FEATURE: The Digital Mixtape: Johnny Marr at Sixty: The Ultimate Playlist

FEATURE:

 

 

The Digital Mixtape

Johnny Marr at Sixty: The Ultimate Playlist

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ONE of the true music greats…

I am looking ahead to 31st October and the sixtieth birthday of the great Johnny Marr. Beginning his career as founder, composer and guitarist with The Smiths, he has since gone on to record with member of the Pretenders, The The, Electronic, Modest Mouse, and The Cribs. A prolific session musician, Marr has worked with names such as Kirsty MacColl, Pet Shop Boys, Talking Heads, Bryan Ferry, and Hans Zimmer. His upcoming album, Spirit Power: The Best of Johnny Marr, is out on 3rd November. His essential book, Marr’s Guitars, is out now:

“A stunning photographic presentation of the guitars that defined the distinctive sounds and style of Johnny Marr with personal reflections and insights from the legendary guitarist himself.

'Guitars have been the obsession of my life ... they’ve been a mission and sometimes a lifeline' – Johnny Marr

The guitarist’s guitarist, Johnny Marr redefined music for a generation. His ringing arpeggios and chordal innovations helped elevate The Smiths to be one of the most influential and important British bands of all time.

Tracing Marr's career from his teenage years to his recent work on the Bond soundtrack, Marr’s Guitars showcases the most significant of Marr’s superb collection of electric and acoustic guitars, revealing through them the evolution of his iconic sound and style of playing. Each guitar is identified with a crucial moment, a specific song or a particular sound, and each embodies a key aspect of Marr’s lifelong passion.

Renowned photographer Pat Graham presents each instrument as a full portrait, supported by micro shots highlighting the specific details that make each one unique, while Johnny Marr himself reveals in his accompanying commentary on what tracks and at which shows the guitars were played. Many of the guitars are closely associated with Marr, such as the Rickenbacker 330, the Gibson ES-355 and the Johnny Marr Signature Fender Jaguar. Some were passed down to him, including Nile Rodgers’ Stratocaster, Bryan Ferry’s Roxy Music Hagstrom and Bert Jansch’s Yamaha. Others are guitars once owned by Marr that have since been passed on to the next generation of guitar heroes, including the Stratocaster used by Noel Gallagher on ‘Wonderwall’ and the Gibson Les Paul Goldtop used on In Rainbows by Radiohead’s Ed O’Brien.

Punctuating the photography of the guitars and the accompanying commentary are contextual studio, backstage and onstage shots. Together, they make Marr’s Guitars a unique cultural history of modern music and guitar playing told through the prism of Johnny Marr’s experiences and achievements”.

I am going to end with a playlist featuring his best work with The Smiths, The The, Modest Mouser, Electronic, The Cribs and his solo stuff. Such a consistently inventive and brilliant artist, Marr is one of the most influential guitarists ever. Before getting to that playlist, AllMusic have compiled a useful biography and insight into the wonderful Johnny Marr and his incredible career:

“As the guitarist and co-songwriter for the Smiths, Johnny Marr helped create the musical vocabulary for indie rock in the 1980s and beyond. The Smiths were fueled by Marr's intricate, ringing guitar parts that assiduously avoided cliches while being rooted in classic British guitar pop. Marr's strengths as an instrumentalist made him a popular gun for hire after the Smiths split. Immediately following the band's separation, Marr played with the Pretenders, The The, and Talking Heads while striking up a lasting collaboration with New Order's Bernard Sumner with Electronic. He continued to bounce between projects during the '90s, eventually forming Johnny Marr and the Healers in 2000. The group didn't last long and Marr wound up joining Modest Mouse in 2006, staying with the band for several years while also playing in the Cribs. The Messenger launched Marr's solo career in 2013 and over the next decade, he toured and recorded regularly, issuing such ambitious projects as 2018's socially conscious Call the Comet and the multi-part Fever Dreams, which culminated in the release of the full double album in 2022.

Born John Maher in Manchester, England on October 31, 1963, he played in such little-known groups as Sister Ray and Freaky Party before forming the Smiths with singer Morrissey in 1982. In the years to follow they became one of Britain's most successful acts, but in 1987, following sessions for the LP Strangeways, Here We Come, Marr dissolved the group, claiming their musical approach had gone stale.

In the wake of the Smiths' demise, he made cameo appearances on records by the likes of Talking Heads and Kirsty MacColl before joining Matt Johnson's The The for 1989's Mind Bomb. Marr also teamed with New Order's Bernard Sumner and Pet Shop Boys' Neil Tennant in the alternative supergroup Electronic, scoring a hit with the single "Getting Away with It." Apart from a handful of guest appearances, he maintained a relatively low profile during the '90s, most notably lending his talents to The The's 1993 effort Dusk and Electronic's long-awaited sophomore record, 1996's Raise the Pressure.

Marr returned to music three years later on Electronic's third album, Twisted Tenderness, which wasn't released in the U.S. until fall 2000. He also spent time working with his new band, the Healers, playing dates across England. The next few years were a time of redefinition and reflection for Marr. He finally assembled his Healers with ex-Kula Shaker bass man Alonza Bevan, and Ringo Starr's drumming son Zak Starkey in 2002; a deal with Artist Direct's iMusic followed before the end of the year. Fans of this legendary guitarist were treated to Marr's proper singing debut in early 2003 with the release of Boomslang. In 2007, he appeared on the Washington band Modest Mouse's album We Were Dead Before the Ship Even Sank, and toured with them as a member.

Marr stayed with the band into 2008 but soon switched allegiance to another band from another country -- the British indie group the Cribs. A songwriting session soon expanded into full-fledged membership and Marr wrote, played, and toured for the 2009 album Ignore the Ignorant. Like his stint in Modest Mouse, Marr lasted for only one album with the Cribs before leaving for another project, and this time it was one that he led himself. He relocated his family to his hometown of Manchester and set about recording a solo album. The result, The Messenger, appeared to strong reviews in February 2013. He quickly followed it with a second solo set called Playland, which appeared in the autumn of 2014; the live album Adrenalin Baby was released in 2015. Marr published his autobiography, Set the Boy Free, then turned his attention to writing and recording his third solo album. The resulting Call the Comet appeared in June 2018.

Marr signed with BMG in August 2021 with the intent of delivering Fever Dreams, a double-album released as a series of EPs. Fever Dreams, Pt. 1 arrived that October with the second installment arriving in December. The full album, Fever Dreams, Pts. 1-4 arrived in February 2022”.

To celebrate the genius that is Johnny Marr, I have put together a career-spanning playlist. I have been a fan of his work since I was a child. One of the most recognisable guitarists of his generation, Marr has gone on to be this broad artist who has fitted into various bands and alongside an array of artists. His solo work is possibly his purest and most personal work, though everyone has their favourite Marr period/incarnation. To honour him ahead of his sixtieth birthday on 31st October, here is a playlist with a selection of hits and deep cuts where Marr is either playing, a member of the band, or singing (or all in some cases). There is no doubting the fact that he is…

IN a league of one.

FEATURE: Elderly Woman Behind the Counter in a Small Town: Pearl Jam's Vs. at Thirty

FEATURE:

 

 

Elderly Woman Behind the Counter in a Small Town

Pearl Jam's Vs. at Thirty

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EVEN though it was a number one album…

in America, there was a certain pressure on Pearl Jam’s shoulders after the release of their 1991 debut, Ten. Released in the same year Nirvana’s Nevermind came out, Ten was seen as a more Hard Rock approach. Not as feral or filthy, Ten was a more epic and slightly cleaner sound. Pearl Jam’s masterpiece debut was followed by relentless touring. A rawer sophomore album followed. Probably closer in turn to what contemporaries like Nirvana produced in 1993, Vs. (released on 19th October, 1993) is Pearl Jam’s first collaboration with producer Brendan O'Brien and its first album with drummer Dave Abbruzzese. Compared to their commercial debut that was met with videos and a lot of promotion, that was all pegged back for Vs. The band did not release any music videos. In spite of this, Vs. sold almost a million copies in its first five days of release. Staying at the top of the Billboard chart for five weeks, it was a monster success and emphatic follow-up to Ten – proving they could change direction and keep the excellence and consistency up. I am going to mark the upcoming thirtieth anniversary with a few features and reviews for the album. The band - Dave Abbruzzese – drums; Jeff Ament – bass, upright bass; Stone Gossard – rhythm guitar, backing vocals; Mike McCready – lead guitar; Eddie Vedder – lead vocals -, were on sensational form for their second album! I guess there was a lot of hype and people pitting Pearl Jam against Nirvana.

There was no real rivalry or competition between Pearl Jam and any other band. They did not need to prove themselves. Regardless, they very much meant business on an album that still sounds as direct and raw as it did back in 1993. Thirty years later and you can feel and hear every element and layer of Vs. I am going to get to some anniversary features. LoudWire did a retrospective on Vs. last year. In spite of Vs. being this incredible album that one assumes was quite quick to record, Pearl Jam did have some conflicts and struggles:

"For me, that title represented a lot of the struggles that you go through to make a record," revealed guitarist Stone Gossard to Rolling Stone. "Your own independence — your own soul — versus everybody else's. In this band, and I think in rock in general, the art of compromise is almost as important as the art of individual expression. You might have five great artists in the band, but if they can't compromise and work together, you don't have a great band. It might mean something completely different to Eddie [Vedder]. But when I heard that lyric, it made a lot of sense to me."

Vedder revealed that the title also dealt with the media scrutiny the band was under, stating, "They were writing all these articles ... Our band against somebody else's band. What they hell are they talking about? You know, don't try to separate the powers that be. We're all in this together."

Speaking of the struggles, the band had a few en route to completing the disc. As the new guy coming in on Ten, Vedder had a bit of a blueprint to work from, but relocating to remote location in California to record Vs. didn't exactly sit well with the singer, who struggled with writing during the sessions.

Bassist Jeff Ament recalled, "Recording Vs., there was a lot more pressure on Ed. The whole follow-up. I thought we were playing so well as a band that it would take care of itself. ... He was having a hard time finishing up the songs, the pressure, and not being comfortable in such a nice place." Vedder himself told Spin, "The second record, that was the one I enjoyed making the least ... I just didn't feel comfortable in that place we were at because it was very comfortable. I didn't like that at all."

However, one positive from the album sessions was the band's newfound relationship with producer Brendan O'Brien, who would go on to oversee many of the band's albums after this first experience. During the sessions, O'Brien had the band line up as though they were playing live. Gossard recalls, "I think we allowed things to develop in a more natural, band-oriented sort of way, rather than me bringing in a bunch of stuff that was already arranged”.

Maybe that idea of Pearl Jam not being in competition with someone was short-sighted. As Albumism speculated with their twenty-fifth anniversary feature in 2018, there is a degree of aggression and Pearl Jam making a statement. Things would drastically change in Grunge and Rock the year after Vs. came out. Whereas Nirvana lost their leader, Kurt Cobain, Soundgarden released their definitive album, Superunknown. The years between 1991 and 1994 were sensational for Grunge and Hard Rock:

“Pearl Jam’s sophomore effort Vs. (1993) was a record born of conflict. The title alone is an obvious indicator that the band was gunning for something or someone. Lyrically, the album is awash with references to trauma and discord. The opening refrain from “Animal,” the album’s second song, recounts “One, two, three, four, five against one” that puts the band at odds with some notion of corporate America.

Some of the conflict came from the relentless touring that went into promoting the band’s debut album Ten (1991), an endeavor that was no doubt rewarding as the band became one of the biggest acts in U.S rock music, but equally exhausting as the toil of press junkets, award ceremonies, interviews, music videos and dealing with obsessive fans were considered the downside to fame. Something was changing in the band’s collective mindset.

Upon the release of Vs., the band were adamant that they would not play the corporate game of making music videos for MTV to broadcast non-stop, nor would they allow as much press access or interviews. So in some respects, Vs. exists at an intriguing point in Pearl Jam’s career; the moment in which their trajectory towards self-determination was truly set upon and the mystique that would surround the band in the years to come was first put in place.

In fact, this would be the era in which Pearl Jam would stand up to what they perceived as injustice. Bleeding from the embers of Vs.’ slogging world tours into Vitalogy (1994) and even into No Code (1996), the band would embark on an epic lawsuit against Ticketmaster on grounds that the astronomical service charges were tantamount to extortion for the band’s fans. Pearl Jam would tour sports halls and stadiums that Ticketmaster had no jurisdiction over and basically try and undercut the monolithic ticker seller. A noble cause for sure, and one they faced alone, yet an undertaking that took them out of the game for a number of years as they tried to find these out-of-the-way venues in all major cities across the U.S.

Not like these activities saw much dent in their popularity. A quick look at the numbers will tell us this. Vs. has to date sold a staggering seven million copies in the United States. In its first week of release alone, it racked up 950,378 units sold, making it the fastest selling album of all time, a record it held on to for five years. Six of the album’s songs generated top forty positions in the U.S. Modern Rock Charts, despite only four actual commercial singles being released. The record also received three Grammy Award nominations.

And this is just the U.S perspective. The album topped the charts in eight other countries around the world.

Listening back to the record twenty-five years on, it is hard to understand how the record was actually so massive. Not, I should clarify, because the record is a bad one. Far from it. But when placed in sonic comparison to its predecessor, it’s almost like two different bands recording under the same moniker. Sure there are similarities, with Eddie Vedder’s vocals a dead giveaway for a start.

There was an obvious attempt to recapture Pearl Jam’s energetic live performances. The record’s production by Brendan O’Brian, a collaborator the band would return to again and again over the subsequent decades, is an edgier and more aggressive affair then their debut and certainly does capture that live element to a tee. It also, dare I say, dates the record to that period of the 1990s.

Only a few remnants of Ten’s soft, warm and fluid production are found on Vs. The one song that might have sat comfortably on that record is “Dissident,” maybe at a push “Daughter.” Instead the record relies on Dave Abbruzzese belting drums, Mike McCready’s face-melting solo riffs, Stone Gossard’s chomping rhythm guitar, Jeff Ament’s steady bass and Vedder’s squalling and screeching vocals. Prime examples of this are “Go,” “Leash” and “Blood,” as these songs teeter on the edge of all-out explosion”.

I am going to end with a couple of reviews. Like Ten, there was this incredible wave of affection and respect for Pearl Jam’s second album. You would think some critics would not like the band changing course and sound. Maybe many felt Ten could have been grittier. Perhaps a natural evolution, there was this praise and support for one of the best albums of the 1990s. This is what AllMusic wrote in their Vs. review:

“Pearl Jam took to superstardom like deer in headlights. Unsure of how to maintain their rigorous standards of integrity in the face of massive commercial success, the band took refuge in willful obscurity -- the title of their second album, Vs., did not appear anywhere in the packaging, and they refused to release any singles or videos. (Ironically, many fans then paid steep prices for import CD singles, a situation the band eventually rectified.) The eccentricities underline Pearl Jam's almost paranoid aversion to charges of hypocrisy or egotism -- but it also made sense to use the spotlight for progress.

You could see that reasoning in their ensuing battle with Ticketmaster, and you could hear it in the record itself. Vs. is often Eddie Vedder at his most strident, both lyrically and vocally. It's less oblique than Ten in its topicality, and sometimes downright dogmatic; having the world's ear renders Vedder unable to resist a few simplistic potshots at favorite white-liberal targets. Yet a little self-righteousness is an acceptable price to pay for the passionate immediacy that permeates Vs. It's a much rawer, looser record than Ten, feeling like a live performance; Vedder practically screams himself hoarse on a few songs. The band consciously strives for spontaneity, admirably pushing itself into new territory -- some numbers are decidedly punky, and there are also a couple of acoustic-driven ballads, which are well suited to Vedder's sonorous low register. Sometimes, that spontaneity comes at the expense of Ten's marvelous craft -- a few songs here are just plain underdeveloped, with supporting frameworks that don't feel very sturdy. But, of everything that does work, the rockers are often frightening in their intensity, and the more reflective songs are mesmerizing. Vs. may not reach the majestic heights of Ten, but at least half the record stands with Pearl Jam's best work”.

In 1997, Rolling Stone wrote about the mighty Vs. Maybe people associate Pearl Jam more with Ten still. I think that Vs. and its songs warrant much more exposure and representation across radio. It is a sensational album with some clear highlights. My favourite song, Go, opens the album in spectacular and imperious fashion:

“Pearl Jam are explosive. Few American bands have arrived more clearly talented than this one did with "Ten;" and "Vs." tops even that debut. Terrific players with catholic tastes, they also serve up singer-lyricist Eddie Vedder. With his Brando brooding and complicated, tortured masculinity, he's something we haven't seen in a while ­ a heroic figure. Better still, he's a big force without bullshit; he bellows doubt.

Like Jim Morrison and Pete Townshend, Vedder makes a forte of his psychological-mythic explorations ­ he grapples with primal trauma, chaos, exultation. As guitarists Stone Gossard and Mike McCready paint dense and slashing backdrops, he invites us into a drama of experiment and strife. "Animal," "Daughter" and "Blood," their terse titles urgently poetic, are songs of a kind of ritual passion, tapping into something truly wild.

And when Vedder roars, "Saw things . . . clearer . . . /Once you were in my rearviewmirror," it seems that it's not only some personal sorrow that he's willing himself to tear beyond but the entire weight of the past itself.

Voicing the dreams and furies of a generation, Nirvana rock brilliantly in the now. They suggest a visceral understanding of rehab rites of passage and gen der overlap, stardom fantasy and punk nihilism. Their themes parallel both David Cronenberg's "venereal horror" and David Lynch's atonal wit, and their inchoate striving after feeling combats the blithe vacuity of outdated Warhol-style hipness. Blank generation? Not really, just young people fighting for some kind of meaning”.

On 19th October, the world will mark the thirtieth anniversary of a giant album. Even if Pearl Jam might have had some more commercial and artistic pressure to follow Vs., they delivered another phenomenal album with 1994’s Vitalogy. One of the greatest opening trio of albums in music history. If you have not heard the album before – or you have not listened since the '90s -, then take some time out to have a good listen. It is a brilliant album that is going to be talked about for decades more. From the powerful opening declaration of Go, through to Indifference (the reissue has a few extra tracks and ends with Crazy Mary), Vs. is an album that, thirty years after its release, remains so…

VITAL and extraordinary.

