in America from 1978. It was hard enough for Bush to win favour from critics here. Maybe America had not seen anyone like her before, so they had no frame of reference. In years since Bush launched onto the scene, there are female artists in the U.S. who have been compared with her (such as Tori Amos). In 1978, imagine hearing Wuthering Heights at a time when artists like Devo, Bruce Springsteen, and Elvis Costello were being championed and popular. Thinking about the market in 1978, Kate Bush’s music was not too out-there or peculiar. Groups like Kraftwerk were well-known and respected, but there was something about Kate Bush that did not penetrate the U.S. I hope, forty-five years after the album was recorded, The Kick Inside is better known and listened to. Maybe EMI should have been more proactive in promoting their teenage star. Bush was not going to tour or perform live in the U.S., but there should have been more singles for the U.S. market. Japan got two singles in the form of Moving and Them Heavy People. Going on the strength of Wuthering Heights, any chart disappointment could have been reversed with two more accessible singles.

Even if Wuthering Heights made no dents, that is not to say Bush would have been ignored or brushed aside with other singles and promotion. If distance and a lack of physical engagement with American press hindered her chances of popularity there, songs like James and the Cold Gun, Moving, and Feel It could have done more. Maybe things were just a bit too original and unexpected. I still wonder why there was resistance to her music in America. This year, Stranger Things took Running Up That Hill (A Deal with God) to the top of the charts. I hope there is an opportunity for a song or two from The Kick Inside to get a big feature and new investigation. Thinking about how accessible the album is compared to some of Bush’s later work, it definitely does not sound too strange today. Was it too peculiar in 1978?! There are some obvious reasons why The Kick Inside did not get as much traction in the U.S. as other countries, but the sheer strength of the material should have secured high chart placement and interest. Regardless, Bush has been reassessed in the U.S. this year. If Hounds of Love is verry much the album of the moment there, I hope the forty-fifth anniversary of The Kick Inside’s recording means it gets heard more. Certainly, plenty of U.S. critics have reappraised the album in the years since and seen its true depth and worth. In 2022, The Kick Inside is…

DUE a revival.

FEATURE: Spotlight: Beach Bunny

FEATURE:

 

 

Spotlight

PHOTO CREDIT: Zachary Hertzman 

Beach Bunny

__________

THERE are two big interviews…

 PHOTO CREDIT: Artimio Blackburn

that were conducted this year that perfectly introduce Beach Bunny and their work. Even though they formed in 2015, I still think that a lot of people do not know about them. Their second studio album, Emotional Creature, was released on 22nd July. Formed in Chicago, Beach Bunny were founded by Lili Trifilio (vocals, guitar, songwriter, and lyricist). She is joined in the group by Jon Alvarado (drums, 2017–present), Matt Henkels (guitar, 2017–present) and Anthony Vaccaro (bass, 2019–present). I will finish with a review for the amazing Emotional Creature. Before that, I will start with a Stereogum interview that was published back in March. I am a very new convert to the band, so this interview made for fascinating reading. I have selected some segments of the interview that I feel are especially important and illuminating:

After recording all day, Beach Bunny are taking a break with a dozen warm beignets. Lili Trifilio opens a paper bag to share them with everyone in the room — guitarist Matt Henkels, drummer Jon Alvarado, bassist Anthony Vaccaro, producer Sean O’Keefe, and me — and a cloud of powdered sugar poofs into the air. It’s a suspiciously warm spring day for Chicago, but they’re happily holed up indoors to track their sophomore album, Emotional Creature, which will be released July 22 on Mom+Pop Music. While everyone bites into a pastry to fuel another six hours in the studio, O’Keefe wheels around in his chair with an excited look on his face. “I posted a story of you on Instagram and Butch Vig just messaged saying he loves Beach Bunny!” It’s the fifth response O’Keefe has gotten like that today from his music industry peers, including one from Johnny Minardi, the Vice President of A&R at Elektra Records. O’Keefe seems a little taken aback, as if he knew Beach Bunny’s appeal is hard to resist, but that their reach is something he hasn’t seen in a while.

PHOTO CREDIT: Nina Corcoran

“Oh wow, that’s cool!” Vaccaro says, and the rest of the band nods in agreement. O’Keefe pauses for a moment, one hand on the mixing board. It looks like he’s unsure what the best way to drive home how huge that compliment is. “You know who he is, right? Garbage drummer? Produced Nevermind?” he continues.

“Yeah! That’s really nice of him!” says Trifilio in her usual cheery voice. There’s no disinterest or air of coolness clinging to these responses. It just comes across like Beach Bunny themselves don’t quite know what to do with their fame. To be fair, they’re situated at an interesting place: big enough to be well-liked by just about everyone, from preteens to their parents, but small enough where the fact they can even make a living off their art still comes as a shock. That’s the weird part about being a DIY band that suddenly blows up.

Trifilio formed Beach Bunny as a solo project back in 2015. After wanting to give music a whirl for years but hesitating due to the intimidating nature of the industry, she finally decided to record an EP of original indie-pop songs, Animalism, from the comfort of her childhood bedroom in Chicago. Trifilio was just 18 at the time, but the fact she pulled it off by herself excited her. She set to work recording follow-up EPs in college, 2016’s Pool Party and 2017’s Crybaby. Eventually Trifilio scouted three musicians to join her under the moniker so she could enter a local battle of the bands, which denied entry to solo acts. They spent three months rehearsing for the contest, and their ensuing collaborative spirit convinced Trifilio to turn Beach Bunny into a proper band. The quartet sat down to record their 2018 EP Prom Queen shortly afterwards, and they became a local tour-de-force in the process, with most everyone in Chicago rooting for them. By the time Trifilio was about to graduate with a journalism degree, Beach Bunny had stepped into the studio with Joe Reinhart of Hop Along to record their excellent debut album Honeymoon, overflowing with sugary vocal hooks and alt-rock tinged guitars. Anyone who wasn’t previously won over finally caved.

It helps that BeachBunny make it easy to cheer for them. Trifilio sings candidly about personal struggles and teenage insecurities that are timelessly relatable, and her bandmates bring the revved up flair that makes otherwise simple power-pop feel so energetic and polished. Beyond the music, all four members are unpretentious kids who grew up paying their dues and expecting nothing for it. Trifilio was a cashier at her local pizza shop Armand’s; Henkels worked behind the counter at Panera Bread; Alvarado flipped Whoppers as a fry cook at Burger King; and Vaccaro, who joined the band in 2019 following original bassist Aidan Cada’s departure, landed jobs at Best Buy and his local record store. From day one, Beach Bunny have captured the everyday joy, misery, and awkwardness of youth — particularly that of your average teenager — with surprising grace. Their songs are confessional without the usual melodrama, honest without the accompanying cringe, level-headed without getting preachy.

It’s easy to imagine their surprise, then, when Beach Bunny became TikTok-famous thanks to “Prom Queen,” the titular EP’s lead single about learning to ignore unrealistic beauty standards. Thousands of teenagers were filming themselves grappling with self-hatred, body fat, and acne to the song’s simple refrain: “Maybe I should try harder/ You should lower your beauty standards.” The song’s music video racked up 20 million views. Beach Bunny were launched into the pages of The New Yorker and Paper Magazine, where they were lauded with praise. They landed sets at festivals like Lollapalooza and Pygmalion. A sea of fans started populating every social media account the band had, responding to each Instagram picture and tweet Trifilio posted. Someone even started a Beach Bunny subreddit and Instagram fan account to archive their every move.

Listen to any Beach Bunny record and it’s obvious Trifilio has an innate knack for melody and lyrics, but the extent to which she’s grown over the past two years also highlights how much more she has to offer that she hasn’t revealed yet. “Lili is a decisive, creative person and one of the best songwriters I’ve worked with,” says O’Keefe. “She knows exactly what she wants. If something is not right, we keep searching till we find it. And when it’s found she moves on without second guessing. That’s something you don’t see very often. And then on top of all of that, she has an extraordinary voice. It’s a hard combo to beat. I know that Lili writes songs about topics that are personal and meaningful to her. When you’re in her position, there can be a lot of pressure to steer your writing in other directions to satisfy outside people, and I never once saw her entertain those ideas. As a music fan, those are the types of songs I want to hear.”

Trifilio’s vision is so clear that she even has a full-blown sci-fi aesthetic plotted for the album rollout. She’s been indulging in everything from older classics like Star Trek and Barberella to newer staples like Dr. Who and Watchmen. (Note the Dr. Manhattan lookalike sweeping Trifilio through space on the “Oxygen” single art.) In the studio, she’s busy jotting down ideas and drawing possible renderings for artwork, merch, and music videos. “I’m training to become the first jedi to write pop bangers,” she later jokes on Instagram. For Trifilio, visuals aren’t a way to explain her lyrics or sell the music. Instead, she’s taking after some of her biggest pop idols — Marina And The Diamonds, Charli XCX, Grimes — by prioritizing visuals as an exercise in fun. “None of these songs are about outer space or aliens or anything. It’s just fun to have an excuse to explore a new style because you’re changing along with the music you’re writing and so are your interests beyond music,” she says. “There’s definitely a degree of escapism there, especially compared to Honeymoon, which was based in reality”.