FEATURE: How Does Your Garden Grow? Kate Bush’s Aerial at Eighteen: Bringing A Sky of Honey to Life

FEATURE:

 

 

How Does Your Garden Grow?

IN THIS PHOTO: Kate Bush in 2005/PHOTO CREDIT: Trevor Leighton

Kate Bush’s Aerial at Eighteen: Bringing A Sky of Honey to Life

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ON 7th November…

Kate Bush’s Aerial turns eighteen. It was released after a twelve-year gap. After 1993’s The Red Shoes, many did not expect her to release an album. She unveiled this beautiful double album in a year that really cried out for someone as original as Kate Bush. Critics loved the album. Fans did too. Another top ten success, there was a lot of love for this icon. A relief to have her back, we did not know what would follow. Bush waited another six years to release another album – we got two in 2011 with Director’s Cut and 50 Words for Snow. I am going to do a few Aerial anniversary features. I wanted to start by looking at the second disc. Bush split Aerial into the first half/disc, A Sea of Honey, was more conventional singles – like on Hounds of Love – and, similar to her 1985 masterpiece where we had the second side, The Ninth Wave, Aerial featured A Sky of Honey. Her second-ever conceptual suite of tracks, this was the charting of a summer’s day. Taking us through the morning and evoking nature and the wonder of the skies, the natural world, gardens, fresh air and this overall tranquillity, the songs on that suite are phenomenal! There is a lot of talk around a new venue that has opened in Las Vegas. A $2 billion Sphere has seen U2 give it an emphatic and sensational opening. This giant sphere that is immersive and filled with LEDs, you get this dazzling and almost cinematic elements around you. I wanted to start in an unorthodox way. Thinking about Aerial, and I see A Sky of Honey suiting that sort of setting. Many people have argued how witnessing The Ninth Wave from Hounds of Love projected on a sphere would be immense!

That suite was about a woman swept overboard and having to survive at sea. Whilst I maintain a short film would be the best option, maybe filming one and projecting it in a Sphere-like venue would be an absolutely incredible thing. I think there is something about A Sky of Honey that warrants the dramatic and beautiful. Maybe it would also be a good short film though, if you imagined Kate bush performing again, being in a giant venue where you had a screen/projection around you would be perfect. Her songs would come to life in a whole new way. I think A Sky of Honey would be breathtaking. Bush did perform songs from Aerial during her 2014 residency in London. We have seen songs from A Sky of Honey performed on stage. There was not anything as bewildering and epic as you’d get from that Sphere venue. Having bird, butterflies, the tumultuous sky and the brightness of the sun all brought together around an audience. That would be something to see! I would urge people to listen to Aerial and check out its phenomenal suite on the second disc. On the album, we have A Painter’s Link – Rolf Harris originally voiced the painter, but he was removed from the album and replaced by Bush’s son, Bertie -, where artwork and artistic visions could spring and dance. A mix of Disney-like animation and different-coloured LEDs would create this fantastical and almost psychedelic combination. If The Ninth Wave could stir drama, fear and let us sea what is in the sea under the heroine and the vast sky above, there are similar possibilities when we think of A Sky of Honey. The expansiveness of the sky together with the nature all around us. The intimacy and beautify of an English country garden brought to life.

 IN THIS PHOTO: U2 at the Sphere, Las Vegas/PHOTO CREDIT: Rich Fury

I think there is real scope when you consider the sounds and detail through A Sky of Honey. I definitely feel The Ninth Wave should be turned into a short film. As Bush sees A Sky of Honey as a compassion piece in a way, one could certainly imagine it made into something bigger. Tracks like Somewhere in Between and Nocturn are gorgeous. Imagining those songs and watching the suite go from day to night is sensational. I am going to go more into Aerial in future features. When Bush was interviewed in 2016 - around the release of the live album for 2014’s Before the Dawn -, the suite from Aerial was mentioned alongside Hounds of Love’s The Ninth Wave:

“She certainly brought new language to pop, and has continued to do so throughout her career – one thinks of the inventive feat of her (literal) 50 Words For Snow, and of her musical realisation of 'Pi' to 80 places. And not just human language, either. On Before The Dawn, the new 3CD live album of her extraordinary shows of 2014, there’s a passage in the suite A Sky Of Honey, from 2005’s Aerial, where she imitates the frolicsome chatter of birds.

“I’ve always loved birdsong,” says Kate, “and I suppose that was the starting point for that piece on the record, speculation about whether it’s a language. The key idea was this connection between birdsong and light, that singing seems to be triggered by the breaking of light, and in the absence of light, they stop singing.” She pauses. “Though there’s a few exceptions – nightjars, reed warblers, blackbirds. And of course, the owl!”

In that suite, an artist appreciates the changing light from sunrise through sunset into night, a progress musically evoked in green and golden tones and timbres. It’s balanced in the show by another suite, The Ninth Wave, from 1985’s Hounds of Love, which presents the drifting ruminations of a woman slowly drowning, alone in the ocean at night. The extraordinary staging for the work involved the skeleton ribs of a boat’s hull, a floating buoy, a helicopter, and a Caligari-esque room of odd angularity, while a huge back-projection of a life-jacketed, singing Kate presented her and her crew with one of the production’s more difficult challenges”.

I have a lot of affection for A Sky of Honey. Maybe pairing it with The Ninth Wave and having this contrasting story about the same woman. The one who is in a garden watching nature around her. Th one who is lost at sea. Never quite sure which is real and which is a dream. Which came first indeed. It could be this spectacle where we see the beauty of nature and the unpredictability of the ocean at night alongside one another. The more I read about Las Vegas’s mega Sphere and what it could do, the more I think of Kate Bush. Because Aerial is eighteen on 7th November, I wanted to explore and spotlight the magnificent A Sky of Honey. Witnessing that projected in a venue as an audience watches agog would be…

A sight to behold!

FEATURE: Groovelines: Lorde - Royals

FEATURE:

 

 

Groovelines

Lorde - Royals

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RELEASED in June 2013…

I have missed the tenth anniversary of Lorde’s single, Royals. In fact, it was Lorde’s debut single. The New Zealand-born artist released her debut album, Pure Heroine, on 27th September, 2013. Written by Ella Yelich-O'Connor (Lorde) and Joel Little, it went to number one in many countries around the world – including the U.S. and U.K. Inspiring artists (in terms of the sound and tone of Royals) such as BANKS, Billie Eilish, Clairo, Halsey, Mallrat, and Olivia Rodrigo, Royals has a huge legacy. I am covering the song now, not only because it is seen as one of the best debut singles ever. Royals debuted in the U.K. at number one on 28th October, 2013. Celebrating the tenth anniversary of that track scaling the U.K. charts is important. Lorde became the youngest solo artist to score a U.K. number one single since Billie Piper's 1998 song, Because We Want To. It was an amazing introduction to this incredible artist. There are a few features that I want to get to. They give us an insight into a remarkable track. First, here is some background regarding the genesis of Royals – and how it proves that quickly-written songs can be the most successful and resonant:

“Lorde wrote the song in 2012 at her house, which only took half an hour. Herself and Joel Little worked on Royals at Little's Golden Age Studio in Golden Age Studios in Morningside, Auckland NZ. Within a week they had finished the song.

The first idea for the song came to Lorde after she read an article published by National Geographic with a picture of  Kansas City Royals baseball player George Brett signing baseballs, with his team's name emblazoned across his shirt. She said "It was just that word. It was really cool." Historic aristocrats were also an inspiration for the song. She also explained the lyric "We're driving Cadillacs in our dreams" was something she read in a diary she received at the age of 12. Lorde further revealed that she took inspiration from hip-hop-influenced artists during the writing process, yet criticized their "bullshit" reference to "expensive" alcohol and cars.

"I was definitely poking fun at a lot of things that people take to be normal. I was listening to a lot of hip-hop and I kind of started to realise that to be cool in hip-hop, you have to have that sort of car and drink that sort of vodka and have that sort of watch, and I was like, "I've literally never seen one of those watches in my entire life." (- Lorde about the lyrics)

The song was produced by using the software Pro Tools. A Spin writer described the song as being "artpop". Written in the key of D Mixolydian, it is followed by the chord progression I-vii-IV (D – c – G). The song has a moderate tempo of 85 beats per minute (Andante). "Royals" is instrumented by finger snaps and bass. On the song, Lorde performs with a mezzo-soprano vocal range, spanning from F♯3 to F#5. Lyrically, Lorde sings about the luxurious lifestyle of contemporary artists”.

There has been some critique and scrutiny as to whether Royals is offensive, or its lyrics can be seen as racist. As Royals talks about wealth and extravagant lifestyles, some lyrics maybe pertaining to Hip-Hop and excess were called out by writer Bayetti Flores. Rather than home in on a criticism that is unwarranted and untrue, I wanted to highlight the positives. This feature, published in September, discusses how Lorde’s debut album, Pure Heroine, calibrated and refreshed Pop music with songs like Royals critiquing and examining Pop music and the lifestyles of artists, it was a shot in the arm:

“Even if you haven’t heard “Royals” in years, it’s likely that just seeing the title has caused its slinky, subdued groove to worm its way back into your mind. There’s not much to the song’s arrangement – finger snaps, a hip-hop beat, a wobbling bass after the first chorus – but it’s enough to get stuck in your head, and it doesn’t distract from Lorde herself, whose deep vocals and sly, self-assured delivery made her one of the most immediately compelling singers since Adele. Clearly, Lorde was onto something, and “Royals” topped the Billboard Hot 100 for nine weeks.

The love club

“Royals” was almost a year old when it hit the airwaves. When it was recorded, the ground hadn’t even been broken for Pure Heroine. After a few false starts with other songwriters, Lorde began working with fellow-Aucklander Joel Little, who’d had some success down under as a member of pop-punk band Goodnight Nurse, in December 2011.

Over a three-week period in 2012, the two finished “Royals” and four other songs for Lorde’s debut EP, The Love Club, which was uploaded to SoundCloud later that year. The EP was a success, it was downloaded 60,000 times with virtually no promotion, spurring Lorde’s label to release it commercially. While Lorde and Little were keen to release another EP, it wasn’t long before what they were working on grew into a full-length album”.

Rather than Lorde’s lyrics about excess and flash cars being about Rap and, therefore, racist, it is actually about growing up in a country like New Zealand, where the media covers and celebrates American wealth and dominance. That anti-imperialist stance that Royals takes was highlighted by Buzzfeed in 2013:

“Royals" is a song about growing up in New Zealand immersed in American cultural imperialism. The core of the song is alienation, sure, but the lyrics about pop culture are far more ambivalent than they are angry and strident. This is part of why it has resonated with so many people — Lorde isn't saying that she doesn't like this music, only that she sees a disconnect between the hyper-consumerist fantasy at the core of contemporary pop and the actual lives of anyone she knows. "I've always listened to a lot of rap," she recently told New York Magazine. "It's all, look at this car that cost me so much money, look at this Champagne. It's super fun. It's also some bullshit. When I was going out with my friends, we would raid someone's freezer at her parents' house because we didn't have enough money to get dinner. So it seems really strange that we're playing A$AP Rocky."

If you grow up in the United States, it can be very easy to have no perspective on living in a culture dominated by art and media from another country. Some music from around the world seeps into mainstream American culture, but it's never dominant, and music from abroad is made with the understanding that you have to cater to the American market to be a big star. Americans are used to the rest of the world bending over backwards to blend in with their culture, and think nothing of foreign stars from ABBA and Björk to Shakira and Phoenix singing in their second language to appeal to the English-speaking world. Americans are almost never asked to adapt, and very rarely have to feel as though their culture is being infiltrated by the value systems of foreign nations.

This context may get lost a bit when "Royals" is played in the United States, but it clicks with American listeners because this sort of cultural imperialism happens within the U.S. too. The "culture wars" that have informed the past few decades of American politics are rooted in a belief that the values of media produced and promoted almost exclusively by companies based in New York and California are disconnected from the majority of the country. On a more personal level, it's just easy to look at mainstream culture and feel disenfranchised, that no one is speaking for you.

"Royals" may be ambivalent about music, but it's openly defiant when it comes to class and this sort of imperialism. It may well be the most leftist song to become a major hit in years, at least in that it's focused on rejecting wealth and privilege, and questioning capitalist ideas that encourage people from lower classes to buy into a system that is mostly rigged against them. Lorde's song takes pride in not coming from money, and asks the listener to give some thought to why they want to buy into a glamorous fantasy. If it seems like Lorde is being especially rough on rap, but it's mainly just because she's a fan, and it's the genre that is most invested in this fantasy. There are a lot of valid reasons why African-American culture in particular is invested in these material fantasies, but that's not really what Lorde is talking about here. She's mainly interested in the unintended cultural consequences of those values on the other side of the globe, and perhaps pushing Americans to consider for a moment that their pop culture is not happening in a vacuum”.

Maybe it is worth coming back to critique and scrutiny of the lyrics. The fact that the then-teenager Lorde wrote this song so quickly - and yet it has been poured over and is this complex and compelling thing goes to show what an amazing songwriter she is. Someone who definitely hit a nerve when it was released in 2013. The fact is Royals didn’t translate in all overseas territories too well. As it got to number one around the world, it was clear that the buying public loved the song and connected with its messages. The Guardian, writing in 2013, argued how Royals deserves a more nuanced investigation:

“Those are a few possible ways of hearing it, anyway. Another is that it’s a privileged white woman belittling black cultural aspiration. At least, that was the take of Verónica Bayetti Flores on feministing.com, who caused something of a minor international pop cultural incident with her analysis, under the unambiguous headline ‘Wow, That Lorde Song Royals is Racist’. It goes on to ask: “why not take to task the bankers and old-money folks who actually have a hand in perpetuating and increasing wealth inequality? I’m gonna take a guess: racism.”

Predictably, because Lorde is ridiculously popular, the post became an excuse for commenters to beat up on the writer, a venting space for a bunch of New Zealanders to defend their countrywoman.

It’s funny (read: embarrassing) that whenever anything gets written about New Zealand anywhere on the internet, we as a nation all dutifully congregate to refute, apologise or agree wholeheartedly with what’s being said. Click-hungry web editors take note: as a small, self-conscious set of islands with high internet penetration, we’re easily manipulated. Praise or pillory us and the clicks will roll in for days like the waves at Raglan.

Many of the guests from the bottom of the world arrived at feministing bearing well-argued responses, often pointing out that the song’s very next line ridiculed white cultural excess. Other visitors behaved a little strangely, making the post’s author’s point seem more valid in their attempts to refute it. “Wayne” summed up one vein of the sentiment:

If this woman that did the review, would have opened her ears a little more, than she would have realized what Lorde was referring too, and that is the over popular culture in music today. Bling, Pimped out rides, half naked artist on stage and in video’s, as well as showing off their money to the point, that they look like a big damn joke.

Basically what Wayne is saying is that, even if Royals isn’t racist, he sure is, and thoroughly enjoys the way listening to it reinforces his prejudices. This is a bit of a shame. Because Royals deserves a more nuanced critique.

Fortunately, the Wayne-type response was balanced out by the biting response of New Zealand satire site The Civilian, which went digging for other racist elements in Royals. These included discovering that the line "let me live that fantasy" really meant that “Lorde desperately wants to live out her fantasy of owning black slaves”.

I will get to reviews. INQUIRER.net had this to say when they reviewed Royals upon its release. It is amazing that an artist so young wrote a song like Royals. Both catchy and singalong but also deep and challenging, it is no wonder that we are still discussing the track a decade down the line. This majestic and emphatic introduction to the wonderful Lorde:

“Lorde, whose real name is Ella Maria Lani Yelich-O’Connor, is a 17-year-old singer-songwriter from New Zealand. She is starting to quickly establish her own identity with music aficionados spanning every age group with her meaningful and well-crafted lyrics that speak directly from the heart of who she is as an artist. That right there explains a lot to me why there are so many teens now moving away from listening to artists like Miley Cyrus to more thought-provoking and sensible music that Lorde has to offer.

The lyrics of her single “Royals” isn’t all about nonsensical themes that really do nothing to help broaden the tastes of listeners. Her song is surprisingly simple and sincere which provides a window to her humble beginnings and her own aspirations while growing up.

We can take for example in the pre-chorus: ” But every song’s like gold teeth, grey goose, trippin’ in the bathroom blood stains, ball gowns, trashin’ the hotel room, we don’t care, we’re driving Cadillacs in our dreams. But everybody’s like Cristal, Maybach, diamonds on your timepiece. Jet planes, islands, tigers on a gold leash. We don’t care, we aren’t caught up in your love affair. “To even listen to lyrics as poignant as these isn’t exactly the “norm” these days.

Switching to other aspects of “Royals”, I would say there was really a conscious effort to keep things to a minimum as much as possible when it came to its instrumentation. And almost everything else about this single is minimalistic in its approach too—from the simple backing drum beat to even the finger snapping in the chorus section.

The best part about “Royals” is Lorde’s voice quality—low-pitched and husky—which is truly reminiscent of the late Amy Winehouse.

Normally, the production serves as a “boost” to make the song better in heightening the listeners’ experience. But in this case, if that method had been applied at all in the engineering of “Royals” in the recording studio, it would not have fit and most likely, it would have even worked the other way around because her voice would only have been drowned out. I say this because no amount of multi-layered sounds in the background was needed so that listeners could have a better appreciation of Lorde’s vocal work.

It really proves an old phrase “less is more.”

Everything I have mentioned and enumerated above leads me to believe we have a “counter-culture” artist who just so happens to have struck a chord with mainstream listeners looking for something different this time.

There will always be a huge chunk of music aficionados who are in search for new artists that would challenge their own definition as to what music sounds good to them. And this is where Lorde fits the bill perfectly.

Her voice alone speaks for itself”.