The entire group are wonderful and compelling, but I think there is something about lead Lili Trifilio that is especially fascinating. A wonderful songwriter and voice, this interview from The New York Times is one I would recommend people read in full. It seems that the pandemic has been responsible for each Bunny’s music reaching a much wider and larger audience:

One morning last August, Lili Trifilio was feeling emotional.

“I’m honestly so nervous,” the singer-songwriter, then 24, admitted, her voice rising as she shook her head. It was the day before her indie-rock band Beach Bunny would headline a sold-out show at the Music Hall of Williamsburg in Brooklyn. Beach Bunny’s recent success had seemed abstract to Trifilio, since most of it had happened during lockdown, on the internet, but the group’s biggest New York show to date would make it tangible.

“Over the pandemic, Beach Bunny has grown like 200 percent,” Trifilio continued, between sips of an iced Nutella mocha latte at a cafe not far from the venue, “and I don’t know what to expect.”

Trifilio has a wide, toothy smile and a choppy bobbed haircut that she likes to dye different colors — magenta, lilac, rust — though that day it was a naturalistic blonde. Onstage, she’s known for her bubbly, earnest positivity; at a recent Beach Bunny show, she gave an enthused recommendation for a local vegan restaurant, urged the audience to get their Covid-19 booster shots and led the entire crowd in singing “Happy Birthday” to a fan. On albums she’s known for the emotional lucidity of her songwriting, which seems to trap fleeting feelings in shimmery amber.

 Beach Bunny’s music has plenty of admirers outside of the TikTok demographic, too. The actor Bob Odenkirk discovered the band several years ago while flipping through The Chicago Tribune, and he “immediately dug them,” he wrote in an email, because he found their sound to be “connected to the indie rock that I loved from the days of yore,” like Pixies, Sebadoh and the Cavedogs. He’s since become a vocal fan and even made a cameo in Beach Bunny’s recent “Star Wars”-spoofing video for the song “Entropy.”

“I’m an older white guy, and her lyrics are about longing and written from a female perspective,” Odenkirk added. “But I still feel very connected to the pain and estrangement of my 14-year-old self, and I always will.”

On the new album, piercing pop-punk tunes like “Gone” and “Deadweight” challenge emotionally ambivalent partners to wear their hearts on their sleeves. “You’re a diamond/Wish you could see you the way I see,” Trifilio sings on the mid-tempo rocker “Weeds,” during a chorus that offers loving advice to a heartbroken friend — or perhaps the singer herself. Writing the album, she said, helped her to confront her history of “shame around feeling big emotions.”

“That was, like, a therapy moment,” she said. “‘Wow, you have a lot of shame around being an emotional person, even though every human has feelings.”’

Trifilio has since come around on TikTok, too. “There is definitely a young girl audience, mostly coming from TikTok, with very little experience of even attending shows,” she said. “They tell me, ‘This is one of my first shows,’ and I’m like, ‘That’s amazing. I hope you go to so many more’”.

I want to finish things off with a review from Rolling Stone of Beach Bunny’s new album, Emotional Creature. If you have not heard their 2020 debut, Honeymoon, then I would definitely advise that you do. It is an amazing introduction, but I feel Emotional Creature is an even stronger work. This is what Rolling Stone had to say about it:

‘Cause somebody’s gonna figure me out / It’s what I am, it’s what I was, It’s what I wanna become,” Beach Bunny’s Lili Trifilio sings with resignation on “Entropy,” the opener of the band’s striking sophomore album. The line has a double meaning: She yearns for the liberation that will come from no longer needing to hide a clandestine relationship, but it also underscores the bandleader’s confidence in knowing exactly what she wants. The song is the epitome of Trifilio’s growth as both a person and a songwriter—and representative of the power she’s found in embracing her emotions. And it’s what fuels Beach Bunny’s latest effort Emotional Creature.

For the past few years, the Chicago indie rockers have skyrocketed to fame in part as TikTok darlings —thanks to tracks like “Prom Queen” and also “Cloud 9” from their critically-acclaimed 2020 debut Honeymoon. For most artists, finding a large audience on the platform can be a mixed bag. It’s easy to be written off as another internet band because of “the algorithm,” but sometimes it’s the launching pad needed for hard-earned recognition. With Honeymoon, and now Emotional Creature, Beach Bunny has shown that they more than deserve to be taken seriously, but also that their cathartic connection to TikTok teens has been invaluable.

 Trifilio’s overwhelming empathy has become a hallmark of her work, as she’s navigated teen trauma like longing, heartbreak, body image and ghosting through twee garage-pop songs. And on Emotional Creature (their second release for Mom + Pop Music), she ascends beyond those themes with even more of an open-hearted approach, delivering plainspoken missives of quarter-like crises that include crippling anxiety, toxic relationships and self-discovery.

Emotional Creature is Nineties rom-com core at its finest. Barreling through the album’s 12 songs, it’s easy to envision Trifilio’s equally ebullient and wistful vocals soundtracking the ups and downs of romantic entanglements in everything from 10 Things I Hate About You to Never Been Kissed. It’s not surprising when you consider that Beach Bunny’s jangly power-pop evokes the sweet but biting timbre of Letters to Cleo’s Kay Hanley—particularly when she’s cosplaying Josie from Josie and the Pussycats—as well as vulnerable contemporary bands like Charly Bliss and Camp Cope.

As a bird’s eye view of Trifilio’s heightened emotional states, Emotional Creature kicks off with all-consuming highs with the euphoric “Oxygen,” fueled by Trifilio’s soaring serotonin-boosted vocals. “Suddenly everything is easy/ I’ve never felt something so deeply/ ‘Cause with you, with you, I breathe again,” she exhales over raucous guitar fuzz. anthems like the bombastic “Fire Escape” and heart-fluttering “Karaoke” capture the intoxicating beginnings of a new relationship, detailing precious moments like carving your names into a subway seat and radio sing-a-longs on hometown drives. On the downtempo rock cut “Love Song,” a starry-eyed Trifilio is finally self-assured about her partner for what feels like the first time. “It’s funny how we move through space and time/Sometimes I think I’ve known you all my life,” she sings with a dreamy lilt.

Trifilio particularly shines on the heavier points of the record, such as “Eventually,” where she paints an unfiltered portrait of a panic attack. Those lows could be purely defeating, but she turns them into moments of resilience. On the sticky tune “Weeds,” there’s a newfound emotional maturity in the way Trifilio realizes how she deserves to be treated. “I’m tired of giving, giving, living like a lady in distress/But I don’t need someone to save me/Not your polly pocket in your lover’s locket/You can’t hold me down/I’m a bursting bottle rocket,” she asserts. Likewise, there’s a silent confidence in Trifilio’s apathetic attitude toward a difficult partner on the glittery pop-punk cut “Deadweight.” “You always get what you want/But I’m not someone who waits to feel love/Because I think I’ve waited enough,” she delivers like a kiss-off.

“Scream” is Emotional Creature’s Eighties synth-tinged centerpiece—and the standout of the record—where you can envision Trifilio fully letting go, driving in a convertible with the top down, the breeze gently blowing through her hair. “I feel confused by, what I’m ashamed for/I feel ashamed by, my human nature/Choose to adapt new outward behavior,” she declares, shaking off the shame of her feelings over a swirl of psychedelic guitar riffs.

It’s empowering to see Trifilio own the full spectrum of her emotions, and it’s what cements Beach Bunny’s latest record as a masterclass in confessional rock and roll”.

A brilliant American band who are coming to the U.K. later in the year, I am excited to see where they head next. Everyone should have them on their radar, as I predict they will be huge very soon. Emotional Creature is one of the best albums of the year so far. If you have not followed and heard Beach Bunny, then make sure that you…

CORRECT that now.

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Follow Beach Bunny

FEATURE: Vinyl Corner: Morcheeba – Big Calm

FEATURE:

 

 

Vinyl Corner

Morcheeba – Big Calm

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I don’t think that…

 IN THIS PHOTO: Morcheeba in 2013

I have included a Morcheeba album on my site before. One that I have been listening to a lot recently is Big Calm. Their second studio album, it begins with the gorgeous track, The Sea. Made irresistible by the vocals of Skye Edwards, I think that this is the group’s best album. The recording of Big Calm started on Christmas Day 1995, as Morcheeba members Paul and Ross Godfrey as they were awaiting the release of Who Can You Trust?. After demos had been laid down at their home studio, the Godfreys brought in vocalist Skye Edwards and a number of guest performers to complete the record. I think that one of the secret ingredients of Big Calm’s sensuality and hypnotic nature is Edwards’ voice. Although she featured on the 1996 debut, Who Can You Trust?, I think her voice is richer and more impressive on Big Calm. It is a terrific album that you should get on vinyl if you can. Big Calm reached the top twenty in the U.K. and won a raft of positive reviews upon its release. I will get to one of those reviews at the end. Prior to getting to a review, Music Radar published a feature about Morcheeba’s Big Calm in 2014. They spoke to Paul Godfrey about the making of the album. He gives a track-by-track recollection. I have selected The Sea because it is my favourite song from Big Calm:

It's Christmas Day 1995, and Morcheeba brothers Paul and Ross Godfrey are sacking off any idea of a follow-up course of mince pies, and instead heading to the studio right next to the bedsit they share, pissed as newts, to make their second album. In one day. Sozzled. Before the first album has even come out. Hic!