I will round off with a round up by Wikipedia. They collated reviews for the mighty Royals. A modern classic that has been covered by everyone from Selena Gomez, Jack White, and Bruce Springsteen, there is no doubt that this song has huge pull, power and importance. Something so many other artists wanted to add their stamp to. The sign of a true classic:

“Royals" received widespread acclaim from music critics. Lewis Corner from Digital Spy awarded the track a five rating and lauded its "addictive hook that thrives on its simplicity". The Guardian's Duncan Grieve was impressed by the song's "direct response" to excess and wealth. The Boston Globe writer James Reed selected "Royals" as the highlight of the album Pure Heroine. Rita Houston of NPR praised its melody, "heartfelt" songwriting, and Lorde's "rhythmic" vocals that combine to create a "polished little gem of a song". Jon Hadusek from Consequence of Sound also named the track the album's standout, singling out its "self-reflexive" lyrics and "catchy" production. PopMatters writer Scott Interrante felt that the song's sound was "distinct and fresh", while The New York Times's Jon Pareles highlighted its clever message, describing it as a "class-conscious critique of pop-culture materialism".

The lyrical content of the song was scrutinised after Feministing blogger Véronica Bayetti Flores called it "racist". She felt that "gold teeth, Cristal, and Maybachs" were direct references to items used by mainstream black artists. This prompted responses from several media publications, including The Washington Times, Complex, and Vice, who disagreed with Flores's comments. Journalist Lynda Brendish wrote that the song also critiques other stereotypes associated with affluent, high-profile personalities, such as rock musicians, socialites, and Russian oligarchs.[57] In contrast, Spin writer Brandon Soderberg argued that the inclusion of "Royals" on urban radio was an attempt by the music industry to whitewash traditionally black radio stations”.

Because 28th October was when Royals went to the top of the charts in the U.K., I wanted to mark and celebrate that anniversary with a closer look and dissection. If some misconstrued the lyrics and were misinterpreted, since it is seen as what it is: a teenager in New Zealand reacting to all the wealth and excess of American/western culture that was everywhere. Maybe some of the excess that musicians were used to. Quite gaudy and tacky. Perhaps a little cool too. I think everyone has a slightly different take on the lyrics. Whatever your impression, there is no doubting the fact that Royals is…

A supreme, all-conquering work of wonder.

FEATURE: Simon Le Bon at Sixty-Five: Duran Duran’s Biggest Hits and Amazing Deep Cuts

FEATURE:

 

 

Simon Le Bon at Sixty-Five

IN THIS PHOTO: Simon Le Bon in New York City in 2018/PHOTO CREDIT: Julia Johnson & Cody Cloud/The Licensing Project

Duran Duran’s Biggest Hits and Amazing Deep Cuts

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ONE of the…

 IN THIS PHOTO: Duran Duran in 1983

all-time great band leads of all time turns sixty-five on 27th October. Duran Duran’s Simon Le Bon is one of the most distinct voices in music history. Le Bon has received three Ivor Novello Awards from the British Academy of Songwriters, Composers and Authors, including the award for Outstanding Contribution to British Music. I am going to get to the playlist very soon. Before then, turning to Wikipedia for some background and history about Duran Duran and their history, here is some useful information:

“Duran Duran was founded by childhood friends John Taylor and Nick Rhodes along with singer-songwriter Stephen Duffy in 1978, but Duffy left a year later, convinced that the band was not going to be successful. The band went through a long succession of line-up changes after Duffy's departure, but finally settled on a guitarist and drummer.

Le Bon's ex-girlfriend, Fiona Kemp (a bartender at the Rum Runner nightclub where Duran Duran were rehearsing), introduced him to the band in May 1980, recommending him as a potential lead vocalist. As band legend has it, he turned up for the audition wearing pink leopard-print trousers, and carrying a notebook containing a large collection of poems he had written—several of which would later become tracks on the early Duran Duran studio albums.

After listening to the songs the band had already composed together, Le Bon spent some time fitting one of his poems ("Sound of Thunder") to one of the instrumentals, and found they had a good match. Le Bon agreed to "try [Duran Duran] out for the summer"; within six weeks the band was playing steadily around Birmingham, London and Nottingham, and a national tour supporting Hazel O'Connor led to a recording contract with EMI Records in December that year.

The band's debut studio album, Duran Duran, was released in 1981, and they quickly became famous as part of the New Romantic movement. Three more albums followed in quick succession: Rio (1982), Seven and the Ragged Tiger (1983) and the live album Arena (1984). Each album release was accompanied by heavy media promotion and a lengthy concert tour. By mid-1984, the band were ready for a break. Duran Duran's only other work that year was an appearance on the Band Aid charity single "Do They Know It's Christmas?" which was recorded at Sarm West Studios in Notting Hill, London on 25 November 1984. Le Bon's vocal appears fourth on the song after Paul Young, Boy George and George Michael sing their lines.

Following the departures of Roger Taylor and Andy Taylor, Le Bon, Rhodes and John Taylor continued on as Duran Duran, recording and releasing Notorious (1986) and Big Thing (1988). The group added guitarist Warren Cuccurullo and drummer Sterling Campbell and recorded the studio album Liberty (1990), but the band's success had begun to wane in the late 1980s.

Duran Duran had a resurgence in popularity in 1993 with The Wedding Album, featuring the top-10 single "Ordinary World". Several months into the extensive worldwide concert tour supporting this album, Le Bon suffered a torn vocal cord, and the tour was postponed for six weeks while he recovered.

In 1995, Duran Duran released the covers album Thank You, and Le Bon had the chance to cover some of his favourite artists, (Jim Morrison, Lou Reed and Elvis Costello), but the album was severely panned by critics from all quarters. That year Le Bon also performed Duran Duran's 1993 hit "Ordinary World" with opera tenor Luciano Pavarotti during a "Children of Bosnia" benefit concert for War Child. Le Bon described the event to Jam! Showbiz thusly: "If you're talking about name dropping, he's one of the biggest names you could drop, Pav-The-Man".

When bassist John Taylor left the band in 1997, Le Bon and Rhodes remained as the only two members who had been with Duran Duran from the beginning of their recording career. The successive two studio albums with Le Bon, Rhodes, and Cuccurullo, Medazzaland (1997) and Pop Trash (2000) were not commercial successes.

In 2001, Duran Duran's original five members reunited to record a new studio album, Astronaut, for Epic Records. Astronaut was released worldwide on 11 October 2004. The album was preceded by the single "(Reach Up for The) Sunrise", their first UK Top 10 single in a decade”.

To mark the approaching sixty-fifth birthday of Simon Le Bon, I wanted to assemble a collection of Duran Duran tracks. Even though Le Bon is more than the band, this is where people know him from. His best work is with the Birmingham-formed group. Whether you are younger and do not know much about Duran Duran, or you are someone who has followed them for decades, below is a playlist that should give you a good taste and representation of…

A music legend.

FEATURE: Inspired By... Part One Hundred and Three: Elliott Smith

FEATURE:

 

 

Inspired By...

Part One Hundred and Three: Elliott Smith

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ON 21st October…

it will be twenty years since the wonderful and hugely influential Elliott Smith (Steven Paul Smith) died. The Nebraska-born artist - raised primarily in Texas, he lived much of his life in Portland, Oregon – left the word some truly incredible music! From his beguiling and astonishing 1994 debut, Roman Candle, to 2000’s Figure 8, seemingly everything he put out into the world was impactful and astonishing! In terms of his masterpieces, maybe 1997’s Either/Or is seen as that peak. Regardless, there is no doubting the fact that Smith’s cannon of music lives on through other artists. I am going to mark twenty years of his passing with a playlist of songs from artists who have been influenced by him. First, and as I do with these features, AllMusic provide a detailed biography of the much-missed artist:

“An acclaimed singer/songwriter with a distinctively melancholic sound, Elliott Smith was a member of the thriving music scene of Portland, Oregon in the mid-'90s when he began releasing a series of highly influential solo albums. His musical palette expanded over time, from the hushed acoustic guitar demos of his 1994 solo debut, Roman Candle, to the orchestrated studio craftsmanship of his fifth album, 2000's Figure 8. Still, all were distinguished by a vulnerable demeanor conveyed by intense but wispy vocals (often double-tracked) and personal lyrics that referred candidly to subjects like addiction, depression, and alienation. His music's character was also shaped by artful chord transitions, which he called his favorite part of songs. He moved abruptly from indie cult status to mainstream success in 1997 when his contributions to the Good Will Hunting soundtrack resulted in an Academy Award nomination ("Miss Misery"). He recorded only six solo albums, releasing five before his untimely death at the age of 34 in 2003.

Born Stephen Paul Smith in Omaha, Nebraska but raised mostly in Texas, Elliott Smith's musical influences included such figures as Bob Dylan, the Kinks, Big Star, Elvis Costello, and the Beatles; he said he was inspired to become a musician after hearing The White Album. He began writing and recording his first songs around the time he moved to Portland, Oregon at the age of 14. After high school, Smith headed to Amherst, Massachusetts to study philosophy and political science at Hampshire College. It was there that he met future bandmate Neil Gust. After graduating in 1991, Smith moved back to Portland with Gust, and the co-singer/songwriter/guitarists formed the indie rock band Heatmiser with bass player Brandt Peterson and drummer Tony Lash. Mixing Smith's melancholy-pop sensibilities with Gust's more aggressive style and a notable grunge influence, they signed with Frontier Records, which released 1993's Dead Air and 1994's Cop and Speeder. Peterson then left the group and was replaced by Sam Coomes.

In the meantime, Smith's then-girlfriend convinced him to send some of his solo demos to Portland-based Cavity Search Records. The label immediately expressed interest in releasing a full album. A set of spare acoustic guitar ruminations with just a few other instruments used as accents, Roman Candle was home-recorded on a four-track tape recorder. Four of the songs didn't even have titles. It stood in sharp contrast to the scene's alternative rock that was popular upon its release in 1994. He signed with noted indie label Kill Rock Stars for the next year's Elliott Smith. It was recorded partly at his bandmate Lash's house and featured Gust on additional guitar. The attention the records received soon overshadowed Heatmiser, though they helped draw the interest of Virgin Records, which signed the band for their final LP, Mic City Sons. It arrived via subsidiary Caroline Recordings in 1996. Heatmiser officially disbanded prior to its release.

s Smith continued to develop as a songwriter, his more ambitious but entirely self-recorded third solo LP, Either/Or, arrived in early 1997. With its title taken from a Søren Kierkegaard book of the same name, the album's expanded instrumentation included several songs with full-band arrangements and even keyboards. The results were still intimate, however, marked by his whispery, often despondent delivery and lyrics, even among a few livelier, uptempo tracks. The album was mixed by Smith and Heatmiser producers Tom Rothrock and Rob Schnapf.

By then, Smith had made a fan of film director Gus Van Sant, who asked for permission to use his music in an upcoming film. Counting an orchestral version of "Between the Bars" recorded with score composer Danny Elfman, four of his existing songs could be heard in the critical and box office hit Good Will Hunting later in 1997. The soundtrack also included Smith's original song for the film, "Miss Misery." When the Academy Award nominations were announced the following February, the track was a surprise entry in the Best Original Song category. Although it didn't win, Smith performed an acoustic guitar rendition live on Late Night with Conan O'Brien a few days before the Oscars, marking his network television debut. He followed it with a live performance of "Miss Misery" on the Oscars telecast accompanied by the Broadcast Orchestra.

The newfound exposure led to a record deal with DreamWorks, resulting in Smith's first album in professional studios. Though he had relocated to Brooklyn following touring for Either/Or, he headed to Los Angeles to work with musicians including Jon Brion and Joey Waronker on the notably more elaborate XO. Released in 1998, the Beatleseque production was again mixed by Smith, Rothrock, and Schnapf. His first album to appear on the Billboard 200, it reached number 104 in the U.S., also charting among the Top 50 in Australia and Sweden. Smith performed on TV's Saturday Night Live in October 1998, backed by Schnapf, Brion, Coomes, and John Moen. In 1999, he contributed a cover of the Beatles' "Because" to the soundtrack of Best Picture winner American Beauty and moved to Los Angeles, where he began work on his DreamWorks follow-up. Recorded partly at Abbey Road Studios in London, his fifth solo album, 2000's Figure 8, was co-produced by Smith, Rothrock, and Schnapf. Its more textured, orchestral arrangements drew further comparisons to the Beatles' later recordings. Figure 8 charted in several European countries and hit number 99 in the U.S.

For the next couple of years, Smith labored over what was to be his next album. He parted ways with DreamWorks, and after a falling out with Brion, he scrapped an album they had begun together. In the meantime, "Needle in the Hay" from his eponymous LP was used by Wes Anderson to accompany a suicide-attempt scene in his film The Royal Tenenbaums. Smith eventually made a fresh start at his sixth LP, combining home recordings and material from sessions with Goldenboy's Dave McConnell. Musicians including Coomes and the Flaming Lips' Steven Drodz contributed performances to parts of a planned double album. However, Smith would not live to see its completion.

Elliott Smith died on October 21, 2003, after he was found in his home with two stab wounds in his chest. The coroner was unable to determine whether he killed himself or was murdered, and the Los Angeles Police Department's investigation remains open. Smith's estate asked Schnapf and former girlfriend Joanna Bolme to complete the album in progress. After mixing -- or in some cases remixing -- 15 tracks from over 30 he left behind, they completed From a Basement on the Hill. It was released as a single album by Anti- just two days shy of the first anniversary of Smith's death, to a warm critical reception. It became his only Billboard Top 20 album, reaching number 19.

In 2007, his former label Kill Rock Stars issued a two-disc set of Smith's earlier unreleased work, all of which had been recorded between 1994 and 1997. Entitled New Moon, the 24-track collection contained three songs that had been previously released on hard-to-find compilations or soundtracks, including an early version of "Miss Misery" and a cover of Big Star's "Thirteen." It, too, charted in several countries, peaking at number 24 in the U.S. The career compilation An Introduction to Elliott Smith appeared in 2010, and in 2015 Smith was the subject of a documentary called Heaven Adores You. The first such documentary to receive permission to use his music, its soundtrack album followed in 2016 and landed on the Billboard soundtracks chart. A 20th anniversary expanded reissue of Either/Or returned Smith to the Billboard 200 in 2017. Three years later, Kill Rock Stars reissued his self-titled second album with the addition of Live at Umbra Penumbra, a 1994 recording of Smith's first performance as a solo artist”.

It seems hard to believe that Elliott Smith is not in the world. I was into his music in the 1990s. I was instantly struck by how powerful his lyrics were, in spite of the fact his delivery is a lot softer that a lot of his peers. Somehow more affecting and potent than a more pained and angered delivery, albums like Roman Candle will inspire artists for generations. Below is a playlist of songs from artists either compared to Smith or have cited him as an inspiration. It is an impressive list of names who owe a little something to the legend. Although we mark twenty years of his passing on 21st October, we also can look back at his work and celebrate. It is an honour to pay tribute to…

A towering and peerless talent.

FEATURE: Second Spin: Billie - Honey to the B

FEATURE:

 

 

Second Spin

Billie - Honey to the B

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NOT that one needs any reason…

to write about Billie’s debut solo album, Honey to the B…though, as it is twenty-five on 19th October, I wanted to mark the important anniversary. For this Second Spin, you can grab a copy of the 1998 album and listen to one of the most infectious Pop albums of the '90s. 1998 was a year when the music landscape shifted dramatically. Now Britpop was very much gone, classic albums from Madonna (Ray of Light), Beastie Boys (Hello Nasty), Air (Moon Safari) and Ms. Lauryn Hill (The Miseducation of Lauryn Hill) were dominating. Pop music was still very much alive and well though, in a year when the music landscape was shifting, one might think that Billie’s debut would have sounded more fitting a few years earlier. At a time when the likes of Shampoo were releasing songs like Trouble (1994), Honey to the B would have slotted in perfectly. Maybe that is why some critics were not that warm towards a great album. We all know Billie Piper as a superb actress. There are some that do not know about her brief music career. Her second and final studio album, Walk of Life, arrived in 2000. I think that Honey to the B is her strongest album. You occasionally here hits like Because We Want To on stations like BBC Radio 2, Capital and more Pop-oriented options. I feel that the great and still fresh songs from the album warrant wider appreciation. With terrific deep cuts like You’ve Got It and Don't Forget to Remember, Honey to the B is well worth a listen. The then-sixteen-year-old was writing and performing music that had a lot more kick and attitude than many of her Pop peers. Songs such as Girlfriend and She Wants You were played a lot when I was at high school. I was fifteen when the album came out, so it was quite common that something like Honey to the Bee or Because We Want To would pop up on the radio. It is a shame some of the music videos from the album have not been remastered and preserved. They could do with an HD transfer.

Even so, there is a lot to recommend about Honey to the B. Billie was the first and youngest British female artist to have a debut single enter the U.K. singles chart at number one. That is not to be sniffed at! At a time when the singles charts was rammed with quality and variety, Because We Want To won out and was this massive hit. Reaching number fourteen in the U.K., Honey to the Bee is an album that I think would win and charm people now. One cannot deny the fact that its singles sound relevant now. So many current young artists have elements of Billie about them. Or at least some of the Pop that was around in 1998. Even if there are a couple of songs that can be seen as inessential or weaker – Saying I’m Sorry Now is quite difficult and a little cringey -, there are so many terrific tracks. This is what Pop Rescue wrote in their 2021 review. They awarded Honey to the B four stars:

“Today’s Pop Rescue from a fate unknown, is the 1998 debut album Honey To The B, by British pop star and actress, Billie Piper. Will this album give you a buzz, or is it simply a Honey trap? Read on…

Billie Piper – Honey To The B (1998) album

This 12 track CD opens with the debut hit single Because We Want To, which bursts open with some full-on teenage rebellion. The track is full of powerful parental defiance and this, alongside the energy the song exudes quite rightly ensured it was a hit, taking roost at #1 in the UK singles chart. The crowd shouting moments, plodding bass all help to keep this song catchy. This is a few years into Girl Power, super-charged by the Spice Girls a few years later, and you can certainly hear the musical similarities here. We’re off to a brilliant start.

That’s followed by second single Girlfriend, which takes the tempo down and temperature up. This track takes a more RnB sound to it, giving Billie a great platform to show off her richer vocals on a slower track. It’s slick, and effortlessly wanders from verse to chorus to verse. The track also hit #1 in the UK chart, a contrast to the lead single.

Officially Yours follows this, again picking up an RnB beat, with a few vinyl scratches thrown in. The synth orchestral hit works well here. I’m reminded a bit of Eternal here, but Billie’s vocals are softer. It’s quite a nice little song, with some thrown in asides from Sweet P, although it doesn’t particularly evolve much.