The two bros headed up the garden path, armed with the Christmas booze, to fire up the samplers. All they needed now was a plan of attack...

"Let's make a song every five minutes!" shouted Paul, thrusting a triumphant finger in the air to further signal the drama of the idea. It's at that point that a brother is legally allowed to slap you firmly across your chops and demand that you "get a grip". But no, the drink makes you the king of the world and, in good company, these types of demented brain children are given permission to run riot.

So, they looped up beats, waffled lyrics into a dictaphone and laid down the foundations for what would be a trip-hop masterpiece and a massive worldwide commercial success. From little pissed up acorns, eh?

"My main memories from that period are just ones of intense panic. We were out of our minds all the time on various things, and the fact that we were making such peaceful music was bizarre."

Paul Godfrey

"We had to do something," says Paul Godfrey, the beats and lyrics guy from Morcheeba. "We were waiting for our first album to drop, and we'd worked really hard on it and got the record deal and everything, but we were just sat there in limbo, panicking about the whirlwind that was about to follow..."

Paul and his more musically-inclined guitar-strumming, slightly younger brother Ross hadn't been

in London that long before they suddenly got a record deal, you see. "Before we knew it we were out in Hollywood playing to celebrities," says Paul. "We really kind of lost our minds a little bit. There was no kind of 'big calm' surrounding our lives at all. My main memories from that period are just ones of intense panic. We were out of our minds all the time on various things, and the fact that we were making such peaceful music was bizarre. It's probably because we were so hungover most of the time."

The album was a runaway success - their little drunken Christmas present to us all and, more importantly, themselves. It was the album that shook off the Portishead comparisons from their debut, and set out a stall for the more intricate and mature sound (AOR-cheeba?) that they would further develop across the early 2000s with the next three long players. What was to follow may have stormed further up the charts on both sides of the Atlantic, but they owe everything to this one Big Calm that came before it.

The Sea

"This was one we wrote in five minutes on that drunken Christmas Day. It was just drums to start with, then we added a guitar after we came back from the pub. We used to go to the pub every night. We came back hammered and Ross put it down in one take. Then we DI-ed it into the Mackie desk through a wah-wah peddle, and when we mixed it I rolled all the top off it to give it that smooth sound.

"The strings were arranged after by Steve Bentley-Klein, who I met when I was DJing at a party his string quartet were playing at. I didn't know anything about strings in those days so just said, 'Err, can you do some strings for us?'

"[Morcheeba main vocalist] Skye Edwards came up with the melody and gave it that blissed-out feel. The Sea went on to be our biggest song".

A Trip-Hop classic that still sounds amazing and engrossing to this day, I have a lot of affection for Big Calm. Morcheeba are one of these groups that many know about, but I don’t think they got the mainstream attention that their music deserved. Their latest album, Blackest Blue, was released last year. The A.V. Club provided their take on Big Calm in 2002:

It's amazing how just a few years differentiate innovation from imitation. As soon as Portishead made "trip-hop" a part of pop-music parlance, sneaky slow-beated neophytes began to sprout up like weeds, unable to resist the lure of the cool new cash cow. Morcheeba initially seemed like one of those pale copycat usurpers, but listening to the band's 1996 debut Who Can You Trust? made you quickly realize that it's the real deal. In fact, in some ways, Morcheeba is superior to Portishead: Where Geoff Barrow and Beth Gibbons create bloodless, gothic soundtracks, Morcheeba (brothers Paul and Ross Godfrey and singer Skye Edwards) approaches its music from an acoustic standpoint, utilizing samplers and turntables as embellishment, but primarily building upon a bed of live instrumentation. In this way, Morcheeba isn't worlds apart from the silky soul of Sade; it's just hipped up for contemporary consumption. The group's new Big Calm is even more song-oriented than its debut. "Shoulder Holster" uses sitar and Indian percussion to great effect, bolstering an already sublime hook, while "Blindfold" explores the darker side of Morcheeba's quiet storm. "Friction" is a nice take on reggae that refuses to be pigeonholed as such, and "Over & Over"—a subdued folk song far more reminiscent of Nick Drake than Sneaker Pimps—even abandons beats entirely. All these songs reveal Morcheeba's impressive versatility, stressing songwriting over DJing, and thus ensuring its continued creative success beyond passing fads”.

An album that I was keen to include in Vinyl Corner, the brilliant Big Calm is one that you should own. I was fourteen when the album came out and I remember loving it right away. Aside from The Sea, tracks like Part of the Process stuck in my mind. I listen to the album in its entirety today and it still elicits reactions and emotions. Morcheeba’s 1998 gem of an album is one you need to hear if you are not familiar with it. Just put it on, drop the needle and…

SWIM inside of it.

FEATURE: Pour Some Sugar on Me: Def Leppard’s Hysteria at Thirty-Five

FEATURE:

 

 

Pour Some Sugar on Me

Def Leppard’s Hysteria at Thirty-Five

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A classic album…

that is coming up to its thirty-fifth anniversary, Def Leppard’s Hysteria is in my thoughts. The fourth studio album from the Yorkshire band, it was released on 3rd August, 1987. Def Leppard's best-selling album to date, it went on to sell over twenty million copies worldwide, including 12 million in the U.S. It hit number one in the U.S. and U.K. It is good that Hysteria did sell so many copies as it was an incredibly expensive album to make! Running in at over an hour, Hysteria is a long album. Not that one gets bored listening to it. I feel it is a rightful classics whose singles – such as Animal and Pour Some Sugar on Me – rank alongside some of the best from the 1980s. I will get to a couple of reviews for Hysteria. Before that, there are features that explain and explore the making of the album. Loudwire investigated Hysteria on its thirty-fourth anniversary on 3rd August, 2021:

They were one of the first bands the British press categorized as part of the NWOBHM (New Wave of British Heavy Metal) movement, but by the time Def Leppard released their fourth record, Hysteria, on Aug. 3, 1987, they had completely shattered the mold and discovered a sound based on catchy melodies, heavily processed drums, layered, shimmery walls of guitar and clean, crisp vocals. If 1983’s Pyromania marked Def Leppard’s toe-dip into pop, Hysteria was a cannonball off the deep end. Then again, guitarist Phil Collen says they never liked being categorized with British metal bands.

“Even when we were grouped as part of the New Wave of British Heavy Metal, we didn’t think we were at all like the other bands people were talking about [including Iron Maiden and Diamond Head],” he told me in 1999. “We never wanted to be a metal band, ever. We're about as close to metal as we are to Madonna.”

Despite their disenchantment with metal, Def Leppard still had a slew of commercial metal fans and glam rock fans who didn’t bail on them, and with radio hits like “Pour Some Sugar on Me,” “Love Bites,” “Animal” and “Rocket,” Def Leppard attracted a new fan base from fans of U2 and Prince to kids who had just one or two hard-rock records in their collections.

“We’ve always wanted to be a band for the people,” Collen says. “When we started working on Hysteria we had just sold eight million records with Pyromania so we knew we had a fanbase. We weren’t necessarily trying to top that because you can’t go into something saying, ‘Okay, yeah, this one’s going to sell more than 8million copies.’ That’s a lot of records. We just wanted to make a record with good songs that we really liked and that were maybe a little more polished and more modern sounding. Even when we finished Hysteria we had no idea how it was going to do, but it felt like a triumph for us.”

Within days of its release, it was clear that others viewed it as a triumph as well. Hysteria reached No. 1 on both U.S. and UK album charts and went on to sell over 12 million copies in the States and over 20 million copies worldwide. And it proved that after a four-year wait for a new album, the public was still eager to embrace Def Leppard’s heavily processed sound.

Hysteria wasn’t an easy record for the band to make, and came to life only after some serious drama and soul-searching. By the time it was released, Def Leppard’s drummer Rick Allen had lost his arm in a near-fatal car crash and the level of stress they were under while writing the songs made the band consider breaking up. Then, after they toured for Hysteria, guitarist Steve Clark died from an overdose.

“People talk about ‘The Curse of Def Leppard,” and that’s so strange to me,” Collen said. “We’ve been a band since 1977. We’ve been like a family, and things happen in any family. People have accidents, people die. You enjoy the good times, and you stick together and help each other through the bad times.”

There were both good and bad times while producer Mutt Lange -- who had been with Def Leppard since their second album, 1981’s High ‘n’ Dry -- worked on Hysteria. From the start, his goal was to help create the most commercial hard rock album of all time, and reaching that goal put everyone in a pressure chamber, from the engineers to the band members. “His blueprint for Hysteria was Thriller,” recalled Collen. “He figured, ‘Well, that album's got six or seven hit singles on it. Let’s make a rock version of that.’ Talk about a challenge. And to be honest, Hysteria was a difficult record to make. Nothing came easily. We worked on it for a long time and it cost lots of money, but eventually we got there.”

To give Hysteria a sound that would stand out from the rock records flooding the marketplace, Lange used a variety of technology. All of the guitars were recorded on a Rockman amplifier and dozens of tracks were recorded and layered for every take. Then the drums were sampled individually and played through a Fairlight digital sampling synthesizer. Finally, the takes were saturated with echoey reverb, giving the songs a stadium rock vibe, even without the low, booming tones of most hard rock”.

In a year where harder-edged acts like Gun N’ Roses were releasing sweaty and sleazy albums (Appetite for Destruction), Hysteria might have seemed a bit soft and effete in comparison! That is no bad thing. I actually respect and prefer albums like Hysteria compared to some of the so-called ‘best’ of 1987. Guitar World wrote about Hysteria in 2012 and its making of. Def Leppard guitarist Phil Collen revealed and shared some of his thoughts:

Not that everyone was receptive to it at first. “When Hysteria first came out, a lot of people went, ‘Dude, this is lame. This isn’t rock. It’s pop. It’s wussy,’ ” Collen recalls of the reaction from certain corners of the hard rock and metal world. “But actually it had the absolute effect it was supposed to have had. Because the point was to not just play to the rock audience but rather to play to everybody. And we achieved that.”

Indeed, Hysteria was a huge crossover success, and its cross-format appeal was due in large part to the creative vision of producer Robert John “Mutt” Lange, who had helmed Def Leppard’s two previous albums, High ‘n’ Dry and Pyromania, and entered into the new project with the band with the express intent of making what Collen calls “a hard rock version of [Michael Jackson’s] Thriller.” Says the guitarist, “The fact that with Thriller you had an R&B artist who crossed over not just into pop but into everything, even rock, with Eddie Van Halen playing on ‘Beat It,’ that really appealed to Mutt, and to us. But I think without Mutt’s vision the record would have been a more standard-sounding thing. He definitely pushed it.”

Just how far Lange and the band—which at the time also included singer Joe Elliot, bassist Rick Savage, drummer Rick Allen and guitarist Steve Clark, who passed away in 1991—would ultimately push things could not have been anticipated. Over the years, in fact, some of the more outlandish details of the recording sessions have seemingly passed into rock and roll mythology.

From the outset, did Mutt Lange explicitly state that with Hysteria he wanted to create something that could be as successful and have as much crossover appeal as Thriller?

Absolutely he did. That was it in a nutshell. But I think even more than that, Mutt wanted to make something that was unique. With rock bands in general, they’re usually not very open-minded; they’re kind of genre-specific and like to stay in their little boxes. I think the whole thing with Mutt was he wanted to open it up and do a hybrid thing, which obviously he’s amazing at. Just listen to all the stuff he did with Shania Twain later on, which basically brought country to the masses. It was the same with us: it was all about crossover appeal. Because, you know, I hear a lot of people say, “High ’n’ Dry is my favorite Def Leppard album.”

And it’s like, yeah, but that sound was kind of borrowed from AC/DC, which in some ways was a Mutt thing as well [Lange had produced three AC/DC albums, including Highway to Hell and Back in Black]. It very much had that vibe. To me, Def Leppard didn’t start to sound unique until Pyromania, which crossed over, and then Hysteria, which really crossed over.

Perhaps the most enduring guitar legend surrounding Hysteria is that Lange had you and Steve record many of your parts by breaking chords down into single notes and then building the chords back up by layering the tracks. But the truth is you only used this technique on the title song, correct?

Yes. I’ve heard the rumors taken as far as people saying we did the entire album one string at a time, which is crazy! [laughs] We really only did it on the bridge in “Hysteria”—the part that begins, [sings] “I gotta know tonight…” If I remember correctly it was just Mutt and me, sitting in a little jingle studio in Dublin, with me playing the part on one string, then stopping and doing it again on the next string and so on.

What was Mutt’s reasoning for having you do it this way?

He heard a certain sound in his head and he knew he wanted it to be a guitar and not a keyboard, but he also didn’t want there to be any sort of arpeggiation to it. And when you strum a chord on a guitar there’s always a certain amount of that. He wanted all the notes to hit right on the nose, so that everything about the sound hit the listener at the same time. And it worked.

What do you consider the legacy of Hysteria?

To me, it sounds like a classic rock album. And not classic in the sense of classic rock but in the sense of one of those albums that you put on and it takes you somewhere. People always talk about the production element and how long it took and all the tracks and all these things, but at its heart the music means something, and it achieves what it sets out to achieve. Even though it’s got all this stuff going on, it’s very real sounding. And I think over the years people have started to appreciate it for what it is. But you know, I remember when the record was just finished and Steve and I were first sitting there listening to the whole thing. We were so happy. We figured it was a masterpiece, and we felt that even if everyone else thought it sucked, that was okay. We said, “Even if only our mothers buy this album, we’ll be cool with it because we’re so proud of it.” [laughs] Of course, a few other people bought it, as well”.

I will round off with a couple of reviews for Hysteria. Press for the album has been largely positive. As it spawned a host of singles, there was no escaping Def Leppard’s fourth studio album! As Wikipedia explains, Hysteria has been placed high in critical ranking lists (“In 2005, Hysteria was ranked number 464 in Rock Hard magazine's book of The 500 Greatest Rock & Metal Albums of All Time. Hysteria got the same placement on Rolling Stone's list of the 500 best albums of all time, the magazine also ranked the album atop its list of the 50 greatest hair metal albums. Loudwire placed the album at No. 2 on their list of the top 30 hair metal albums”). This is what AllMusic had to offer about the hugely acclaimed Hysteria:

Where Pyromania had set the standard for polished, catchy pop-metal, Hysteria only upped the ante. Pyromania's slick, layered Mutt Lange production turned into a painstaking obsession with dense sonic detail on Hysteria, with the result that some critics dismissed the record as a stiff, mechanized pop sellout (perhaps due in part to Rick Allen's new, partially electronic drum kit). But Def Leppard's music had always employed big, anthemic hooks, and few of the pop-metal bands who had hit the charts in the wake of Pyromania could compete with Leppard's sense of craft; certainly none had the pop songwriting savvy to produce seven chart singles from the same album, as the stunningly consistent Hysteria did. Joe Elliott's lyrics owe an obvious debt to his obsession with T. Rex, particularly on the playfully silly anthem "Pour Some Sugar on Me," and the British glam rock tribute "Rocket," while power ballads like "Love Bites" and the title track lack the histrionics or gooey sentimentality of many similar offerings. The strong pop hooks and "perfect"-sounding production of Hysteria may not appeal to die-hard heavy metal fans, but it isn't heavy metal -- it's pop-metal, and arguably the best pop-metal ever recorded. Its blockbuster success helped pave the way for a whole new second wave of hair metal bands, while proving that the late-'80s musical climate could also be very friendly to veteran hard rock acts, a lead many would follow in the next few years”.

I want to round up with Rolling Stone’s view on Hysteria. A big success in the U.S. and well as their native U.K., it was a worthy follow-up to their 1983 release, Pyromania. In fact, I think Hysteria might be Def Leppard’s defining statement. The band released their latest album, Diamond Star Halos, in May (which gained a load of love from critics):

This album sounds terrific. Every track sparkles and burns. There is no filler. That is not to say, however, that the Leppards are actually great songwriters (as opposed to consummate riff-smiths). Because here, as on Pyromania, producer Mutt Lange gets full credit as a cocomposer. He is, in fact, the sixth Leppard — the one who takes their riffs and choruses and assembles them into spectacular tracks. A veteran producer of such metal superstars as AC/DC and Foreigner, Lange is a genre master, and this LP is thick with his trademarks: the deep, meaty bass sound; the fat, relentless drums; the dazzling guitar montages; the impeccable sense of structure and separation; the preternatural clarity. Lange also brings a certain ironic wit to the record: one suspects it was he who dreamed up the whispered intro to “Excitable” — an aural pun on an old Mothers of Invention track — although no doubt the band had a hand in fashioning the rap-chant vocals that turn “Pour Some Sugar on Me” from a good-natured Aerosmith salute into a more complexly admiring tribute to Aerosmith and Run-D.M.C.

None of which is to suggest that Lange could have made this album on his own. Def Leppard is a sharp, hot and dedicated stage band that really delivers live. Steve Clark and Phil Collen are a two-man guitar firestorm in the best metal — or any kind of rock — tradition (note the pulsing slabs of sound they pump into “Rocket” and the keening leads on “Don’t Shoot Shotgun” and “Love and Affection”). Drummer Allen (despite his accident) and bassist Rick Savage remain a formidable rhythm section, and singer Joe Elliott, this time out, has convincingly deepened his range (avoiding the castrato effect that so amuses most nonmetalheads).

So what’s wrong — or should we say, not quite right — with this picture? Def Leppard seems primed to burst out of the metal ghetto. The band has shed most of the genre’s more irritating stylistic tics, and it can rock with the best of today’s young bands, categories be damned. But in terms of songwriting — which is the key to any future growth — the Leppards remain trapped within metal’s tired old socio-sexual paradigm. It’s not simply that women are portrayed here as mere lifestyle accessories (“One part love, one part wild/One part lady, one part child” — or, as Elliott bluntly sings, “You got the peaches, I got the cream”). What’s most dismaying is that when the Leppards attempt to communicate more subtle emotion, as in “Love and Affection” or the title track, they inevitably fumble it. (The former tune actually boils down to “Don’t give me love and affection,” and “Hysteria” — a near ballad, despite its title — reduces love to mere carnal hysteria, then shrugs it off, lamely, as “such a magical mysteria.”) Is this all they want to say? Or is it, more sadly, all they’re capable of saying?