A gentle keyboard sequence opens next track She Wants You as a pop beat fades in and we see a return to an upbeat catchy track. Billie’s vocals sound effortlessly rich here. This track was the album’s third single, giving Billie a #3 UK hit. I seem to remember there being some excellent pumping remixes of this song, whereas this album version is a little more mellow. Still, it’s perfectly catchy and and a great pick up from the previous two slower tracks.

Next up is Love Groove, and we have a wonderfully funky introduction with bass, simple beat, more vinyl scratches and interjections from Sweet P, and even a little flurry of brass. We even get a flute in this track. Musically, it sounds like something left over from George Michael‘s Older, or a Stereo MC’s album. Vocally, it sounds odd though – with a meandering melody, and Billie takes on a slightly weird vocal style in this wafty jazz-funk track.

That’s followed by a ringing phone of Party On The Phone. You’ve got to love the 1990s, and the concept of this song reeks of 90s party lines. Whilst the song is catchy, with its ‘na na na’, chiming bell sounds from keyboards and phone ringing samples, set on top of a funky RnB track, it is now quite amusingly dated. ‘Everybody swingin’ it on the phone’ – really? ‘So get ringin’ it!‘ Billie demands. Can’t wait for the Zoom follow-up ‘everybody on mute’ ‘Tina’s left the call’.

Saying I’m Sorry Now is next, and we’re back into 90’s pop, and very much back into a kind of Eternal sound. Billie’s vocals sound a bit off at times here in this multi-layered – sometimes too low, and sometimes taking a wrong step. Breathy vocals, an RnB beat, a tinkling piano, and Billie’s vocals sound ok, but they don’t feel like they are always pushing in the same direction at the same time. This makes it a bit odd.

Then it’s time for You’ve Got It, which bursts open, feeling like a return to form. Billie is joined by the London Community Gospel Choir, who help to lift her higher in the chorus. It’s a fairly simple pop song, and it allows Billie to shine nicely. There’s a really nice bridge at roughly the 2:20 mark where Billie and the choir get to shine without the beats for a few moments. The pair also get to shine again towards the end. It’s nice enough, but lacks the same amount of oomph that the singles have.

I Dream follows that, and returns us to a heartfelt reflective Billie. Her vocals are soft and tender here, set against a shuffling beat and acoustic guitars. This is a really nice little mid-tempo song, and probably could have been a nice final single for the album. It has a really nice synth pad ending that adds to the dreaming theme of the song.

Birds sing and a bee buzzes around as titular song Honey To The Bee begins. ‘C’mon, buzz me up to heaven’ Billie whispers suggestively. Musically, the song reminds me a lot of Never Ever by All Saints, but Billie definitely makes the vocal performance her own. The track was the album’s fourth and final single, giving her a sultry #3 UK hit. The London Community Gospel Choir are back again singing about ‘heaven’, but it’s possibly a different kind of heaven to what Billie is talking about being buzzed to here. It’s a brilliant song, that grows perfectly before returning us to those birds and bees.

Penultimate track Whatcha Gonna Do follows this, and Billie is rejoined by Sweet P again, and she’s clearly taking issue with him this time. A slinky guitar riff leads us through this RnB track. Billie once again seems to be channeling All Saints a bit, as she sings about taking control and leaving her lover. It’s a nice plodder of a track, and gives Billie plenty of space to show off her vocal range.

The album closes with Don’t Forget To Remember. The song opens with what sounds like a lone pianist playing in a busy bar before a beat bursts in and we’re back in pop stomping Billie richness again. This is a really nice catchy pop song, and one of the non-single highlights of the album. The perfect ending to a debut album of a debut pop career.

Billie’s lead single ‘Because We Want To’ (1998).

VERDICT

Over all, this album is packed with an acute awareness of the late 90’s chart music of which it was part. The similarities at times to Eternal and All Saints are a reflection of the style of music that was dominating the UK at the time – bursting pop/dance songs, and slick RnB inspired tracks. That similarity clearly leant it some success but Billie’s choice of singles singled her out without relying on those.

Billie’s vocals are playful, occasionally childish, but there’s no doubting the power and control that she has over them. As a young pop star, with a debut album, she was likely at the whim of the team writing for her. What we do get here are some of the best late 90’s pop songs in the form of Because We Want To, She Wants You and Honey To The Be, but that’s joined by Girlfriend, I Dream, and Don’t Forget To Remember.

Sadly, there are some low points too, with Saying I’m Sorry Now being a difficult listen, followed by Love Groove. These are a minority though on a 12 track CD, and would have been better to have been left off of what is otherwise a great pop album, and a wonderful debut.

Why you gotta play her songs so loud? Because you ought to. Because you ought to”.

If artists of that time such as All Saints got a bit more traction and critical respect, one listens to Billie’s debut album now and realises it deserved more acclaim. Billie Piper is one of our very best actors, though she had this amazing music career. An artist that I think could release a great album now and it would do terrifically. I am going to finish off with Off the Record’s 2022 review of Honey to the B:

“Billie Piper, is an English actor and musician, she first came to the public attention when she released her debut single ‘Because We Want To’ at the age of fifteen, which made her the youngest female artist ever to enter the UK Singles Chart. She however did not truly come to be a household name until she starred as Rose Tyler, a companion to the Doctor, an alien time traveller, on the first season of the revival of the BBC show Doctor Who back in 2005. Following on from her tenure on Doctor Who she also starred as Hannah Baxter, the titular and main character, on the hit show Secret Diary of a Call Girl. She was also Brona Croft/Lily Frankenstein in the horror-drama Penny Dreadful, and she was nominated for a British Academy Television Award for Best Supporting Actress for her role in the Netflix Original Collateral, where she played Karen Mars. More recently she co-created and starred in the Sky Atlantic series, I Hate Suzie, a comedy/drama in which she plays the titular character, Suzie Pickles.

As I touched on above, Billie Piper, or as she was known back then, just Billie, is a former musician, having retired from the music business in 2003 to focus on acting, but prior to this point she released two albums, the first of which we are here to discuss today. Yes, we will be reviewing her debut album ‘Honey to the B’ which was released on 19th October 1998.

‘Because We Want To’ opens fast, high energy, percussive beats support Billie’s vocals, she has a nice voice, melodic but fresh, she’s obviously just starting off at this point and yet despite that she has a maturity and strength to her voice that some performers never learn. I like the energy of this track, the fun pop energy, and the back and forth, call and response nature of the chorus. Even the rap sections work well, they’ve got a nice rhythm and structure to them, that make for an overall good track.

‘Girlfriend’ opens with record scratching, and melodic vocal fills that blend into a funky, little tune, that is fun and catchy, and not just in the repetitive, cookie cutter, pop way, it’s just a nice little melody, that again shows off multiple sides to Billie’s voice. I like that even though she has a nice that’s nice to listen to, she doesn’t rely just upon that, instead throughout this song and the rest on the album she experiments with style, delivery and performance.

‘Officially Yours’ has a really nice rhythmic opening, light percussive and beats that lead into some softer vocals, you can feel the soulful delivery of the lyrics, it all comes together really well. This one is a lower tempo track than the past couple, but while it’s not as full of energy it’s still a strong performance, and you get the clearest impression of Billie’s voice throughout the track.

‘She Wants You’ has piano chords building slowly, while beneath it a more upbeat, high energy beat is playing, it then explodes and takes over, and Billie matches it, high energy vocals, but still rich and deep and passionate, you just get caught up in the vibe of this one. I’ve talked about it before but especially for a debut album by such a young artist, she’s got a remarkable range. Perhaps my only issue is that perhaps the subject material of the songs are just a touch mature, but other than that they resonate well and have a nice energy to them.

‘Love Groove’ opens with counting, before kicking into a tight bass and percussive melody, and this one just kinda flows over you, a funky tune and again we see a different side to Billie’s voice, I admire a vocalist that is confident enough to see what they can do musically, I recently reviewed Kat Graham, and I felt very much the same about them, a talented and appealing voice, but she also didn’t steer away from exploring things in her music. I really liked the pipe section towards the end, and the rap breakdown by the guest vocalist, all added to the performance.

‘Party on the Phone’ is a very busy track, it incorporates in phone trills, and a heavy bass driven beat that work to support Billie’s voice, and once again can I say that she’s genuinely a talented singer, her voice is nice to listen to, she’s got a strong range and works well within the structure of the melody. I’m curious, listening to this years after the release, how much creative control she had over this album, whether she had a hand in producing the songs. It doesn’t really impact the quality or my enjoyment of the track but it’s something to think about.

‘Saying I’m Sorry Now’ is maybe my favourite on the album, it’s a relatively simple beat and melody off the bat, especially compared to some of the other tracks, but it has some of the best vocal work on the entire album, and it just flows really well. It’s also a slower track, which is usually my preference, but honestly it’s not even just that it’s more in keeping with my personal musical tastes, it’s just a really strong, even tempo track, with a sharp percussion beat to it, and it just works.

‘You’ve Got It’ opens with a hammering beat that blends out to a sonorous sort of ambient synth melody which works really well with Billie’s voice. It’s got a really nice rhythm as well, and is surprisingly memorable as I found myself humming it a few days after I’d finished writing the review. I think it’s probably my second favourite on the album, after the song directly before it.

‘I Dream’ opens with percussive tones that build, as an electronic guitar is laid over it, it blends to create a really beautiful and filling melody, and obviously Billie’s up to the task vocally, her voice is deep and resonant and you just get caught up in it. Despite having my own favourites, I think I would recommend this song to someone if I were trying to get them to listen to the full album, there’s just something about it that’s not only good, but has mainstream appeal.

‘Honey to the Bee’ kicks off with the sound of nature, and gentle guitar notes and vocals, meshing and bouncing off one another. I really liked this track, it’s very different overall to the rest of the album, and yet it works as part of the greater help. I liked the melody a lot, and I liked the building nature of the track, you just get kinda caught up in it.

Whatcha Gonna Do’ is also different, deeper and heavier, a percussive beat is the driving force behind this track, and unlike the majority of the tracks so far, Billie has another voice to bounce off, it helps to flesh the song out, and add something to it.

‘Don’t Forget to Remember’ closes out the album for us, we are greeted by the sounds of an audience and electronic piano chords, building and creating a soft, melody before breaking, a quick percussive fill changing up the track, and then the vocals kick in. Again, I’m amazed by the range and vocal depth Billie is capable off, especially this early in her career, and I feel like this was a strong track to close things out on”.

As Honey to the B is twenty-five on 19th October, I wanted to nod to it. I am not sure whether Billie Piper will celebrate or recall memories of making the album. I’d like to think that she at least smiles remembering a wonderful time in music where this exciting and arresting Pop artist broke through. As I say, I could well see Billie Piper recording an album now and it being remarkable. Perhaps something soulful or Jazz-influenced. Her vocal range through her 1998 debut is stunning! If you have some spare pennies to get a copy of Honey to the B on cassette or C.D., it is well worth some time. It deserves a second spin. This is one of those '90s albums that sort of passed under the radar a little. It was worthy of much more than that. For anyone in need of a lift, I can thoroughly recommend you check out Billie’s…

TREMENDOUS Honey to the B.

FEATURE: Vinyl Corner: Nico - Chelsea Girl

FEATURE:

 

 

Vinyl Corner

Nico - Chelsea Girl

_________

THERE are a couple of places…

 IN THIS PHOTO: Nico with The Velvet Underground’s Lou Reed in 1967

where you can get this album. If you want a vinyl copy of Nico’s classic 1967 album, Chelsea Girl, then you can grab it here or here. I would recommend people think about investing in a copy, as it is one of the all-time great albums. I am featuring it now, as Nico would have turned eighty-five on 16th October. She sadly died in 1988. It was a tragic loss of a unique and unforgettable artist. She released a few iconic albums during her career. Many might know her from the timeless 1967 album, The Velvet Underground & Nico. Nico’s amazing debut solo album was produced by Tom Wilson. The title is a reference to Andy Warhol's 1966 film, Chelsea Girls, in which Nico starred. Wilson added strings and flutes to the album, even though Nico was very much against this. It is a shame that the German singer was dissatisfied with Chelsea Girl. It is considered a masterpiece by so many. When Nico was quoted in Dave Thompson's liner notes for the 2002 Deluxe re-issue of The Velvet Underground & Nico - which includes all five Velvet collaborations for Chelsea Girl -, she remarked (of Chelsea Girl):

“I still cannot listen to it, because everything I wanted for that record, they took it away. I asked for drums, they said no. I asked for more guitars, they said no. And I asked for simplicity, and they covered it in flutes!... They added strings and – I didn't like them, but I could live with them. But the flute! The first time I heard the album, I cried and it was all because of the flute”.

Perhaps, in a year where the likes of The Beatles released psychedelic albums like Sgt. Pepper’s Lonely Hearts Club Band, Chelsea Girl sounded twee or out of step with what was around it. It is those qualities which make it stand out. Perfectly accompanying Nico’s vocals, the flutes work really well. It is a pity a compromise could not have been worked out – so that there were flutes but more guitars and drums. I am going to get to some reviews of the mighty and mesmeric Chelsea Girl. It is a magnificent record that everyone should hear. This feature from 1st October is a brand-new view and assessment of Chelsea Girl:

“Part lost Velvet Underground album and part baroque-folk pop-art experiment, Nico’s solo debut LP, Chelsea Girl, was worlds apart from anything else she’d ever record, but it’s a classic on its own terms.

The album was made almost immediately after the March 1967 release of The Velvet Underground & Nico, and was reportedly assembled in a mad frenzy of activity over just a few days, with VU producer Tom Wilson at the helm. Its basis was the solo act Nico had recently begun developing, sometimes backed by her 18-year-old paramour Jackson Browne, who contributed three songs to Chelsea Girl. Browne would later recall that amid the hectic sessions, he was in the studio playing with Nico on his compositions the same day Lou Reed was there laying down guitar on tunes he wrote.

Chelsea Girl was not a million miles from “I’ll Be Your Mirror” and “Femme Fatale,” the ballads Nico sang with the VU. The basic template for the singer’s husky vocal approach was still Marlene Dietrich meets ‘60s mod, but instead of a full-band backing, the album places the German émigré in a baroque-folk setting.

There were precedents in Marianne Faithfull’s early recordings, which became mid-’60s U.K. hits, and Judy Collins’ In My Life, which helped break the folk singer into the mainstream. This may have informed the business-savvy Wilson’s decision to make a drumless album and engage Larry Fallon for chamber-style woodwind and string arrangements. A 1968 review in New Society would memorably dub Nico “a satanic Marianne Faithfull.”

Time has vindicated Wilson’s decision. From an objective distance, the taut but warm string and flute parts feel like the ideal foil for Nico’s deadpan delivery. But both Nico and Reed would later gripe about the arrangements. “I cried when I heard the album,” Nico would say, “I cried because of the flute.” In a 1978 Creem interview, Reed held forth on the album: “Everything on it – those strings, that flute – should have defeated it. But with the lyrics, Nico’s voice, it somehow managed to survive. We still got ‘It Was a Pleasure Then’ on, they couldn’t stop us. We’d been doing a song like that in our beloved show; it didn’t really have a title. Just all of us following the drone. And there it sits in the middle of the album.”

Half of Chelsea Girl was written by some combination of Velvet Underground members. Reed’s “Wrap Your Troubles in Dreams” and the Cale/Reed tune “Little Sister” had both been tried at the Velvet Underground & Nico sessions, ballads with calm surfaces belying the lyrics’ psychological and physical violence. Cale’s “Winter Song” and the Reed/Sterling Morrison-penned “Chelsea Girls” bear the same sort of contrast, the latter inspired by the studied decadence of the 1966 Nico-starring Andy Warhol film of the same name. The staccato string arrangements bring just the right blend of archness and accessibility to all of them.

As Reed suggested, “It Was a Pleasure Then” grew out of a wild, avant-garde improv piece from the Velvets’ live set known as “Melody Laughter.” While it moves at an unhurried pace similar to the other tracks, Fallon’s arrangements are eschewed for Reed and Cale’s ebbing and flowing currents of sonic derangement.

The Browne songs are far closer to the folk-rock singer/songwriter conventions of the day. Their tender melodies and melancholy yearning balance with Nico’s emotional distance, especially on the poignant “These Days,” the only one of his three tunes that Browne would later record himself.

Chelsea Girl is rounded out by a song each from Bob Dylan and from Nico’s labelmate and occasional accompanist Tim Hardin. Dylan’s open-hearted “I’ll Keep It With Mine” was first recorded in 1964 by Judy Collins, creating yet another parallel between her and Nico. The album closes with Hardin’s literally mournful “Eulogy to Lenny Bruce,” which would turn up as “Lenny’s Tune” on 1968’s Tim Hardin 3: Live in Concert. Hardin’s lyrics bemoan the substance abuse that led to his famous friend Bruce’s untimely death, and the song becomes all the more chilling in light of Hardin’s own early, drug-assisted exit from our realm.

After completing Chelsea Girl, Nico diverged from the album’s path as quickly and drastically as humanly possible. Her 1968 Cale-produced album The Marble Index was the start of two decades of self-penned albums embracing utterly uncharted territory. But, for a brief moment in 1967, Nico occupied the strangely compelling space between arty abandon and fragile balladry. It was – and is – a pleasure”.

Before getting to a couple of other reviews, I want to source The Vinyl District’s 2017 view on a wonderful album that you can hear in so many artists who have come along since. In one of music’s strongest-ever years (1967), Nico’s debut stood alongside the very best. The Marble Index followed in 1968. It kept the quality up – announcing Nico as a truly wonderful and compelling solo artist:

“Everybody, or so it seems, loves Teutonic chanteuse Nico’s absolutely enchanting 1967 debut solo album Chelsea Girl–except Nico. In 1981 she said, “I asked for simplicity, and they covered it in flutes! They added strings and–I didn’t like them, but I could live with them. But the flutes! The first time I heard the album, I cried and it was all because of the flute.”

“They” were Velvet Underground producer Tom Wilson and arranger Larry Fallon, and as should be obvious from the above quote they sugar-frosted Chelsea Girl without so much as asking for Nico’s by your live.