The lyrics throughout Hysteria are undistinguished at best. But nobody in his right mind ever assessed a metal album on the basis of its poetic integrity — it’s not the point. This is head-banging music of a very high sonic order, executed with great élan by what remains the most exciting metal-pop band on the scene. Where they’ll be able to go from here remains anybody’s guess. For now, here is a pretty impressive place to be”.

As it will be thirty-five on 3rd August, I wanted to spend a bit of time with the sensational Hysteria. Because the production and sound is quite dense at times, I think Hysteria is still revealing layers. It does not sound that dated to me, despite the fact it has some very ‘80s-sounding tracks – which, in a lesser producer’s (Robert John ‘Mutt’ Lange) hands could have been overly-naff; as it is, Hysteria never comes off as weak, cheesy or too commercial. Because it is coming up to a big birthday, go and seek out Def Leppard’s Hysteria and…

TURN it all the way up!

FEATURE: Do You Remember the First Time? The 2023 Reformation of Pulp: Revisiting Three Iconic Studio Albums

FEATURE:

 

 

Do You Remember the First Time?

The 2023 Reformation of Pulp: Revisiting Three Iconic Studio Albums

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IN exciting news last week…

 PHOTO CREDIT: Christie Goodwin/Redferns

Jarvis Cocker announced that his band, Pulp, were hitting the road in 2023. Their debut album, It, came out in 1983. Maybe as a fortieth anniversary nod, I am not sure this reformation will lead to new material. That said, the sight of having Pulp back on stage and performing their classics is tantalising! This is how The Guardian reported news of a great reunion:

Britpop legends Pulp are to reform and play gigs again in 2023, the band have announced.

After posting a cryptic caption to Instagram last week referencing their sixth album, This Is Hardcore, frontman Jarvis Cocker confirmed the reunion during a Guardian Live event on Monday night.

“Next year Pulp are going to play some concerts!” he said, to huge cheers from the audience.

Speaking to BBC Radio Sheffield on Tuesday, drummer Nick Banks – who confirmed the reunion was “a couple of months” into the planning stage – said the band had a list of “potential” dates and venues but that nothing was confirmed as yet.

He also posted about the reunion on Twitter, asking fans to “stay calm” and hug their Pulp records.

This isn’t the Sheffield band’s first reunion. After splitting in 2002, after the release of seventh album, We Love Life, the five-piece reunited in 2011 for a series of festival dates.

While new music was rumoured nothing emerged, with Cocker telling Q magazine the band were “cruising off into the sunset”. They split again in 2013”.

In order to celebrate news that a hugely important band are coming back to the stage, I am highlighting three of their albums that have stood the test of the time and are iconic. The band’s seventh studio album, We Love Life, was released in 2001. Although things are still in the planning stage, a 2023 Pulp series of gigs would be just what we need. It seems a long shot that we will get an eighth Pulp studio album, but you never know…

WHAT comes next.

_________________

His 'n' Hers

Release Date: 18th April, 1994

Producer: Ed Buller

Label: Island

U.K. Chart Position: 9

Buy: https://www.roughtrade.com/gb/pulp/his-n-hers-8d371b33-105d-406f-a2ba-61e0f9ce0b18

Key Cuts: Lipgloss/Have You Seen Her Lately?/Do You Remember the First Time?

Standout Track: Babies

Review:

Pulp had been kicking around since 1981, but for all intents and purposes, their 1994 major-label debut, His 'n' Hers is their de facto debut: the album that established their musical and lyrical obsessions and, in turn, the album where the world at large became acquainted with their glassy, tightly wound synth pop and lead singer Jarvis Cocker's impeccably barbed wit. This was a sound that was carefully thought out, pieced together from old glam and post-punk records, assembled in so it had the immediacy (and hooks) of pop balanced by an artful obsession with moody, dark textures. It was a sound that perfectly fit the subject at hand: it was filled with contradictions -- it was sensual yet intellectual, cheap yet sophisticated, retro yet modern -- with each seeming paradox giving the music weight instead of weighing it down. Given Pulp's predilection for crawling mood pieces -- such effective set pieces as the tense "Acrylic Afternoons," or the closing "David's Last Summer" -- and their studied detachment, it might easy to over-intellectualize the band, particularly in these early days before they reached stardom, but for all of the chilliness of the old analog keyboards and the conscious geek stance of Cocker, this isn't music that aims for the head: its target is the gut and groin, and His 'n' Hers has an immediacy that's apparent as soon as "Joyriders" kicks the album into gear with its crashing guitars. It establishes Pulp not just as a pop band that will rock; it establishes an air of menace that hangs over this album like a talisman. As joyous as certain elements of the music are -- and there isn't just joy but transcendence here, on the fuzz guitars that power the chorus of "Lipgloss," or the dramatic release at the climax of "Babies" -- this isn't light, fizzy music, no matter how the album glistens on its waves of cold synths and echoed guitars, no matter how much sex drives the music here. Cocker doesn't tell tales of conquests: he tells tales of sexual obsession and betrayal, where the seemingly nostalgic question "Do You Remember the First Time?" is answered with the reply, "I can't remember a worst time." On earlier Pulp albums he explored similar stories of alienation, but on His 'n' Hers everything clicks: his lyrics are scalpel sharp, whether he's essaying pathos, passion, or wit, and his band -- driven by the rock-solid drummer Nick Banks and bassist Steve Mackey, along with the arty stylings of keyboardist Candida Doyle and violinist/guitarist Russell Senior -- gives this muscle and blood beneath its stylish exterior. The years etching out Joy Division-inspired goth twaddle in the mid-'80s pay off on the tense, dramatic epics that punctuate the glammy pop of the singles "Lipgloss," "Babies," and "Do You Remember the First Time?" And those years of struggle pay off in other ways too, particularly in Cocker's carefully rendered observations of life on the fringes of Sheffield, where desperation, sex, and crime are always just a kiss away, and Pulp vividly evokes this world with a startling lack of romanticism but an appropriate amount of drama and a surplus of flair. It's that sense of style coupled with their gut-level immediacy that gives His 'n' Hers its lasting power: this was Pulp's shot at the big time and they followed through with a record that so perfectly captured what they were and what they wanted to be, it retains its immediacy years later” – AllMusic

Different Class

Release Date: 30th October, 1995

Producer: Chris Thomas

Label: Island

U.K. Chart Position: 1

Buy: https://www.roughtrade.com/gb/pulp/different-class-bd7678dd-9056-4be3-914d-6ed5cd083bf7

Key Cuts: Mis-Shapes/Common People/Sorted for E’s & Wizz

Standout Track: Disco 2000

Review:

Class is far from the only theme bubbling away in this album, though. At least half the songs continue the love ‘n’ sex preoccupations of His ‘N’ Hers, tinged sometimes with the yearning nostalgia of earlier songs like “Babies.” The treatment on Different Class ranges from saucy (“Underwear”) to seedy (“Pencil Skirt,” the hoarsely panting confessional of a creepy lech who preys on his friend’s fiancé) to the sombre (“Live Bed Show” imagines the desolation of a bed that is not seeing any amorous action). “Something’s Changed,” conversely, is a straightforwardly romantic and gorgeously touching song about the unknown and unknowable turning points in anyone’s life: those trivial-on-the-surface decisions (to go out or stay in tonight, this pub or that club) that led to meetings and sometimes momentous transformations. Falling somewhere in between sublime and sordid, the epic “F.E.E.L.I.N.G. C.A.L.L.E.D. L.O.V.E” exalts romance as a messy interruption in business-as-usual: “it’s not convenient...it doesn’t fit my plans,” gasps Cocker, hilariously characterizing Desire as “like some small animal that only comes out at night.”

Sex and class converge in “I Spy”—a grandiose fantasy of Cocker as social saboteur whose covert (to the point of being unnoticed, perhaps existing only in his own head) campaign against the ruling classes involves literally sleeping with the enemy. “It’s not a case of woman v. man/It’s more a case of haves against haven’ts,” he offers, by way of explanation for one of his recent raids (“I’ve been sleeping with your wife for the past 16 weeks... Drinking your brandy/Messing up the bed that you chose together”). Looking back at Different Class many years later, Cocker recalled that in those days he thought “I was actually working undercover, trying to observe the world, taking notes for future reference, secretly subverting society.”

“I Spy” is probably the only song on Different Class that requires annotation, and even then, only barely. Crucial to Cocker’s democratic approach is that his lyrics are smart but accessible: He doesn’t go in for flowery or fussy wordplay, for poetically encrypted opacities posing as mystical depths. He belongs to that school of pop writing—which I find superior, by and large—where you say what you have to say as clearly and directly as possible. Not the lineage of Dylan/Costello/Stipe, in other words, but the tradition of Ray Davies, Ian Dury, the young Morrissey (as opposed to the willfully oblique later Morrissey).