Nico may have been crestfallen about Chelsea Girl, but generations of listeners have been bewitched by her hauntingly droning approach to songs by the likes of the young Jackson Browne, Bob Dylan, Tim Hardin, and (of course) her former Velvet Underground bandmates Lou Reed, John Cale, and Sterling Morrison. These songs are as coldly tender as a Baltic Sea wind blowing through the pines of Spreewald Forest where Nico spent her childhood war years, watching the flickering lights of Allied bombers devastating Berlin on the horizon.

The veddy veddy German Nico (aka Christa Päffgen) is certainly one of the most distinctive vocalists you’ll ever run across; my East German ex-Frau lost her accent within a year or so of leaving the Deutschland, but the ex-model, Warhol actress, and member of his Exploding Plastic Inevitable’s accent remained every bit as thick as the walls of Hitler’s bunker, making her without a doubt the frostiest Ice Queen in the history of modern pop music.

But Nico’s frigid vocals are warmed up by this collection of winsome songs; with the exception of the eerily beautiful (and vaguely Middle Eastern sounding) “It Was a Pleasure Then” (on which Reed and Cale bring to bear the all of the dissonant powers they displayed on “European Son”) “Chelsea Girls,” and Hardin’s “Eulogy to Lenny Bruce” the tunes are fetching, and the Wilson-Fallon strings and flute overlay gives the LP an accessible, chamber pop sheen. Which, of course, Nico despised.

Some albums are disparate affairs; others are uniform in mood. Chelsea Girl falls into the latter category; its 10 songs, taken as a whole, evoke a bittersweet wistfulness. They bring to my mind the misty grey days I used to spend with my former significant other walking across the desolate potato fields of Mecklenburg-Vorpommen off the Baltic Coast, storks wheeling regally overhead towards their nests in the smokestacks of derelict sugar factories. The LP conjures memories and induces trances, alternately haunts and teases, leads one by the hand down a set of stone steps to the cemetery where your dreams are buried.

This is Nacht Musik to be listened to alone, preferably while strolling the backstreets of Berlin or Hamburg–some Northern German metropolis where the fog is made welcome, and the weight of history lies as heavy as the monolithic Nazi-era flak towers that still stand in the latter city. Nico is a siren calling you back to a place you never even knew was home, harkening you back to a lurking sadness you didn’t even know you felt.

Very few artists have this power to bewitch, intoxicate and mesmerize; in its power Chelsea Girl reminds me of nothing so much as Van Morrison’s Astral Weeks, another masterpiece of stirring evocation and sustained mood. I have my favorites (Browne’s “These Days,” Dylan’s “I’ll Keep It With Mine,” Reed and Morrison’s “Chelsea Girls,” Reed and Cale’s “Little Sister”) and you probably have yours, but in the end they’re all enchanting, they all flicker and disappear the moment you turn your gaze upon them, they’re all as hard to catch as the fugitive feather falling from the sky in “Somewhere There’s a Feather.”

Nico would go on to make her artistic dreams come true on 1969’s The Marble Index, 1970’s Desertshore, and later albums, all of which are formidably stark and fully realized evocations of gloom, doomm and other Wagnerian fun stuff. I find ‘em a bit too Gotterdammerung bleak for my tastes, which ain’t to take away from the fact that “Janitor of Lunacy” is probably the greatest song title of all time. If you’re a depressive or just like to pretend you’re one, I suggest you check them out.

GRADED ON A CURVE:
A”.

I am going to finish with a couple of other reviews for Chelsea Girl. In fact, I will come to a review and then end with a feature that talks about the album and the legacy it holds. Pitchfork reviewed Chelsea Girl fifty years after its release in 2017. I don’t think I have ever seen a review of Chelsea Girl that is anything but effusive and hugely complimentary. Even if Nico very much went in her own direction with 1968’s The Marble Index, there is no doubting the fact Chelsea Girl holds a very special place in music history:

“Chelsea Girl presents a young woman torn between the regrets of her past and the unknown but hopeful future. Browne’s three contributions—“These Days,” “The Fairest of the Seasons” and “Somewhere There’s a Feather”—are introspective meditations on change backed up by Cale’s chirping viola and Browne’s gentle acoustic guitar. “These Days,” the ultimate loner anthem and the most famous song of Nico’s career, has been covered by artists from Drake to Elliott Smith, and is as iconic as Nico herself. It’s no wonder Wes Anderson chose to use it as a theme of sorts for The Royal Tenenbaums’ Margot, a character whose mystery and sadness is as heavy as her mink coat. But upon listening to Browne’s twangy version of “These Days,” it becomes obvious that Nico’s droning, Germanic drawl is what makes the song so affecting.

While Browne focuses on transitions, Cale pushes Nico into more a more esoteric realm. On “Little Sister” (co-written with Reed), Nico’s voice is flat and brooding in direct contrast to the whimsical organ which pipes along beside her. She sings in “perfect mellow ovals” as Goldstein wrote in 1966. “It sounds something like a cello getting up in the morning.” “Winter Song” on the other hand, basks in an almost medieval atmosphere which is heightened lyrically by talk of “tyranny,” “royal decay,” and the “worshipping wicked.” The closest thing to a Velvet Underground song on Chelsea Girl is Reed, Nico, and Cale’s hefty eight-minute “It Was a Pleasure Then.” While Cale’s viola groans with distortion and Reed’s guitar drives into darkness, Nico’s voice soars into a wordless soprano at the peak of her range. She draws out the words until they lose definition and simply become expressions.

PHOTO CREDIT: Billy Name

Bob Dylan’s “I’ll Keep It With Mine” provides some levity at the end of Chelsea Girl. Though Judy Collins also claimed that Dylan wrote the song for her, technically he wrote it while on vacation in Greece with Nico in 1964. Whereas Collins’ version is an alarmingly cheery love song drowning in organ, Nico’s take indulges in darkness despite the poppy orchestra backing her up. “I’ll Keep It With Mine” brings Nico full-circle from “I’m Not Sayin,” and would be the last time she ever made a song so conventional.

Reactions to Chelsea Girl was at best indifferent and at worst, sexist. One Los Angeles Times writer remarked, “Nico’s a classy girl, but they’d sell more Nico if she were naked...and not hiding behind a string orchestra in a flower print dress.” For her next record, 1968’s wintry The Marble Index, Nico picked up the harmonium and wrote all of the songs after being encouraged by her “soul brother” and part-time lover Jim Morrison to document her dreams. She dyed her blonde hair with henna and trading her white clothing for an all-black ensemble. “I felt that at last I was independent, and that I knew what independence was,” she said.

But while Nico was taking some control of her music, her life was spiraling. There was the time in 1974 that she performed the German national anthem “Das Lied der Deutschen” including the verses that were banned in 1945 due to their Nazi associations. A year later, Nico was dropped from Island because she told a reporter that she “didn’t like negroes.” In an alleged instance in the early ’70s, Nico declared that she “hate[d] black people,” smashed a wine glass on a table, and stabbed the eye of a mixed-race singer who worked with Jimi Hendrix. Concert footage of a middle-age Nico in the early ’80s portray her as a skeletal figure with gaunt cheeks, rotten teeth, and sunken eyes from a disturbing heroin addiction. It’s as if Nico found power in destroying her image.

Nico once admitted that she could not relate to the songs Reed wrote for her. “I can’t identify with that,” she said of “I’ll Be Your Mirror,” “to notice only the beautiful and not the ugliness.” Despite its melancholy, Chelsea Girl is still very much caught up in this world of the Screen Test, one focused on ineffable, alluring melancholy. To today’s casual Nico fans, she still exists in this bubble, a blonde monolith in a white pantsuit, a vessel for dreams and desires. But to consider Nico as frozen in her Chelsea Girl years is a disservice to the active efforts she made later in life to move beyond her image. But consider all of Nico, the strange circumstances of the Velvet Underground, the image of Chelsea Girl, and the horrific, inexcusable actions of her later life. It’s a wholeness she craved all along”.

I will end with this feature from The Student Playlist. Another 2017 feature, they paid tribute to an album that has a really interesting background. I can imagine that there were these magical moments in the studio. Even if Nico was not fully onboard with the album, it was a breath of fresh air against what was popular and expected in 1967. Chelsea Girl is so beautiful and entrancing:

“By all accounts, Nico herself had very little creative control of the recording process for Chelsea Girl. Producer Tom Wilson was responsible for a great many of the string and flute arrangements that adorned many of the tracks, something that Nico herself had no knowledge of at the time and which were added after her vocal contributions had been finished.

Nico also had to put up with a fair amount of professional ridicule and belittlement around this time. She was deaf in one ear, which caused her to occasionally veer off-key while singing live. The more research one does into the recording process, the more it reads as a case of female creative input being casually sidelined or worse, and determined by a male-dominated process – something that seems difficult to imagine fifty years later in 2017, or at least in such a routine and egregious manner.

LEGACY

In 1967, the year of the Summer of Love and the height of flower-power, the listening public was unprepared for Nico’s music, the experimental art-rock masterpieces and autumnal, melancholic suites that Chelsea Girl offered. Commercially speaking, it barely registered. However, just like Nico’s other 1967 album with The Velvet Underground, its influence is vastly disproportionate to its raw album sales.

The desolate beauty of the album’s VU-penned numbers has enraptured artists like Patti Smith, the High Punk Priestess of American punk, and her British counterpart Siouxsie Sioux, who even offered her a support slot on some of her first tours. Portishead’s Beth Gibbons and indie icon Cat Power both owe her a great deal of gratitude in terms of their performance artistry, while in the 21st century, artists like St. Vincent, Sharon Van Etten and Angel Olsen continue to draw inspiration from Nico.

More widely, Chelsea Girls became widely rediscovered when its opening two tracks, ‘The Fairest Of The Seasons’ and ‘These Days’, were used by director Wes Anderson on his 2001 film The Royal Tenenbaums. Since then, it has gone from being regarded as a strictly cult affair to an increasingly fondly regarded ‘60s classic, albeit one that was unfairly overlooked. While some have always talked it down as an interesting but superfluous counterpart to The Velvet Underground & Nico, largely because its creative genus came from Reed and Cale, that view completely unfairly disregards its unique charms.

As for Nico herself, her next album The Marble Index, released in 1968, saw her lash out at the sense of creative suffocation she experienced with Chelsea Girl, producing an alarming volte-face with some pretty frightening lyrics and avant-garde instrumentation. That album was followed by 1970’s Desertshore and 1974’s The End…, forming a loose trilogy of similar works that went on to inform the gothic and post-punk movements later in the Seventies. Only two more records followed in her lifetime, as she struggled on and off with heroin addiction for the best part of 15 years until the early 1980s, by which time she had settled in Manchester.

Nico died in July 1988 at the age of 50, following a cycling accident while holidaying in Ibiza with her son Ari, hitting her head and succumbing to a fatal cerebral haemorrhage. Her grave in Berlin has long been a tourist attraction for indie music fans around the world, and her status as an art-rock icon is secure, with many emerging artists in the last ten years recognising her influence. That status is, in large part but not exclusively, bound up with Chelsea Girl”.

As 16th October marks Nico’s eighty-fifth birthday, I wanted to focus on her best-known album. Chelsea Girl is one that some people might be unaware of. I would urge anyone who hears the album on streaming services and likes it to consider getting it on vinyl. An undoubted classic, Chelsea Girl is fifty-six this month. Nico died in 1988. Thirty-five years since her passing, it is clear that the music world has not seen anyone like her. Go spend some time listening to…

THE sublime Chelsea Girl.

FEATURE: My 21st Century Étude: The Beautiful Melding of the Contemporary and Classical – and Why We Need to See It More

FEATURE:

 

 

My 21st Century Étude

 IN THIS PHOTO: RAYE

The Beautiful Melding of the Contemporary and Classical – and Why We Need to See It More

_________

A couple of recent…

 PHOTO CREDIT: cottonbro studio/Pexels

albums and concerts cast my mind back to all the times that the world of the more commercial and conventional music has combined with Classical. Usually they do not overlap much. Artists might bring strings and some orchestration into their music, though most are quite sparse and liberal with the measurements. They do not want to drench a song in strings, though they understand how much beauty, atmosphere and elegance can be summoned. The sheer power and passion you can get from an orchestra. String especially are arresting and full of different emotions and contours. We can all think back to particular albums that were released as Pop/another genre. They were then backed by an orchestra when they were brought to the stage. Maybe a special concert was held where this work was now backed by an orchestra. It introduces that artist and album to a new audience. It also shows how seamlessly and wonderfully you can bring together all sorts of genres and Classical. A style of music that is centuries-old and still has this vital and clear relevance! Maybe other people have discussed this lately. We have seen quite a few gigs and performances where artists have been backed by an orchestra. It is always described as’ amazing’ and ‘stirring’. Why do we not see more of these concerts?! Why do more artists not re-record or reissue their studio albums with orchestration and this new element?!

I am not sure what provokes certain artists to work with an orchestra. Maybe it gives the music new gravitas and potential. It reaches a new audience. There is an album that came out that was an orchestral reworking of a studio album that I cannot for the life of me remember! It will come to me at some point. I am going to come to a modern-day R&B/Pop artist whose powerful and acclaimed debut studio album was recently performed with an orchestra. Such was the reception and impact; it did get me thinking about the underused and under-discussed perfection of mixing in Classical music alongside a variety of artists and genres. Sheffield legends Def Leppard released Drastic Symphonies on 19th May. They worked with the Royal Philharmonic Orchestra on some of their classic songs. So many contemporary and legacy artists have been looking to the world of Classical music to add something fresh and almost restorative to their music. James are a classic band whose music still sounds fresh. Even so, some may feel it belongs in the 1990s. As this article tells, they have brought new life and power to some of their work:

“Manchester favorites James are celebrating their 40th anniversary with an album of 20 re-recorded classics and deeper cuts “re-imagined” with a 22-piece orchestra and an 8-piece choir — and they’re taking the orchestral show on the road this month in the U.K.

Check out the new version of “She’s a Star,” originally off of 1997’s Whiplash, below.

The double album Be Opened By The Wonderful: 40 Years Orchestrated is due out June 9 digitally and on double CD and double vinyl in the U.K. (Pre-order: Amazon.co.uk), though it appears it may only be a digital release in the U.S. (Pre-order: Amazon.com, Apple Music).

The record finds Tim Booth and Co. performing newly arranged versions of such favorites as “Sit Down,” “Say Something” and “Laid.” There are 20 songs in total on the digital and CD releases, but one song — “Hymn from a Village” — is omitted from the 19-track double-vinyl release.

Of the project, Booth says:

“Life begins at 40. For our midlife euphoria we recorded a double orchestral album of some of our deepest cuts”.

There are other artists who are getting into the practice of reviving older hits with orchestral touches. Take Cliff Richard, for example. It is not only legacy artists who are reaping the rewards of adding strings and orchestration to their work. One of our most important modern artists is RAYE. She is someone who performed songs from her Mercury-nominated debut album, My 21st Century Blues, at the Royal Albert Hall, backed by the Heritage Orchestra. This is what The Guardian said about the extraordinary performance:

“‘No string section, no tiny violin,” goes Raye’s Oscar Winning Tears. She glances over her shoulder and behind her, in a divine sense of irony, is the entire Heritage Orchestra. For one night only at the Royal Albert Hall, the dreams of Rachel Keen are reclaimed in glorious Technicolor: a live, recorded performance of her debut album My 21st Century Blues on a scale befitting the vision she has fought for almost a decade to execute. Having been cuffed to Polydor for seven years, who allowed her (now Mercury-nominated) record to stagnate while they doled out her talents for daiquiri-syrup dance hits, tonight’s operatic reimagining is a triumphant statement of independence.

IN THIS PHOTO: RAYE at the Royal Albert Hall/PHOTO CREDIT: Luke Dyson

It makes for an incredible collision of worlds: the orchestra bleeds into Raye’s south London DNA, bringing the inherent drama of her music into sharp relief. Fortified by the thrill of strings and an entire choir, the hypnotic dance track Black Mascara reaches biblical levels of retribution. In an album laced with trauma, this musical heft matches the weight of its emotion. Mary Jane, a stripped-back confessional that grapples with addiction, is now replete with lavish saxophone solos and guitar riffs. Raye makes no attempt to hide her enchantment, waving her arms as if conducting the symphony herself, relishing every twist and turn. Punctuated with costume changes from one timeless gown to another, it feels like the realisation of a childhood fantasy.

“I promised honesty on my album,” she reminds us. As she introduces Body Dysmorphia, in an act of radical vulnerability she takes off her clothes and performs in her underwear; the slow-burning R&B track is now propelled to vertiginous heights of anxiety. She stays undressed for Ice Cream Man as she settles at her piano, a song that reckons with her experience of sexual assault. Her voice quivers as she introduces it, but she retains her incredible spirit (“I’m going to sing it for you, with my belly out and everything”) as she triumphantly underlines: “I’m a very fucking brave, strong woman”.

It makes me wonder whether RAYE will reissue the album with orchestrated songs. Reworkings. I know bygone legends like Amy Winehouse have done similar to things as RAYE when it comes to performing alongside an orchestra. RAYE has performed with an orchestra before. Whether for Radio 2’s Piano Room or with Pete Tong and The Heritage Orchestra in 2017, there is a big argument as to why more artists need to collaborate with orchestra. We do hear orchestration on albums - through most people do not isolate those parts and think about the melding of these players and that artist. Having a striking concert like RAYE’s recent turn in London must have been shivers-inducing! Who would have thought that an artist whose recent debut sounds very contemporary, soulful and personal could earn these new layers and emotions with the backing of a magnificent orchestra?! There have been occasions when artists have combined with orchestras. We do not really see it too much, mind. Many who might not be RAYE fans or know about her music are then introduced to her in a setting she would not normally perform in. There is this cross-pollination that is really interesting! There are modern artists like Olivia Rodrigo and Taylor Swift who I could see performing special concerts with an orchestra. Maybe a Rock band like Foo Fighters backed by beautiful strings and brass. These are tantalising prospects! I was caught my RAYE’s concert last month and how her excellent music was taken to different and new heights. Perhaps quite disparate on paper, her stunning music (and vocals) and the talents of the Heritage Orchestra were a…

TRULY heavenly match!

FEATURE: The True Definition of An L.P. Sorry I’m Late: Are Longer Albums Risking Quality Control or Offering Better Value for Fans?

FEATURE:

 

 

The True Definition of An L.P.