Cocker’s songs on Different Class are such a rich text that you can go quite a long way into a review of the album before realizing you’ve barely mentioned how it sounds. Pulp aren’t an obviously innovative band, but on Different Class they almost never lapse into the overt retro-stylings of so many of their Britpop peers: Blur’s Kinks and new wave homages, Oasis’ flagrant Beatles-isms, Elastica’s Wire and Stranglers recycling. On Pulp’s ’90s records, there are usually a couple of examples of full-blown pastiche per album, like the Moroder-esque Eurodisco of “She’s a Lady” on His ‘N’ Hers. Here, “Disco 2000” bears an uncomfortable chorus resemblance to Laura Branigan’s “Gloria,” while “Live Bed Show” and “I Spy” hint at the Scott Walker admiration and aspiration that would blossom with We Love Life, which the venerable avant-balladeer produced.

Mostly though, it’s an original and ’90s-contemporary sound that Pulp work up on Different Class, characterized by a sort of shabby sumptuousness, a meagre maximalism. “Common People,” for instance, used all 48 studio tracks available, working in odd cheapo synth textures like the Stylophone and a last-minute overlay of acoustic guitar that, according to producer Chris Thomas, was “compressing so much, it just sunk it into the track.... glued the whole thing together. That was the whip on the horse that made it go” – Pitchfork

This Is Hardcore

Release Date: 30th March, 1998

Producer: Chris Thomas

Label: Island

U.K. Chart Position: 1

Buy: https://www.roughtrade.com/gb/pulp/this-is-hardcore

Key Cuts: Party Hard/This Is Hardcore/A Little Soul

Standout Track: Help the Aged

Review:

1995’s Different Class was Pulp’s breakthrough but a tough act to follow. After a three-year wait Pulp finally delivered, This Is Hardcore. Mercifully, frontman, Jarvis Cocker didn’t resort to the cliché of bitching about his newfound fame and celebrity. Instead, we got something far darker and deeper. While some may see Hardcore as a decline from the dizzying heights of Class, to these ears it bookmarks the end of their classic period which began with 1994’s His ‘n’ Hers.

More than anything, Hardcore is about addiction. Addiction in its many forms. Addiction to drugs. Addiction to sex. Addiction to adoration. Addiction to misery. Addiction to revenge. While it deals with more personal and dour subject matter, Hardcore perversely remains as irresistibly accessible as the two pithy albums that preceded it. For all its doomy guitars, confessional self-loathing and paranoia, ‘The Fear’, is still a damn fine Pop song with one hell of a catchy chorus. “This is the sound of someone losing the plot,” Cocker insists but Hardcore is the sound of anything but. ‘The Fear’ is a bold, grandiose start to a dark ride but one that is not devoid of Cocker’s sharp wit. “Now you all know the words to song, it won’t be long before you’re singing along.”

‘The Fear’ is offset by the kitchen sink drama of, ‘Dishes’. Its narrator a mousy wallflower whose sense of self-deprecation is deceptive. “I am not Jesus, though I have the same initials.” Here, no miracles happen and the simple soul we’re greeted with becomes increasingly more sinister as the song progresses. While Cocker is never explicit, I can't shake the nagging feeling the person he’s addressing might just be trussed up in the attic. “Aren’t you happy just to be alive?” He asks. Suddenly, the claims of not being Jesus hint at megalomania that is absolutely bone-chilling.

‘Party Hard’ finds Cocker sparring with drug use, wearing blood-stained kid gloves. Vocally, he's clearly channeling his hero, Scott Walker. Nor is Cocker’s tongue all that firmly in cheek with bon mots like, “I don’t need to hear your stories again, just get on the floor and show me what you’re made of.”  Musically, it bears warped traces of the last days of disco. And then, there’s Cocker’s asides, muttered under the influence of robotic vocal effects.

‘Help The Aged’ deftly mixes satire and genuine compassion. In terms of single cuts, it’s one of Hardcore’s finest offerings. “You can see where you’re heading and it’s such a lonely place oh, in meantime we try to forget nothing lasts forever.” Beneath any claims of altruism for the elderly, lies a jealous, aging lothario bitterly opining, “When did you realize its time to take another lover, baby?”

As for Hardcore’s title track, it manages to combine Burt Bacharach pastiche and chilling, cinematic strings. “I want to make a movie, let’s star in it together, don’t make a move until I say action.” Suddenly the mad swirl of cocaine and champagne fall like a curtain, revealing a bleak tenement world of isolation and obsession. “What exactly do you do for an encore? Cos’ this hardcore,” Cocker croons sarcastically.

In reply, Cocker strips things down to a battered acoustic guitar for the start of, ‘TV Movie’. “Without you, my life has become a hangover without end,” he confesses, “A TV movie with no story or sex”.  While one would suspect a dreary drama to follow, ‘TV Movie’ is irresistible Pop. In spite of being a rather sordid confessional of self-inflicted heartbreak and loss.

‘A Little Soul’ settles on the therapist’s couch for a session about parental abandonment. Suddenly a narrative begins to reveal itself. If what preceded is the rise and fall of addiction, here are the first steps of recovery. When Cocker finally tracks down the father who left, he's met with, “I got no wisdom that I want to pass on, just don’t hang round here, no, I’m telling you son, you don’t want to know me.” The party is indeed over. Time to bend down and pick up the pieces.

Just when you think Hardcore is going to be a bum trip, ‘I’m A Man’ jogs in to “Wonder what it takes to be a man.” A song that brings XTC to mind at their most infectious. It’s the album’s most buoyant and bittersweet moment.

If there’s one misstep on Hardcore it’s that the eight-plus- minute, ‘Seductive Barry’ overstays its welcome. If it’s a song about over-indulgence, it isn’t shy about imbibing. One of Hardcore’s B-sides (‘Cocaine Socialism’ or ‘Like A Friend’) would have made for a more concise album. It’s the one track I skip over. At the very least, it wastes some time before we’re hit with the album’s soaring, ‘Sylvia’. This is the power Pop anthem you’ve been waiting for. “Her beauty was her only crime,” Cocker laments.

‘Sylvia’ would have made for a magnificent send-off and yet Hardcore has two more parting shots. In ‘Glory Days’, if the present is slightly less than glorious, its at least stable. “If you want me, I’ll be sleeping in throughout these glory days,” Cocker quips. The credits roll, however, with the rousing, ‘The Day After The Revolution’. “No anger, no guilt, no sorrow, it sounds unlikely, I know, but tomorrow you’ll wake up to find your whole life changed, a revolution took place,” Cocker passionately bellows in parting. “The revolution was televised, now it’s over, bye bye” – Soundblab

FEATURE: The Lockdown Playlist: Weekend Chillout Tunes

FEATURE:

 

 

The Lockdown Playlist

PHOTO CREDIT: @haleyephelps/Unsplash

Weekend Chillout Tunes

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A while back…

 PHOTO CREDIT: @cblack09/Unsplash

I put out a playlist of the best summer-ready songs. The weather was getting pretty hot! It is still at the moment. Rather than focus on something more upbeat and energised, I want to go into a more chilled territory. I am actually inspired by Angela Griffin’s new series on BBC Radio 2, where she selects the best tunes for connection, companionship, and positivity. Here, I have put together a weekend assortment of chill-out songs that will get you calmer and more serene. There is some energy in there to make sure that you are in the right frame and mood to approach whatever comes. Mixing some awesome tracks, this should set you into the weekend suitably chilled and on a great vibe. If it is hot where you are and you need some cool cuts to keep you going, then the playlist below…

 PHOTO CREDIT: @boxedwater/Unsplash

SHOULD help out.

FEATURE: Lee Mavers at Sixty: Revisiting The La’s’ Eponymous 1990 Masterpiece

FEATURE:

 

 

Lee Mavers at Sixty

Revisiting The La’s’ Eponymous 1990 Masterpiece

__________

EVEN though the band…

 PHOTO CREDIT: Clare Muller/Redferns

were unhappy about the version of the album that was released in 1990, The La’s’ eponymous debut is highly influential and phenomenal. I am going to spend some time with the album because The La’s’ leader and songwriter, Lee Mavers, is sixty on 2nd August. A controversial, perfectionist figure, he is also responsible for writing songs on one of the best albums ever. A great tragedy is that the band only released one album. The La’s went into a hiatus in 1992. The group later reformed briefly in the mid-1990s, 2005 and 2011. However, no new recordings have been released. I have tried to find a copy of The La’s on vinyl for a reasonable price. Let’s hope that it gets reissued soon. Mavers’ songwriting is genius. Most people associate The La’s with the single, There She Goes. The second released from the album (on 31st October, 1988), it is the album’s most-famous song. I want to introduce a few features and a couple of reviews for the incredible The La’s. In October last year, Udiscovermusic.com revisited an album with some of Indie’s most memorable melodies:

A classic debut album

Attracting attention from major labels, The La’s signed with Go! Discs during 1987. By this time, Badger had left, leaving Mavers in sole charge center-stage, but with a pool of fantastic songs to draw upon – most of which had already been demoed to his satisfaction in local four-track studios during the latter half of 1986.