PHOTO CREDIT: Ruslan Sikunov/Pexels

Sorry I’m Late: Are Longer Albums Risking Quality Control or Offering Better Value for Fans?

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IT does seem like album are getting longer…

IN THIS PHOTO: Mae Muller/PHOTO CREDIT: Maximilian Hetherington

Not that there are statistics to see how that has changed during the year. It does seem like there is this thing around providing fans with value and more insight. Albums that tell more of a story of include more songs. Albums of physical formats like vinyl and even C.D. can seem expensive if there are ten or eleven tracks. If an artist can release an album with fifteen or sixteen tracks and charge roughly the same – though it might cost more on vinyl -, is that better for everyone? I have noticed it in general. Maybe it is something more common with commercial artists. Take someone like Taylor Swift and the recent 1989 (Taylor's Version). That is out on 27th October. That runs at twenty-one tracks. Speak Now (Taylor's Version) – also released this year – is twenty-two tracks! Even her original studio album, Midnights, for its 3am Edition, ran at twenty tracks. I am thinking about this because Mae Muller put out a tweet when she released her debut album, Sorry I’m Late, last month. Receiving acclaim, this is an album fans have been waiting for a while. She put out that post, as I feel a lot of people might feel it excessive that an album has seventeen songs on it. Clearly all quality enough for people to hear, Muller could easily have put out her debut and then reissued it a few weeks later with extra tracks. Instead, we get an album that is actually decent value for money – with the vinyl being £30 and the C.D. around about £14. I feel value for money is a thing. Even if you do not like a couple of tracks on Sorry I’m Late, you are still getting great value! I don’t think it detract from a complete experience or loses quality. Even at £38, for a vinyl copy of Taylor Swift’s 1989 (Taylor's Version), that is pretty good?!

I have said how vinyl is very expensive. Most albums are about ten to twelve/thirteen tracks. A vinyl copy might be, say, anywhere between £20-£25. The excellent falling or flying from Jorja Smith is sixteen songs. A vinyl copy is £25. That is not much more than you’d pay for a new studio album with three or four songs fewer – or a classic album that has been out for decades. It may be harder to market these longer albums on cassette – as it might get bulky and be spread across a doubler cassette or two cassettes -, but I like that artists are taking a risk and being more expensive…without being too expensive! With so many artists reissuing albums with extra tracks, meaning fans might sell out a lot of money to get more than one version of an album, perhaps releasing longer albums saves them that?! I will get to the subject of quality control. As many artists are embracing physical formats, like they did in the 1990s, filling every groove and spare inch of audio space with music seems like a necessary thing. It can be challenging deciding what the optimum number of songs is. The traditional ten or eleven songs is no longer the standard. More and more artists, even on a debut, are exceeding sixteen tracks. It can mean there is a bit of lag and sag here and there. You also get the option of those extra tracks you would not have otherwise had. Interesting to ask why…

Of course, in an age where more and more artists relying on streaming, getting those numbers high is more possible with a longer album. If the likes of Taylor Swift have been criticised because of their wealth, you wonder whether this will intensify the gulf (between huge artists and the majority who do not earn a living wage through music). Mae Muller’s reasoning is not related to streaming success and making money that way. She wants to give her fans as much as possible. If you have to wait a while for an album and there is the hype, maybe artists get nervous and want to include everything. Rewarding that patience – even if people never wait long and there is so much pressure to release something quickly. In the case of mainstream artists who have been around a while, I guess they do want to generate as many streams as they can. Even though they are releasing these long albums, the songs on there are available separately. It means there is greater revenue potential. That may seem cynical, though it is something all artists are considering. If a smaller band coming through generates very little with an album that has eleven or twelve tracks on, giving fans almost double that might push them in terms of how much they spend recording. It also means they have that opportunity to get more streaming figures and money from that – even if, in reality, the amount they earn is peanuts compared to huge artists regularly pulling millions of streams per song!

btw it’s not lost on me that my debut album being 17 songs long was a bit of a risk n some ppl might not get it but i just loved the songs so much and it didn’t feel right to lose any, so seeing you guys welcome it with open arms and listening to it all like i’m just so happy rn

— Mae Muller (@maemuller_) September 30, 2023

Some might say longer album is nothing new. This is true! I think it is more marked and discussion-worthy now, as one assumes people are less patient. On a twenty-track album, are people just going to skip the closer you get to the end?! In the case of artists like Jorja Smith and Mae Muller, they cannot waste songs deemed essential. You get this rounder impression of an album’s journey. One drawback is, when buying it physically, it may be a little too dear for many fans’ pockets. Streaming, therefore, is the option if they want the album but can’t afford a version that is over £30. Technology now means that artists can be recording for an album and have a few tracks that need to be polished and buffed. Technology can do that for them, so they are not spending extra studio hours and money recording. This 2019 piece noted how critically acclaimed albums were getting shorter. Was the fact they were acclaimed because there was concision in terms of the number of songs on an album and the length of each track?! Journalists for years have been asking whether albums are getting longer. Some take the positives from that – you get more music, which can be a good thing -, whereas others state that there is less quality control, and it can be a test of patience and finances investing in these albums. Rap albums were in the news a few years back, as they seemed to be getting longer. Why was this happening? Rolling Stone gave their take:

“WITH 24 TRACKS, clocking in at one hour and 46 minutes, Migos‘ Culture II lasts long enough to listen to all of Pink Floyd’s The Wall and still make it more than halfway through The Dark Side of the Moon. Its Number One debut on the Billboard album chart is the latest twist in streaming’s reshaping of music consumption: the rise of mega albums.

On Spotify, the duration of the top five streamed albums rose almost 10 minutes over the past five years, to an average of 60 minutes. It’s a trend embraced by Drake (2016’s Views was one hour and 21 minutes), Lana Del Rey (2017’s Lust for Life was one hour and 11 minutes) and Future (his two back-to-back albums in February 2017, Future and Hndrxx, totaled two hours and 10 minutes). What’s driving the trend?

“Stacking albums with extra songs is a strategic way to achieve certain goals,” says Malcolm Manswell, a marketing manager for Atlantic Records. In 2014, Billboard incorporated streaming into its chart calculations (1,500 on-demand streams equals one LP), and two years later, the Recording Industry Association of America adopted the same formula for album certifications. Longer albums that generate more streams can lead to Number One chart debuts and gold and platinum plaques. Last fall, when Chris Brown released the 45-song Heartbreak on a Full Moon, it was certified gold in less than 10 days, even though none of its singles cracked the Top 40. Album certifications remain “the indication of a great artist,” says Manswell. “On the sponsorship side, this stuff helps labels sell an artist or argue for why a brand should use an artist.”

Exploiting loopholes is nothing new in the music business. “I don’t think [releasing an extra-long album] is different than bundling tickets to your concert with your first-week sales,” says Daniel Glass, president of Glassnote Records. The bundling strategy, where fans that purchase tour tickets then get a code they can redeem for an album, is a favorite of rock and pop acts; Arcade Fire, LCD Soundsystem and Pink used it to ensure they debuted at Number One in 2017. (Billboard only counts a ticket sale as an album sale if a fan uses his or her code”.

 PHOTO CREDIT: cottonbro studio/Pexels

In 2016, FACT asked whether artists were getting ambitious and didn’t need to be hindered by the limitations of physical formats – they could put out a double vinyl or fit twenty tracks onto a C.D. –, or was there something more cynical at play?! Actually, a ruling from 2014 might be still a factor when we wonder why albums are getting longer today:

“At the end of 2014, Billboard changed the rules that govern the charts to reflect the way we’re now listening to music. It was the biggest upheaval in the way that information is collected since 1991, when hard sales data replaced the risible surveying of a limited number of record outlets up and down the country. “Album sales have become a smaller and smaller part of the industry,” said Nielsen senior analyst David Bakula at the time of the changes. “To just look at album sales and say this is how we measure success is really leaving out that half of the business is coming from streams and song sales.”

New rules mean that individual singles all count towards the chart progress of an album. So the question is, are artists upping production to take advantage of the fact that individual song streams now contribute to chart placement? It’s fairly simple arithmetic: the more songs to stream, the higher an album charts, hence the heft. L’Histoire de Melody Nelson by Serge Gainsbourg, Reign In Blood by Slayer, Sleater Kinney by Sleater Kinney, I Don’t Like Shit, I Don’t Go Outside by Earl Sweatshirt – all under half an hour in length – may not have been held in the same high esteem had the CEO of the label said, “Great, but could you pad it out with another half an hour of filler to get it up the charts?”

It wouldn’t be the first time record companies have taken advantage of lax regulations to push someone on their roster up the hit parade. In the 1990s the singles charts became more or less rigged by major labels offering unlimited tracks, stickers, a variety of coloured picture discs and singles in five different formats. New releases of CD singles were priced at 99p, going up to £3.99 on the second week of release, meaning songs would crash in at number one before dropping out of the top 10 the following week. Suddenly there were 50 number ones a year and the whole thing became meaningless, so by the time the chart authorities tightened up the rules, we’d all got bored and wandered off to have our frosted tips done instead.

Perhaps the strangest recent rule change by the RIAA is the one where songs released ages ago still count towards album sales if they’re included on the LP, which may go some way to explaining why Drake tacked ‘Hotline Bling’ – released last July – onto the end of Views. “1,500 on-demand song streams in the United States [hold] the same value as 10 individual track sales or one full album sale,” according to Forbes. ‘Hotline Bling’ has so far been streamed over 400 million times on Spotify and 700 million times on YouTube. In the US, those 400 million streams equate to 267,000 album sales under the RIAA’s new rules. There was never any doubt that Drake’s weakest album to date would go platinum – and that was long before the other 19 tracks had even left the studio”.

 PHOTO CREDIT: Marina Photos/Pexels

Often, when we talk of long albums and this ‘what length is too long?!’ debate, it is records from Hip-Hop and Rap. I will also talk about between-album E.P.s and how they are more frequent. Actually, as Pop artists are putting out albums with sixteen tracks or more, it is not reserved to one or two genres. A complex question is this: Is less more? That is a debate that applies to all creative mediums (maybe not literature). The appropriately-named COMPLEX provided their perspective in 2021:

“According to Rolling Stone, the duration of the top five streamed albums on Spotify rose almost 10 minutes between 2013 and 2018, to an average of 60 minutes. Although, as Pitchfork points out, there were times in the late ‘‘90s and early 2000s when the average rap album was even longer than it is now. But double albums like OutKast’s Speakerboxxx/The Love Below or Dipset’s Diplomatic Immunity were the result of calculated decisions in an era of physical production costs, whereas long albums in today’s streaming era often lack artistic intention.

It’s worth noting that artists, especially in hip-hop, are always sitting on a lot of unreleased music. Migos collaborators have gone on record stating that they can make songs in under 20 minutes, and artists often have dozens of songs in the vault, waiting to be released. Even so, the decision to bulk up albums seems to be driven more from a commercial standpoint, rather than a desire to “feed the fans.” When Billboard and the Recording Industry Association of America (RIAA) began incorporating streaming numbers in chart and certifications calculations, it gave artists an incentive to bulk up their albums. The longer the album, the more likely it is to generate streams, which can lead to a higher ranking on Billboard or a platinum plaque. Both Migos and Drake debuted at No. 1 on the Billboard 200 in 2018, while Chris Brown’s lengthy album debuted at No. 3. This strategy is even more important right now, after the COVID-19 pandemic put a strain on yearly income and left artists looking for ways to make up for touring revenue.

Joey Badass once told Complex that a good album should have no more than 14 songs, with the duration likely varying between 30 to 45 minutes: “I don’t care if it was Michael Jackson, I am not listening to 25 songs. Less is more in my opinion.”

Financial benefits aside, though, stacking albums doesn’t take into consideration how music consumption has changed over the last few years. According to database company Statista, 54 percent of global consumers listen to fewer albums than they did five or 10 years ago. A 2019 survey conducted by Deezer in the UK, revealed that 15 percent of music fans under the age of 25 have never listened to a full album. Forty-two percent of those listeners are putting their favorite tracks on shuffle or playing them individually. Sure, adding more songs to a tracklist improves the chances that they’ll be added to playlists, but it damages the overall listening experience for a generation that’s moving away from listening to albums anyway. And in the streaming era, fans are receiving more music than ever before. Gone are the days of buying a couple albums at the record store and listening to them repeatedly for months. Today, fans have access to dozens of new albums every Friday, so it can become increasingly tiresome to shuffle through 20-song albums each music cycle.

Tracklists with 18 or more songs often cause fatigue for listeners. By the time you make it to the second half of these albums, they start sounding monotonous and stacked with filler tracks. Migos have fallen victim to this criticism. Following Culture III’s release, fans complained that the second half of the album sounded redundant and could have benefited from shortening the tracklist by three or four tracks. There were similar complaints about Culture II. These long tracklists also don’t cater to the way people actually listen to music. Very seldomly do you sit in one place while consuming an album. You’re usually on the train, in the car, or completing other day-to-day tasks, often making it difficult to listen to the same album for more than 30 minutes.

So, what is the ideal album length? Joey Badass once told Complex that a good album should have no more than 14 songs, with the duration likely varying between 30 to 45 minutes. “I don’t care if it was Michael Jackson, I am not listening to 25 songs. Less is more in my opinion,” he said.

The deluxe album trend could be a more effective way of releasing large quantities of music. Many artists, including Lil Baby, DaBaby, and the Weeknd dropped deluxe albums in 2020, which included five to 10 extra tracks each. The bonus tracks were listed under the album on streaming platforms, but were dropped weeks after the original release. The deluxe method gives listeners a break to digest music at a slower pace, which reduces the likelihood of exhaustion (although, of course, there will still be complaints from some fans about receiving too much music)”.

 PHOTO CREDIT: Martin Péchy/Pexels

Many might note how this feature is already long. Ironically, am I spending too much time writing about whether albums are too long?! Well, frankly, no. It is a tricky debate that has many different sides – especially when it comes to vinyl (sorry!). I want to bring in a couple of other takes, as this argument about album length has been discussed for years now. I will end with my opinion. This feature from 2020 discussed the importance of album running time and getting it ‘just right’:

“Earlier this year, I was listening to the new Beach Bunny record and (half) jokingly tweeted that “any LP that's less than 26 minutes is an automatic 9/10 in my mind.” That’s obviously a slight exaggeration, but I do think that shorter albums are generally better and harder to pull off than longer ones. While I realize the running time of a record may seem like an esoteric piece of trivia, I believe it’s actually a vital component of what makes an album good. Sure, I love long-winded double albums, 20-minute songs, and concept albums as much as the next guy, but by and large most of my favorite records, especially recently, are ones that tend to be leaner and more economical with their time. Hell, my favorite album of last year was a 6-track EP, so this post is a long time coming. Truthfully I think shorter records are harder to make and therefore are not the norm. I also think they can be stronger, more creative, and more impactful than a “traditional”-length album for many reasons.

In my mind, an album’s running time is as essential as it’s tracklist or sequencing. Many artists don’t take those things into consideration, but the ones that do often end up crafting a more compelling piece of art. The new Ratboys album is a perfect example of a masterfully-sequenced record; each side opens with a fast-paced single, side one closes with a banger, and the back half of the album works up to a beautifully meditative title track made all the more poignant by the flow of the songs that come before it. Part of what makes Printer’s Devil great is, yes, the songs themselves, but also how the band decided to order those songs and walk the listener through them. You could take those same 11 tracks, rearrange them, and the album would be flat-out worse.

When an artist releases an album, generally, it has a point. The musician sets out to capture a feeling, depict a time in their life, or make a statement on something in the world. If you can get your point across in less time, that only makes your message all the more compelling. One of the first times I consciously began to think about album running times was when Japanese Breakfast released Psychompmp back in 2016. Admittedly enamored with the (now) infamous long-form indieheads shitpost about the album, I went into the record with almost-non-existent expectations and came out the other side 25-minutes later blown away.

Essentially a concept album about her mother’s death, Michelle Zauner set out to capture her grief, experiences, and feelings that surrounded this major event in her life. The album opens poppy enough with the mystifying “In Heaven,” the soaring “Rugged Country,” and the immensely danceable “Everybody Wants to Love You.” Things take a turn halfway through where the titular “Psychopomp” stops the listener in their tracks with a spacy instrumental containing a voicemail of Michelle’s mom. From there, “Jane Cum” bowls the listener over with a wordless explosion of grief, pain, and sharp feelings. Not only is “Jane Cum” one of the most authentic expressions of loss ever captured in music, but it’s made stronger thanks to the songs that surround it. The record is so well-paced, and it’s conscious build-up to that pivotal moment of loss makes the feelings Michelle’s depicting all the more raw and impactful. After that heaviness “Heft,” “Moon on the Bath,” and “Triple 7” act as a sort of post-script to death that sends the listener off on a (slightly) more hopeful note, though not by much. The fact that Michelle was able to fit all of those feelings into an album that’s shorter than most episodes of TV is nothing short of spectacular.

One of the reasons I love music is because it’s the only medium with the ability to make such a compelling depiction in such a short amount of time. TV shows and movies are great, but at best they take 2 hours to create a similar effect. I suppose you could make the argument that shorter-form art house movies broach a similar level of impact, but even then the two mediums don’t exist in the same quantities. There’s a more compelling narrative in the four and a half minutes of “Born to Run” than there was in whatever new teen drama Netflix shat out this weekend. There’s no comparison”.

PHOTO CREDIT: Jorge Fakhouri Filho/Pexels

Billboard talked about the advantages of longer albums at a time when you can get any album on Spotify for a fixed monthly subscription fee. Arriving in 2023, this is a relevant modern article that framed the discussion around the release of Country star Morgan Wallen’s (very long player!) One Thing at a Time album:

“One Thing at a Time undoubtedly benefited from its stats-padding length, but it still would have dominated the Billboard 200 had Wallen and his label, Big Loud Records, opted for an average length. With the bottom 18 tracks accounting for 36% of the album’s total on-demand streams, if One Thing were a single-CD, 18-track release, Billboard estimates it would have moved about 360,000 units last week — putting it well ahead of the No. 2 album, SOS by SZA. The 10 most popular tracks amounted to 41.8% of the album’s streams, with the track “Last Night” alone accounting for nearly 9% of the 36 tracks’ aggregated streams.