Over the next couple of years, The La’s cemented their reputation as one of the UK’s best live bands. They also released a couple of appetite-whetting singles, with the infectious, folk-flavored “Way Out” followed by the sublime jangly-pop classicism of “There She Goes.” Though only minor hits, both releases hinted at the quality of Lee Mavers’ songcraft and offered glimpses of a classic debut album that would surely arrive imminently.

Behind the scenes, however, Mavers’ attitude to his art meant that capturing The La’s’ album proved elusive and time-consuming. His obsessive desire to improve upon the magic of his band’s earliest demos resulted in the group limping away from aborted sessions with renowned producers such as John Leckie, Bob Andrews, and Mike Hedges between 1987 and ’89. To the frustration of all concerned, the Hedges-helmed sessions had even garnered well over an album’s worth of material, apparently to everyone’s satisfaction – until Mavers decided otherwise.

“The songs were absolute diamonds”

This ongoing uncertainty also affected the band’s personnel, with a string of lead guitarists and drummers (the latter including future Oasis sticksman Chris Sharrock) joining and then departing. The La’s’ line-up finally steadied in 1989, with Mavers and Power joined by guitarist Peter “Cammy” Camell and Mavers’ brother Neil on drums when they convened with Steve Lillywhite for the final attempt to record their album.

Lillywhite – whose production credits also include U2, The Pogues, and Siouxsie And The Banshees – teamed up with The La’s at London’s Eden Studios in late 1989. Looking back at these lengthy sessions which finally resulted in The La’s’ album, he now has mixed feelings.

“I knew the songs were absolute diamonds, but getting them on tape wasn’t so easy,” he told MusicRadar in 2011. “We’d record six songs that were fantastic, but if there was one thing wrong on the seventh song, [Lee] would be convinced that everything else was terrible and we’d have to start everything all over again.

“But that said,” he continued, “I would put Lee right up there with any of the singer-songwriters I’ve ever worked with. He’s an amazing talent, and the album we made is sort of timeless.”

Totally unique

Listening to The La’s now, one can only agree. Finally cracking the UK Top 20 on reissue, the band’s shimmering signature hit, “There She Goes,” is largely singled out as the album’s high point, but really it’s just one of the record’s many glistening pop gems. The La’s kicks off with an almighty hat trick courtesy of the wistful “Son Of A Gun,” the pile-driving rocker “I Can’t Sleep” and the aptly-titled “Timeless Melody,” and simply never looks back. Indeed, those with any lingering doubts in relation to Lee Mavers’ talent need just one listen to the audacious, Bertolt Brecht-esque “Freedom Song” or the record’s epic, psychedelic torch song, “Looking Glass,” to hear what really might have been.

Perplexingly, though, The La’s’ frontman was his own most hostile critic when the album was finally released, even famously describing it as “like a snake with a broken back” in a 1990 NME interview. Mavers’ negative reaction seems all the more mystifying as most critics heard nothing but genius when weighing up the album’s contents.

In a contemporary review, The Village Voice’s Robert Christgau wrote, “Once in a blue moon, somebody with the gift comes along, and [La’s] frontman Lee Mavers is that somebody,” while confirmed fan Noel Gallagher told The Quietus in 2011, “Even though [The La’s] is a standard form of guitar rhythm’n’blues, it’s totally unique – nobody has done it as good as him since”.

I am interested hugely in Mavers’ songwriting – as I am writing this to mark his sixtieth birthday -, but I am intrigued how the band came together and how their eponymous album came to be. Classic Pop also wrote about The La’s in 2021. They talked about the mythology of the album, the fact Lee Mavers was a perfectionist (who was quite hard to work with at times), and how, despite that, the band created a timeless album in 1990:

The band were formed in 1983 by Liverpool songwriter Mike Badger, with Mavers joining a year later, the pair uniting over a love of Captain Beefheart. A full family tree would take up the remainder of this article, but the highlights are as follows: Bassist John Power and drummer John Timson arrived in 1986, the latter soon replaced by future Oasis member Chris Sharrock.

The band signed to Go! Discs in 1987, by which time Badger, too, had departed, leaving Mavers in charge.

Badger was replaced by guitarist Paul Hemmings, with Mavers’ brother Neil taking over from Sharrock on drums. Keeping up? With the core lineup settled, the band continued writing their debut album in a stable owned by the new guitarist’s mother.

“It was a wonderful time to be in the band,” remembers Hemmings, who went on to join The Lightning Seeds after lasting less than a year on the good ship Mavers, “because Lee had to write material and we had to finish it. There was no deliberating. Every single day there was me, John and Lee in the stables, working.”

Two singles on Go! Discs followed – the Stonesy waltz-time Way Out, produced by Gavin MacKillop, in November 1987, and the initial version of There She Goes, produced by Bob Andrews in October 1988, the latter reaching No.59 on the UK singles chart.

Mavers’ excruciating perfectionism was already causing widespread exasperation, though. Sessions with Smiths producer John Porter, John Leckie, Andrews and Mike Hedges all failed to meet the singer’s approval. Hedges alone claimed to have recorded 35 songs, the master tapes for which later went missing. At one point, Mavers even reportedly knocked on Pete Townshend’s door, hoping to persuade the legendary Who guitarist to take over.

Delicious urban myths surround Evertonian Mavers, with one tale having it that the songwriter vetoed a studio because the console wasn’t coated in the right “60s dust” – another, since debunked, claimed the perma-stoned songwriter carried round a bag of the genuine article that he’d harvested from vintage guitar amplifiers.

“At some point you have to say, ‘That’s it, I’m finished!’ and move on to something else,” says Hedges. “I’ve never been 100 per cent on anything I’ve ever done. I don’t think you ever can be, because how do you measure perfection?”

The band’s door continued to revolve, guitarist Peter “Cammy” Cammell joining the lineup that recorded what would prove to be the finished album in 1989. Steve Lillywhite, who’d produced The Pogues’ Fairytale Of New York and worked with U2, Siouxsie And The Banshees and The Chameleons, was entrusted with seeing the project over the line, a last roll of the dice from Go! Discs. The La’s entered London’s Eden Studios in December 1989, but things inevitably began to unravel.

“I knew the songs were absolute diamonds, but getting them on tape wasn’t so easy,” Lillywhite told MusicRadar. “We’d record six songs that were fantastic, but if there was one thing wrong on the seventh, [Mavers] would be convinced that everything else was terrible and we’d have to start everything all over again”.

Before coming to a couple of positive reviews, there is another feature that I want to source from. In 2020, PASTE discussed a contrast. The fact that the band hated their only album, and yet they released something that was loved, commercially successful and has influenced countless other groups. It would be interesting to think what The La’s would sound like had Mavers, John Power and the rest of the band got their way and released the album that they wanted:

The album itself was just as important to the Britpop movement as records like The Kinks Are the Village Green Preservation Society or My Generation. Their songs were rooted in the British Invasion’s tuneful pop, as well as that era’s burgeoning psychedelia and even its skiffle origins. Some of their music, especially b-sides and rarities, also evoke Jamaican, Indian and African music. Veering between dramatically straightforward and fascinatingly offbeat, Mavers’ songs were melodically intuitive and easy on the ears. Even in live performances, Mavers would introduce ticks of brilliance like vocalizing guitar solos, which sounded better than the actual guitar playing. “There She Goes” was the obvious pop hit that still shows up in movies and commercials (even though there’s a lyric about heroin), but other songs were haunting like a sad Irish pub tune (“Freedom Song”), utterly hypnotizing (“Looking Glass”) and almost punk-esque (“I Can’t Sleep”).

The La’s might not have been crucial influences to bands like Suede or Pulp, but their spirit and pop structures certainly resemble songs from groups like Oasis, Supergrass, The Coral and Ocean Colour Scene. And their reach goes beyond Britpop—you can even hear Mavers’ textured, snarling vocals and their classic guitar lines in the catalogue of experimental rock artist Amen Dunes.

Although album sessions from previous producers have since come to light, the band never released another original album and eventually split. Years later, notable musicians and producers like Johnny Marr tried to convince Mavers to work on new material with them, but Mavers was still hellbent on re-recording his 1990 album before moving on to something new. Though according to Matthew Macefield’s book In Search of the La’s, Mavers does apparently have new songs laying around, including one called “Raindance,” which he played for Macefield, who described it as “one of the best I have ever heard.” Marr also told Q about the existence of other Mavers originals, “Coco Daddy” and “On The Rebound,” but neither have seen the light of day. No matter how many additional collaborators or longtime fans think they can crack the code, no one can decide whether the elusive Mavers returns besides the man himself. However, The La’s did reform for several shows over the years, including a 2005 set at Glastonbury, and Mavers has occasionally come out from under his rock to perform solo, most notably a surprise gig under the name Lee Rude & The Velcro Underpants”.

A flawless album that, over thirty years since its release, is influencing new bands and being played around the world, I wonder what Lee Mavers thinks of it now. He turns sixty on 2nd August, so I wanted to celebrate The La’s and his phenomenal gift for melody and hugely nuanced and compelling music. The reviews for The La’s are tremendously positive. It made a big impression on the media and music fans alike in 1990. In their 1991 review, this is what Entertainment Weekly wrote about an album that is now considered a classic:

If you asked average Americans what kind of rock music they like best in all this world, nine-tenths of them would reply without hesitation, ”The Beatles.” Why that very same audience has subsequently rejected the overtures of every band that has successfully aped the Beatles since 1970 remains a total mystery. Big Star, the dBs, the Shoes: all Beatlesque beyond belief, all unknown beyond a tiny smattering of true believers. Honestly, it seems as if the world would rather listen to rap, disco, opera, punk — anything, so long as it’s not mere pop music full of pretty melodies, clean rock guitars, and Liverpudlian accents. That’s why the La’s, a Liverpool band whose sound closely mimics all the best bits of the Beatles, the Kinks, and the Who (check out ”There She Goes” for an earful of the most exquisite pop you’re likely to hear this side of ”Penny Lane”) haven’t got a chance. A+”.

I will end with AllMusic’s take on the genius The La’s. Although There She Goes is the best-known track, there are many other songs on the album that reach the same heights. I think that we will be discussing this rare and complicated one-off for decades more. It is such a pity that we will never get a follow-up:

Some albums exist outside of time or place, gently floating on their own style and sensibility. Of those, the La's lone album may be the most beguiling, a record that consciously calls upon the hooks and harmonies of 1964 without seeming fussily retro, a trick that anticipated the cheerful classicism of the Brit-pop '90s. But where their sons Oasis and Blur were all too eager to carry the torch of the past, Lee Mavers and the La's exist outside of time, suggesting the '60s in their simple, tuneful, acoustic-driven arrangements but seeming modern in their open, spacy approach, sometimes as ethereal as anything coming out of the 4AD stable but brought down to earth by their lean, no-nonsense attack, almost as sinewy as any unaffected British Invasion band. But where so many guitar pop bands seem inhibited by tradition, the La's were liberated by it, using basic elements to construct their own identity, one that's propulsive and tuneful, or sweetly seductive, as it is on the band's best-known song, "There She Goes." That song is indicative of the La's material in its melodic pull; the rest of the album has a bit more muscle, whether the group is bashing out a modern-day Merseybeat on "Liberty Ship" and bouncing two-step "Doledrum," or alluding to Morrissey's elliptical phrasing on "Timeless Melody." This force gives the La's some distinction, separating them from nostalgic revivalists even as their dedication to unadorned acoustic arrangements separates them from their contemporaries, but it's this wildly willful sensibility -- so respectful of the past it can't imagine not following its own path -- that turns The La's into its own unique entity, indebted to the past and pointing toward the future, yet not belonging to either”.

I hope that a lot of people mark Lee Mavers’ sixtieth birthday on 2nd August. It is the perfect excuse – if one were needed! – to play The La’s’ eponymous (and sole) album. Let’s hope that a new vinyl pressing does occur in the future, as it would introduce the album to a whole new generation. Whilst it was revolutionary and instantly popular back in 1990, The La’s sounds…

SO fresh today.

FEATURE: The Peerless Skin at Fifty-Five: Her Best Skunk Anansie and Solo Cuts

FEATURE:

 

 

The Peerless Skin at Fifty-Five

Her Best Skunk Anansie and Solo Cuts

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WITHOUT doubt…

one of the most powerful and commanding group leaders there has ever been in music, the incredible Skin celebrates her birthday on 3rd August. As she will be turning fifty-five, I wanted to use the occasion to collate the best of her Skunk Anansie and solo tracks. A pioneering and remarkable songwriter and performer, I discovered Skunk Anansie when they released their 1995 debut, Paranoid & Sunburnt. It featured Charity and Weak. I was instantly hooked. I also bought 1996’s Stoosh which has, arguably, the band’s best song on it. The incredible Hedonism (Just Because You Feel Good) was a high school anthem for me. I also love 1999’a Post Orgasmic Chill. The band’s latest album, Anarchytecture, was released in 2016. I hope that we hear more from them. The band actually played this year’s Glastonbury, so that shows that they are still incredibly popular and relevant. They have also released two singles in 2022: Piggy and Can’t Take You Anywhere. If you have not bought the 2020 book, It Takes Blood and Guts, that Skin co-wrote with Lucy O’Brien, then it is well worth getting. Here are some details about it:

Charting the Skunk Anansie singer’s fascinating musical journey as well as her role as a trail-blazing social and cultural activist and a champion of LGBTQ+ rights, It Takes Blood and Guts is an extraordinary read from a unique talent.

'It's been a very difficult thing being a lead singer of a rock band looking like me and it still is. I have to say it's been a fight and it will always be a fight. That fight drives you and makes you want to work harder . . . It's not supposed to be easy, particularly if you're a woman, you're black or you are gay like me. You've got to keep moving forward, keep striving for everything you want to be. It's been a fight, and there has been a personal cost, but I wouldn't have done it any other way.'

Skin, the trail-blazing lead singer of multi-million-selling rock band Skunk Anansie, is a global female icon. As an incendiary live performer, she shatters preconceptions about race and gender. As an activist and inspirational role model she has been smashing through stereotypes for over twenty-five years. With her striking visual image and savagely poetic songs, Skin has been a groundbreaking influence both with Skunk Anansie and as a solo artist.

From her difficult childhood growing up in Brixton to forming Skunk Anansie in the sweat-drenched backrooms of London's pubs in the '90s, from the highs of headlining Glastonbury to the toll her solo career took on her personal life, Skin's life has been extraordinary. She also talks powerfully about her work as social and cultural activist, championing LGBTQ+ rights at a time when few artists were out and gay. Told with honesty and passion, this is the story of how a black, working-class girl with a vision fought poverty and prejudice to write songs, produce and front her own band, and become one of the most influential women in British rock”.

Such a remarkable songwriter and voice, I know that a lot of artists are inspired by Skin. Having been responsible for some huge anthems and incredible songs, it is only right that I salute Skin on her birthday. From the big hits with Skunk Anansie to some deeper cuts, these are songs either written by or performed (as lead vocalist) her. As you can tell below, whether she is solo or with Skunk Anansie, Skin has created such…

AN amazing catalogue.

FEATURE: Kate Bush’s The Kick Inside at Forty-Five: The Exquisite and Heartbreaking Title Track: A Perfect Ending

FEATURE:

 

 

Kate Bush’s The Kick Inside at Forty-Five

The Exquisite and Heartbreaking Title Track: A Perfect Ending

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BECAUSE Kate Bush’s…

 IN THIS PHOTO: Kate Bush in 1978 in Japan/PHOTO CREDIT: Koh Hasebe/Shinko Music/Getty Images

debut album, The Kick Inside, was recorded in August 1977, I am marking its forty-fifth anniversary with a series of features. I could not continue the series without mentioning its remarkable title track. The Kick Inside is one of the album tracks that I think could have been released as a single. It is also a track that could not appear anywhere else on The Kick Inside but the very end. The song is heartbreaking and tragic. Bush reads the lyrics almost like a suicide note. At the end, there is this ellipsis where her voice hangs in the air and the listener fears the worse. Based on a traditional Folk ballad, Lucy Wan, Kate Bush’s brother Paddy said there were experiments in the recording where they were using actual sections from the song. They were deploying it in quite an unusual way. It would have been interesting to hear that version on the album! Before continuing on, the Kate Bush Encyclopedia collected interviews where Bush discussed the origins of The Kick Inside:

The song The Kick Inside, the title track, was inspired by a traditional folk song and it was an area that I wanted to explore because it's one that is really untouched and that is one of incest. There are so many songs about love, but they are always on such an obvious level. This song is about a brother and a sister who are in love, and the sister becomes pregnant by her brother. And because it is so taboo and unheard of, she kills herself in order to preserve her brother's name in the family. The actual song is in fact the suicide note. The sister is saying 'I'm doing it for you' and 'Don't worry, I'll come back to you someday.' (Self Portrait, 1978)

That's inspired by an old traditional song called 'Lucy Wan.' It's about a young girl and her brother who fall desperately in love. It's an incredibly taboo thing. She becomes pregnant by her brother and it's completely against all morals. She doesn't want him to be hurt, she doesn't want her family to be ashamed or disgusted, so she kills herself. The song is a suicide note. She says to her brother, 'Don't worry. I'm doing it for you.' (Jon Young, Kate Bush gets her kicks. Trouser Press, July 1978)”.

I wonder whether Bush thought of the album title before writing the song, or whether she wrote the title track and then used it as the album name. A few tracks on The Kick Inside discuss childbirth and procreation. As a teenager, it would have been unusual for an artist to write about that in 1978. The Kick Inside is an album that explores themes that other musicians were not at the time. Mature, bold, honest, deeply feminine but also (an album) that has a lot of sympathy and empathy for men, I think the title track is among the very strongest cuts. Incredibly beautiful and sad at the same time, I feel it could have been a success if it had been released as a single. Like every song on The Kick Inside, the lyrics are wonderfully idiosyncratic and original. My favourite passage from the title track is this: “You and me on the bobbing knee/Didn't we cry at that old mythology he'd read!/I will come home again, but not until/The sun and the moon meet on yon hill”. Bush’s performance is so tender and powerful throughout. A stirring and memorable song that lingers in the mind when the album has ended, go and listen to the song if you have never heard it. In my view, The Kick Inside is a perfect ending to…

A deeply impressive debut album.