In fact, an 18-track One Thing at a Time would have bested most recent No. 1 albums in their debut weeks, including Lil Baby’s It’s Only Me (216,000 units), SOS (318,000 units), Metro Boomin’s Heroes & Villains (185,000 units) and Tomorrow X Together’s The Name Chapter: TEMPTATION (161,000 units). (That’s assuming One Thing at a Time would have sold the same number of CDs and digital albums with half as many songs.) Only two recent albums, Her Loss by Drake and 21 Savage (404,000 units) and Taylor Swift’s Midnights (1.58 million units), had better debut weeks than the hypothetical, 18-track One Thing at a Time.

One Thing at a Time is part of a curious paradox in current recorded music, as the widespread adoption of streaming services has caused artists to release single tracks more often while releasing increasingly lengthier albums, too. While the album is waning in popularity, it remains a vital artistic statement and commercial event.

The trend of longer albums runs counter to the experimentations of the early days of digital music. When Napster arrived in the late ’90s, many people believed file-sharing marked the death of the album format. In the ’00s, as consumers increasingly purchased individual tracks at online stores like Apple’s iTunes, labels experimented with the new paradigm. In 2005, Warner Music Group and Elektra Records founder Jac Holzman launched a digital-only label, Cordless Music, that released music exclusively in “clusters” of three or more songs instead of albums or singles. In 2010, country star Blake Shelton released two six-song EPs — called “six paks” — rather than a single 10- or 12-track album.

Today, streaming dominates music consumption and impacts how artists and labels package music. Album sales are lower than ever, but album lengths have never been longer. Because fans can stream an unlimited amount of music for a fixed price, artists can add songs knowing that a longer album equals more streams. And because streams tend to account for far more of an album’s chart position than downloads and purchases, artists have an incentive to keep people listening.

The result has been “track creep,” a consistently rising number of songs on popular albums. In 2022, the top 10 albums on the year-end Billboard 200 chart averaged 19.1 tracks and 69.9 minutes. The top album, Bad Bunny’s Un Verano Sin Ti, has 23 tracks and runs 81 minutes. Un Verano Sin Ti is a product of the streaming age: Physical album sales account for just 1.1% of its album equivalent unit sales compared to 97.5% for streaming. Track creep is made easier considering that many albums, such as SOS and Drake’s 21-track Certified Lover Boy, don’t have physical versions.

Changes in how albums are counted for the Billboard 200 can probably help explain some of the track creep: In 2014, the year Billboard began incorporating streams into the Billboard 200 chart, the top 10 albums averaged 13.2 tracks and 51.9 minutes, meaning album lengths have increased by about six tracks and 18 minutes in the last eight years. (Here, Billboard counts only studio albums and excludes soundtracks and Broadway cast recordings, which are filled with score and instrumental tracks.)

In 1992, when CD sales began to dominate recorded music revenues, the top 10 albums averaged 11.9 tracks and 51.1 minutes. Garth Brooks had two of the four 10-track albums in the top 10 — Ropin’ the Wind and No Fences — and the longest, Totally Krossed Out by hip-hop duo Kriss Kross, had just 15 tracks. Albums -- particularly in the country genre -- often topped out at ten tracks, a limit set by record labels for paying mechanical royalties to music publishers.

Today, streaming dominates music consumption and impacts how artists and labels package music. Album sales are lower than ever, but album lengths have never been longer. Because fans can stream an unlimited amount of music for a fixed price, artists can add songs knowing that a longer album equals more streams. And because streams tend to account for far more of an album’s chart position than downloads and purchases, artists have an incentive to keep people listening”.

Particular people will have their views regarding whether longer albums are good value, or if they are a test of endurance. I personally like longer albums if they are affordable. You get a more complete – warts and all – view of an album. So many artists release a normal-length studio album. They then put an E.P. out soon after or before, so you get these tracks that would have been on an album arriving in a different format. People don’t really buy physical E.P.s - they can get them through Bandcamp and Spotify -, so I guess people need to consider the fact many artists who release shorter albums still put out a lot of music over the course of a year or two; though they are in the form of an album and then E.P. When albums can be streamed cheaply, artists have to make money through providing longer albums. It does mean fans shell out more though, with many artists putting out albums every couple of few years, it is not a massive expenditure if you think about it. Mae Muller’s recent post ‘defending’ her expansive debut, Sorry I’m Late, raises an interesting point. She has started a debate that has arrived at…

JUST the right time!

FEATURE: Joni Mitchell at Eighty: Both Sides, Now: Bringing the Icon to the Screen

FEATURE:

 

 

Joni Mitchell at Eighty

IN THIS PHOTO: Joni Mitchell in 1968/PHOTO CREDIT: Jack Robinson/Hulton Archive, via Getty Images

Both Sides, Now: Bringing the Icon to the Screen

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COMING up on 7th November…

 IN THIS PHOTO: Joni Mitchell's at the Newport Folk Festival on 24th June, 2022 (you can find out more about it and buy the live album here)/PHOTO CREDIT: Nina Westervelt

we mark the eightieth birthday of one of the most influential artists ever. There is no doubting few lyrics are as evocative and poetic as Joni Mitchell. Alongside an elite few, her songs are works of art. So richly drawn and spellbinding, the songs themselves could form their own film. Maybe an album like 1971’s Blue. I think that there have been occasions where Joni Mitchell has appeared on film. Usually concert footage, she is one of those legends who has not been subjected to a biopic or T.V. drama. With series like Daisy Jones & The Six seemingly representing Fleetwood Mac in some form, you wonder when a biopic about them will come. Same too with Debbie Harry and Blondie. Madonna’s planned biopic has been shelved. That has been crying out for decades. You hope it does come to the screen very soon. One artists who might not seem as cinematic – read: dramatic and controversial – is Joni Mitchell. I have always felt a biopic or drama based on her life should happen. Luckily, as we see in this article from earlier in the year, that might come sooner than we imagined:

“Cameron Crowe, the director of Almost Famous and Jerry Maguire, is developing a new drama film with Joni Mitchell about her life.

According to a story on the entertainment site Above the Line – which was subsequently reposted on Mitchell’s own website – the project is not a documentary and Mitchell has been collaborating with Crowe on the script for the past two years.

Crowe made his name as a teenager writing for Rolling Stone and Creem magazines, experiences he went on to dramatise in Almost Famous. He is a music fanatic and has a longstanding friendship with Mitchell, who he has interviewed numerous times; in 2017 he accompanied her to her first public appearance, a Grammy awards gala, since suffering a brain aneurysm two years earlier.

IN THIS PHOTO: Cameron Crowe and Joni Mitchell pictured in November 2022/PHOTO CREDIT: Bruce Glikas/Getty Images

Crowe has not directed a feature film since the romcom Aloha in 2015, which was was a box office failure and was criticised for the casting of Emma Stone as a character with Hawaiian and Chinese heritage. In 2019, he produced the documentary David Crosby: Remember My Name, about the folk-rock singer-songwriter who died in January this year.

Mitchell, 79, has not released a studio album since 2007’s Shine and kept a low profile after her 2015 aneurysm. But she returned to live performance with a surprise set at Newport folk festival in July 2022, playing 13 songs alongside Brandi Carlile and others, and is booked to play another solo show in June at Washington state’s Gorge Amphitheatre. A live album of her Newport performance is also planned, she told Elton John in an interview in November.

Previously unreleased material has also emerged in recent years across a series of six archival releases by the label Rhino, beginning with Joni Mitchell Archives – Vol. 1: The Early Years (1963–1967) in 2020”.

There is a bit of speculation and wondering as to what could come about. Rather than a straight biopic, it seems maybe there will be a section of Mitchell’s life converted to a drama. I like that Mitchell is consulting and working on the script. It means there is truth and that personal input. It makes me wonder a couple of things. In such a wonderful and diverse life, is this going to be a career-spanning drama that uses her music as a backdrop?! Maybe set in the late-1960s or 1970s, you would have these incredible songs scoring a powerful drama. Whether set in Laurel Canyon, or if it talks place somewhere else, I cannot wait to see what might come about. One reason why it is important to have a film or T.V. series around Joni Mitchell’s work is because it introduces people to her music. A younger generation who use Spotify and cannot get her music – Mitchell removed her music from the platform in protest against controversial podcaster Joe Rogan. The biopic or music film can be quite difficult to get right. When it comes to Joni Mitchell, some might consider her a niche artist. Someone who only connects with people who experienced her music in the 1970s. Her legacy and brilliance has inspired modern artists like Taylor Swift and Billie Eilish. There are dozens of modern artists you can trace to Joni Mitchell. Alongside a drama, it would also be wonderful if there was some modern documentary. Artists and fans talking about her impact and importance. Maybe a new interview with Mitchell. Bringing those albums and songs to life in a new way. Something that covers her career and importance, you would also get to learn more about a hugely intriguing songwriter.

Whether the Cameron Crowe-helmed upcoming Joni Mitchell project is more a straight biopic or uses her music in something fictional, it is a long-overdue project that will open up her music to new generations. Show just how powerful and important her cannon of work is. I hope there is a lot of celebration in the lead-up to her eightieth birthday. Whether Mitchell herself minds or finds it a bit uncomfortable I am not sure. I’d like to think people are honouring her ahead of quite a milestone. Whilst no more original material will come, she is still performing live now and then. You cannot rule anything out. A alongside what comes to the screen, a documentary accompanying this would be magnificent. Important to hear new words from a music genius! So many people are influenced by her, thanking Mitchell and sharing their stories would be really something! I am sure we will hear something regarding Cameron Crowe and his project soon. I am excited to think about what might come about. Before 7th November, take some time to listen to Joni Mitchell’s albums and live performances. Check out video and print interviews, as they always make for engrossing and remarkable listening/reading. I am going to leave it there. I am going to put out another feature or two before Joni Mitchell turns eighty. Such a music titan, the world would not be the same without her in it! It is true that she really is…

ONE of a kind.

FEATURE: Kate Bush’s Lionheart at Forty-Five: Ranking the Tracks

FEATURE:

 

 

Kate Bush’s Lionheart at Forty-Five

Ranking the Tracks

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IN the middle of a blitz and flurry…

 IN THIS PHOTO: Kate Bush in an outtake from the Lionheart photo session/PHOTO CREDIT: Gered Mankowitz/PHOTO CONCEPT: John Carder Bush

of Kate Bush anniversary features, I am concentrating on an album that turns forty-five on 13th November. Kate Bush’s second studio album, it followed hotly on the heels of her hugely successful debut, The Kick Inside. Lionheart is a terrific album that deserves more praise. I am going to do another feature about it before its forty-fifth anniversary. Like I have done with other Kate Bush albums coming up for their anniversary, I am interested in doing a tracks ranking feature. Some might feel a top three from Lionheart would be obvious, though you can’t always predict that! I did rank the tracks a while ago. My opinion has changed since then. Below are the ten songs from Kate Bush’s second studio album…

IN order of their superiority.

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TEN: Don't Push Your Foot on the Heartbrake

Position on the Album: 4

Standout Lyric: “Emma's been run out on/She's breaking down/In so many places/Stuck in low gear/Because of her fears”

Background Detail:

“Song written by Kate Bush. Originally released on her second album Lionheart, the song was written a few years before. According to Kate, it was written as a 'Patti Smith song'.

Versions

There are two officially released versions of 'Don't Push Your Foot On The Heartbrake': the album version and the live version from Hammersmith Odeon, which appears on the On Stage EP. However, a demo version from 1977 has also surfaced and was released on various bootleg cd's.

Performances

Kate performed 'Don't Push Your Foot On The Heartbrake' on the Leo Sayer Show on 17 November 1978 and on the 1979 Christmas special. The song was also included in the setlist of the Tour of Life”

NINE: In Search of Peter Pan

Position on the Album: 2

Standout Lyric: “He's got a photo/Of his hero/He keeps it under his pillow/But I've got a pin-up/From/a newspaper/Of Peter Pan/I found it in a locket/I hide it in my pocket”

Background Detail:

“There's a song on [Lionheart] called 'In Search Of Peter Pan' and it's sorta about childhood. And the book itself is an absolutely amazing observation on paternal attitudes and the relationships between the parents - how it's reflected on the children. And I think it's a really heavy subject, you know, how a young innocence mind can be just controlled, manipulated, and they don't necessarily want it to happen that way. And it's really just a song about that. (Lionheart promo cassette, EMI Canada, 1978)”

EIGHT: Oh England My Lionheart

Position on the Album: 5

Standout Lyric: “Oh England, my Lionheart!/Peter Pan steals the kids in Kensington Park/You read me Shakespeare on the rolling Thames/That old river poet that never, ever ends”

Background Detail:

“It's really very much a song about the Old England that we all think about whenever we're away, you know, "ah, the wonderful England'' and how beautiful it is amongst all the rubbish, you know. Like the old buildings we've got, the Old English attitudes that are always around. And this sort of very heavy emphasis on nostalgia that is very strong in England. People really do it alot, you know, like "I remember the war and...'' You know it's very much a part of our attitudes to life that we live in the past. And it's really just a sort of poetical play on the, if you like, the romantic visuals of England, and the second World War... Amazing revolution that happened when it was over and peaceful everything seemed, like the green fields. And it's really just a exploration of that. (Lionheart Promo Cassette, EMI Canada, 1978)

A lot of people could easily say that the song is sloppy. It's very classically done. It's only got acoustic instruments on it and it's done ... almost madrigally, you know. I dare say a lot of people will think that it's just a load of old slush but it's just an area that I think it's good to cover. Everything I do is very English and I think that's one reason I've broken through to a lot of countries. The English vibe is very appealing. (Harry Doherty, Enigma Variations. Melody Maker, November 1978)”

SEVEN: Full House

Position on the Album: 6

Standout Lyric: “My silly pride/Digging the knife in/She loves to come for her ride”

Background Detail:

“Song written by Kate Bush in 1978. One of three new songs - along with Coffee Homeground and Symphony In Blue - written for the album Lionheart. The lyric seems to be autobiographical, an insight into psychological struggles she was encountering, with paranoia and self-doubt. The song was also released as the B-side of the single Wow.

Performances

Kate performed 'Full House' during the Tour of Life live shows in 1979.

Kate about 'Fullhouse'

'Fullhouse' was probably quite autobiographical, you know: Talking about how hard I find it to cope with all the feelings I get, from paranoia, pressure, anger, that sort of thing. (Colin Irwin, Paranoia and Passion of the Kate Inside. Melody Maker (UK), 10 October 1980)”

SIX: Hammer Horror

Position on the Album: 10

Standout Lyric: “They've got the stars for the gallant hearts/I'm the replacement for your part/But all I want to do is forget/You, friend”

Background Detail:

“The song is not about, as many think, Hammer Horror films. It is about an actor and his friend. His friend is playing the lead in a production of The Hunchback of Notre Dame, a part he's been reading all his life, waiting for the chance to play it. He's finally got the big break he's always wanted, and he is the star. After many rehearsals he dies accidentally, and the friend is asked to take the role over, which, because his own career is at stake, he does. The dead man comes back to haunt him because he doesn't want him to have the part, believing he's taken away the only chance he ever wanted in life. And the actor is saying, "Leave me alone, because it wasn't my fault - I have to take this part, but I'm wondering if it's the right thing to do because the ghost is not going to leave me alone and is really freaking me out. Every time I look round a corner he's there, he never disappears."

The song was inspired by seeing James Cagney playing the part of Lon Chaney playing the hunchback - he was an actor in an actor in an actor, rather like Chinese boxes, and that's what I was trying to create. (Kate Bush Club Newsletter, November 1979)”

FIVE: Wow

Position on the Album: 3

Standout Lyric: “He'll never make the screen/He'll never make the 'Sweeney'/Be that movie queen/He's too busy hitting the Vaseline”

Background Detail:

“Wow' is a song about the music business, not just rock music but show business in general, including acting and theatre. People say that the music business is about ripoffs, the rat race, competition, strain, people trying to cut you down, and so on, and though that's all there, there's also the magic. It was sparked off when I sat down to try and write a Pink Floyd song, something spacey; Though I'm not surprised no-one has picked that up, it's not really recognisable as that, in the same way as people haven't noticed that 'Kite' is a Bob Marley song, and 'Don't Push Your Foot On The Heartbrake' is a Patti Smith song. When I wrote it I didn't envisage performing it - the performance when it happened was an interpretation of the words I'd already written. I first made up the visuals in a hotel room in New Zealand, when I had half an hour to make up a routine and prepare for a TV show. I sat down and listened to the song through once, and the whirling seemed to fit the music. Those who were at the last concert of the tour at Hammersmith must have noticed a frogman appear through the dry ice it was one of the crew's many last night 'pranks' and was really amazing. I'd have liked to have had it in every show. (Kate Bush Club newsletter, Summer 1979)”

FOUR: In the Warm Room

Position on the Album: 7

Standout Lyric: “In the warm room/She prepares to go to bed/She'll let you watch her undress/Go places where/Your fingers long to linger”

Background Detail:

“Performances

Kate was asked to perform on the children's TV programme Ask Aspel, where she wanted to present the new song 'In The Warm Room', but the BBC felt this song was too explicitly sexual, so she opted for Kashka From Baghdad instead. As a result, there are no televised performances of 'In The Warm Room'. The song, however, was performed during the Tour of Life and one of these performances ended up in the Live In Germany TV special.

Kate about 'In The Warm Room'

I'm always getting accused of being a feminist. Really I do write a lot of my songs for men, actually. In fact, 'In The Warm Room' is written for men because there are so many songs for women about wonderful men that come up and chat you up when you're in the disco and I thought it would be nice to write a song for men about this amazing female. And I think that I am probably female-oriented with my songs because I'm a female and have very female emotions but I do try to aim a lot of the psychology, if you like, at men. (Personal Call, BBC Radio 1, 1979)”

THREE: Coffee Homeground

Position on the Album: 9

Standout Lyric: “Well, you won't get me with your Belladonna - in the coffee/And you won't get me with your aresenic - in the pot of tea/And you won't get me in a hole to rot - with your hemlock/On the rocks”

Background Detail:

“Song written by Kate Bush while in the USA in May 1978. It was one of only three songs newly written for the album Lionheart - along with Full House and Symphony In Blue.

Cover versions

'Coffee Homeground' was covered by Kat Devlin and Mouse.

Kate about 'Coffee Homeground'

['Coffee Homeground'] was in fact inspired directly from a cab driver that I met who was in fact a bit nutty. And it's just a song about someone who thinks they're being poisoned by another person, they think that there's Belladonna in their tea and that whenever they offer them something to eat, it's got poisen in it. And it's just a humorous aspect of paranoia really and we sort of done it in a Brechtian style, the old sort of German [vibe] to try and bring across the humour side of it. (Lionheart Promo Cassette, EMI Canada, 1978)“

TWO: Kashka from Baghdad

Position on the Album: 8

Standout Lyric: ”They never go for walks/Maybe it's because/The moon's not bright enough/There's light in love, you see”

Background Detail (https://www.katebushencyclopedia.com/kashka-from-baghdad):

“Performances

Kate performed 'Kashka From Baghdad' live on the piano on Ask Aspel, a TV show broadcast by the BBC in 1978. The song was also included in the setlist for the Tour of Life.

Cover versions

'Kashka From Baghdad' was covered by the Plunging Necklines.

Kate about 'Kashka From Baghdad'

That actually came from a very strange American Detective series that I caught a couple of years ago, and there was a musical theme that they kept putting in. And they had an old house, in this particular thing, and it was just a very moody, pretty awful serious thing. And it just inspired the idea of this old house somewhere in Canada or America with two people in it that no-one knew anything about. And being a sorta small town, everybody wanted to know what everybody what else was up to. And these particular people in this house had a very private thing happening. (Personal Call, BBC Radio 1, 1979)”

ONE: Symphony in Blue

Position on the Album: 1

Standout Lyric: “When that feeling of meaninglessness sets in/Go blowing my mind on God: The light in the dark, with the neon arms/The meek He seeks, the beast He calms/The head of the good soul department”.

Background Detail:

“Song written by Kate Bush in 1978, released on her second album Lionheart. It was one of three newly written songs for the album, along with Coffee Homeground and Full House. It is believed that the lyric of the song is an attempt at describing Kate's own belief system. The descriptions of God, sex and the colour blue seem to be inspired by reading about Wilhelm Reich's theory in A Book Of Dreams.

Formats

'Symphony In Blue' was released as a single in Canada and Japan. In Canada, the B-side was Hammer Horror; in Japan it was Fullhouse.

Performances

Kate performed 'Symphony In Blue' during the live shows of the Tour of Life. The song also appeared in the 1979 Christmas special”

FEATURE: Charted Territory: Brothers Inarm: Diversifying the Podcast Market and Highlighting Amazing Women

FEATURE:

 

 

Charted Territory: Brothers Inarm

IN THIS PHOTO: Professor Hannah Fry’s podcast, Uncharted, is enormously successful and must-listen, yet she is one of few women whose podcasts are charting high and among the most listened-to, leading to a question around a new rise in popularity male-focused/voiced options/PHOTO CREDIT: Charlie Clift for The Independent

Diversifying the Podcast Market and Highlighting Amazing Women

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AN article was published recently…

 IN THIS PHOTO: Comedians James Acaster and Ed Gamble host the hugely popular podcast, Off Menu/PHOTO CREDIT: Paul Gilbey

that raised an interesting point regarding the most popular podcasts. A market that is expanding by the day, you can pretty much find s podcast for anything! Not to say that the podcast market is dominated by men but, when it comes to the most heard and discussed, it seems that male-driven/focused ones are on top. The ‘bro’ podcast. Either podcasters who have quite a laddish or bro mentality, or two men podcasting together who are friends. There is nothing wrong with that…though there does seem to be this proliferation at the moment. I love Fearne Cottom’s Happy Place Podcast and Table Manners with Jessie and Lennie Ware. There are plenty of great podcasts made by or for women. Yet, that being said, there is a resurgence of and seeming reliance on those with a distinct energy and dynamic.  I know this is a bit music-adjacent, though it does also apply to music podcasts. I will explore that side a bit more. First, Zoe Williams wrote for The Guardian and asked what it is with all the bro podcasts we are seeing celebrated and topping listening charts:

“I went to an event last week, Is Audio the Future?, which left me full of enthusiasm for podcasts as this pure, organic, guerrilla space, which nobody had yet figured out how to gatekeep and thereby homogenise. Chris Sweeney described how his podcast, Homo Sapiens, originally co-hosted with Will Young, came about in 2018: he was an avid fan of Woman’s Hour and thought, “Wouldn’t it be great to have an LGBT Woman’s Hour?” They started with no more equipment than an iPhone. Holly Cook, head of product at the Economist, described readers having a much richer relationship with the content when they became listeners, more intimate and proprietorial. It reminded me of publishing, in the old days, when there were low barriers to entry, a thousand flowers could bloom and not everyone in the business was in an unengaging steeplechase for the next Hogwarts.

IN THIS PHOTO: Joe Rogan, left, host of the U.K.’s most popular podcast/PHOTO CREDIT: SYFY/NBCU Photo Bank/NBCUniversal/Getty Images

But actually, that would have been publishing in the 17th century. A much better analogy for podcasts as they are now, or as I thought they were, would be the early days of the internet, without behemoths, advertisers or algorithms, before users were funnelled in one of four directions (violent misogynists, conspiracists and white-supremacists; mild lefties; consumers; people who like cats).

This week, the list dropped of the UK’s best-loved podcasts, telling a different story to the one I was telling myself. The top five are, in descending order, Joe Rogan; Steven Bartlett’s Diary of a CEO, in which he counsels the layperson on how to become more like him; Off Menu with Ed Gamble and James Acaster; Sh**ged Married Annoyed, a kind of unfiltered(ish) account of real-life marriage, with Chris and Rosie Ramsey; and Peter Crouch’s podcast. I have a really low tolerance for bros chatting, unless they’re deliberately trying to be funny, so there is lots in the top 25 I cannot comment on, because to heap on the derision I believe them to deserve, I’d first have to listen.

Joe Rogan I have listened to, mainly to bottom out whether or not his reputation as the soothing face of conspiracy theories and other problematic views was deserved. Between the anti-vaxxing and his remark in February that “the idea that Jewish people are not into money is ridiculous”, it probably is, but I couldn’t possibly adjudicate because this is just more bros, chatting.

Across the piece, successful podcasts are funnelling into a handful of distinct streams: bros chatting, sometimes “inspirationally”; funny bros, being funny, and fair play, many of them are; facts, trivia and miscellany presented in a cute way (No Such Thing As a Fish, The Infinite Monkey Cage). Women are allowed, but only if they’re talking about their children or relationships, preferably with their husbands or children (besides Sh**ged …, there’s NewlyWeds, Parenting Hell, Saving Grace). The honourable exception is Hannah Fry, who gets to talk about maths and still be female”.

Maybe it is just a shift in tastes. Perhaps there is a particular energy and chemistry in particular podcasts that are appealing. Whilst I don’t agree that podcasts should be for one particular demographic or gender, it does seem that the most popular podcasts at the moment are more aimed at men. Of course, there are podcasts by women for women that are worth checking out. There was an issue last year where we heard of male podcast hosts and guests called out because of their sexism. It is not especially a recent problem. Whilst there are scores of women making incredible podcasts, how many are we seeing riding high in the charts?! I am going to come to music before. To defend men (sort of), there is a diverse array of podcasts that go beyond ‘bro-dom’ and celebrate blokes being friends. Whether it is a food podcast, one about sports, or even a music one, it can get a bit much!

 IN THIS PHOTO: Broadcasters, D.J.s and authors, Nick Grimshaw and Annie Macmanus, have just launched their new podcast, Sidetracked, on BBC Sounds/PHOTO CREDIT: BBC/Stephanie Sian Smith/PA

I am keen to explore this in a musical contest. Whether it is on Apple, Spotify - another well-known streaming platform - or BBC Sounds, there is this extraordinary amount of choice. BBC Sounds has a load of podcasts you can listen to. One that is mixed-gender and take that mates-chatting-formular that seems to be male-heavy and turns things around is Sidetracked with Annie and Nick. Presented by former Radio 1 stablemates Annie Macmanus and Nick Grimshaw, let’s hope their new series heralds in a lot more podcasts where it is not solely two men talking. In the same way you do not see many radio duos of all-women, the same is true of podcasts! Female friendships and relationships being explored and spotlighted through amazing series. Before going on, I found an article from last year that asked about the male-dominated market – and some advice for women getting into podcasting:

“Where Are All the Women Podcasters In theCharts?

It would be wrong to say there are no success stories for women podcasters in the charts. For example, Elizabeth Day’s ‘How to Fail’ and Vogue Williams’ ‘My Therapist Ghosted Me’ are consistently in the top 20. But the problem is, there’s just not enough.

Data on the gender split of podcast creators is pretty tough to get your hands on. But in one report from Sounds Profitable, just 29% of podcast creators in the US identified as women compared with 69% of men. 2% of those surveyed identified as non-binary.

Outside of this small study, there’s a real lack of solid data. This makes it hard to understand why women are so underrepresented in the podcast charts.

One report says the lack of data makes it “difficult to say if women’s underrepresentation on Apple’s top 100 podcasts is because women are not hosting as many podcasts or because they are not receiving recognition for their podcasts”.

The same report highlights some potential obstacles that could be preventing women from creating more podcasts. For example, there are fewer women in tech and are less likely to have experience with podcast recording and editing software because technology is a space dominated by men.

If podcasts are anything like books, there could also be fewer women in the charts simply because men don’t listen to podcasts by women as much as they listen to content by men.

It’s likely there’s a whole combination of factors keeping women out of the podcast charts. But the good news is, that there are some inspirational women who are on a mission to do something about it.

3 Women Making Waves in Podcasting

There are a lot of women podcasters and female-inspired podcast networks championing females in the field right now. After tuning into the International Women’s Podcast Festival this year, here are my top 3 to watch.

1. Imriel Morgan

Imriel Morgan is the CEO of Content is Queen and one of the founders of the International Women’s Podcast Festival.

Content is Queen is a London-based podcasting agency and community that seeks to amplify minority voices in podcasting.

The event was created to celebrate women who have been building up the industry but aren’t being recognised.

“There are still a number of hurdles for different people to jump through. But I think women can be at the forefront of the podcasting industry and should be. We are consuming, we are creating, and we are creating for audiences that are largely under-served,” said Imriel.

“So we are the ones creating at this mass rate but we aren’t necessarily benefiting financially or with the credibility, popularity or even the job prospects. I think there are a lot of things we need to address.”

IN THIS PHOTO: Imriel Morgan

2. Kim Fox

Also known as ‘The Podcast Professor’, Kim Fox is a leading academic who produces, teaches and conducts academic research in podcasting. She’s also a journalism professor with The American University in Cairo.

Fox recognises that progress in the field is almost entirely down to women championing other women podcasters:

“We are finding that more women are aligning up with other women and these opportunities […] are extremely valuable.”

“The way we share information, the way we cheer for each other, you can guarantee there aren’t going to be any ‘manels’ [all-male panels]. Sometimes, we hear when these conferences take place that they couldn’t find any women to talk about this topic. That’s not true.”

3. Bianca Foley

Bianca Foley is one half of the very successful, all-female-driven, Sustainably Influenced podcast.

Along with co-host Charlotte Williams, the duo’s show focuses on eco-fashion. The show was born out of a chat between friends about the frustration of packaging.

Despite the challenges of launching just before the pandemic hit in 2020, the show has gone from strength to strength. It’s now in its sixth season.

Content creator Bianca said: “I wanted to do a podcast for ages, but I didn’t have the confidence to just start it and that’s why I was so glad that Charlotte just said, we are going to do this, let’s just do it, let’s just try.”

IN THIS PHOTO: Bianca Foley

Best Advice From Women Podcasters? Just Do It

The advice to women podcasters from Content is Queen’s Imriel Morgan is, if you’re thinking of starting a podcast, stop thinking.

“My advice is just to start,” she said. “I’m not saying you have to press publish, I’m not saying you have to distribute it to the world, even though that’s far less scary than you think it is, but just start the process.

“We want to see those stories, and we want to hear what you’ve got to say. It does matter, and it is valid.”

If this has inspired you to start your own women-led podcast, this guide on how to start a podcast has everything you need to know.

And if all this has got you interested in checking out another great women-led podcasting conference, She Podcasts Live 2023 will take place June 19-22 in Washington DC”.

Even the music podcast market features a lot of male-helmed series. We have artists like Dua Lipa and her At Your Service podcast. In music, there is ample opportunity to platform women. So many great artists who could pair together. I would love to hear podcasts from women in production. Incredible female artists talking about their careers. Series exploring iconic women in music and modern-day queens! I think there is something incredibly captivating and fascinating hearing two women on a podcast. The dynamic is a little different. I think the conversation is usually broader and more interesting. Their personalities richer and  broader! I would love to hear music interview podcasts or thematic/topical music podcasts made by women. You can extend this to beyond the world of music. Think about film criticism. Again, there are some great film podcasts made by women. There are alluring and dynamite partnerships waiting to be cemented. Rhianna Dhillon and Anna Bogutskaya have presented Kermode and Mayo’s Take. They are brilliant together. I think they could present a weekly film podcast and it would ride high in the charts. It is all very well have these fantasy line-ups and wish-lists. There is the incredible female talent out there! That article from The Guardian makes a point. In some ways, the podcast charts are regressive. Women on podcasts with or talking about their husbands are more worthy or visible than ones where women are at the forefront and independent. Hannah Fry being an example (of the latter) with her extraordinary Uncharted. There does seem to be that preference for male voices. Men are harsher critics too. Even if there are terrific podcasts made by women, the most recognisable and memorable ones, it appears, are from men.

IN THIS PHOTO: Film critics broadcasters and writers, Rhianna Dhillon and Anna Bogutskaya/PHOTO CREDIT: Kermode and Mayo’s Take

Even five years ago, the topic of gender divides in podcast was raised by Forbes. Whilst it is a way of fighting against the patriarchy, (podcasts) also provide a space where women can be heard and talk about issues important to them! If bro-led podcasts about banter and mates shooting the breeze are popular because of their casual nature and that healthy male energy, there are plenty of toxic and problematic ones that are getting a big audience share. Things will change. The podcast market is definitely one that could be enriched if female voices are supported and amplified:

“As more women infiltrate the male-dominated world of podcasting, they’re inspiring and showing the way for other female hosts. And to those women who are thinking of starting a show of their own, don’t let the popularity contest deter you. Brushing off podcast rankings, Shannon and Thompson say, “iTunes algorithms are a mystery to everyone—that top 100 could be based on just about anything. So we try to not let it get our panties in a bunch; we just keep on going, doing our thing. But we're definitely dreaming of a more equal world where we don't even have to go there, and now is the time for women to step up, use their voices, share their stories, and support each other by subscribing and leaving ratings and reviews.”

“We live in a society that often tells women our voices and our stories don’t matter. I really internalized this and regrettably, I spent a big portion of my life thinking that I didn’t have anything valuable to add to the conversation,” says Todd. “From writers, to filmmakers, to podcasters, we need more women telling our stories. I can’t tell you how many times podcast networks or advertisers have told me they wish there were more women led shows out there. It’s dire. If you’re a woman who has something to say, don’t spend any time worrying that what you have to say isn’t valuable. We need your voice”.

IN THIS PHOTO: Daisy May Cooper hosts Educating Daisy/PHOTO CREDIT: Antonio Olmos/The Observer 

Being in the music industry, I know of great podcasts made by women here. So many more just begging to be made! Across all industries, sectors and interests,  it is vital that there is greater balance. Of course, you can’t dictate listener habits and force tastes onto people. Even so, podcast platforms in general can do more to balance things are promote worthy and interesting female voices. Mixed-gender podcasts that break away from the matey and blokey surge. Not that I have anything against men in podcasts though, with any scene, if there is too much of that it gets homogenised, boring and lacks variation! Articles like this from earlier in the year highlight some brilliant women making incredible podcast. Even Ryan Clark’s excellent Rylan: How to Be a Man is a much-needed, timely and refreshing antidote to the somewhat unfiltered and testosterone-filled podcasts that many gravitate towards. Seeing more women scaling the top podcasts charts in 2024 would be a hugely pleasant, inspiring, important and progressive…

STEP forward.

FEATURE: Even Better Than the Real Thing: Bringing the Cinematic and Immersive Into Live Music

FEATURE:

 

 

Even Better Than the Real Thing

IN THIS PHOTO: U2 performing in the Sphere, Las Vegas/PHOTO CREDIT: Kevin Mazur/Getty Images for Live Nation

Bringing the Cinematic and Immersive Into Live Music

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IT may seem slightly tasteless…

PHOTO CREDIT: Kevin Mazur/Getty Images for Live Nation

to some smaller artists who are relying on grassroots venues at a time when so many are threatened. It is said that costs are too high and so many are closing and unable to remain. I am about to talk about a hugely expensive live venue in Las Vegas that are currently hosting U2. It is tragic for the industry, as these are venues that artists coming through rely on. There will be a big problem in the future if there are very few grassroots venues open. It is a worrying state of affairs when we think of how essential these venues are. Ones that are not receiving adequate funding from the Government. On the other end of the spectrum – perhaps as far down the other side as you can get! – are legendary and world-famous artists who are in the position to sell out stadium and the world’s biggest venues. If course, they started in the independent venues which are now under threat. This, rather clumsily, leads me to U2:UV Achtung Baby Live at Sphere residency. Held at the Sphere at the Venetian Resort, Las Vegas, they are one of quite a few wonderful and iconic acts who are taking Vegas by storm. So far, the likes of Britney Spears and Adele have played there. Kylie Minogue is preparing for her residency there very soon. Even if Las Vegas is inaccessible to us all and mainly U.S.-based fans can go and see artists there, this rather maligned part of America is getting a bit of a makeover. More renowned for its casinos and slight tackiness, the live music side of Las Vegas is attracting a lot of people there. Whilst Las Vegas is still far from perfect, the fact it is becoming this centre for hosting residencies and performances from legendary artists means we need to cast our eyes there!

U2’s raw-yet-extravagant premiere performance at the Sphere was reviewed by The Guardian. If the Irish band were charmingly ramshackle and raw, that was blended and balanced by a stratospheric and almost cosmic visual display. You can see the photos at the top of this feature to get a sense of the wonder and cinematic that was being projected whilst the band were performing some of their classics. Maybe a million miles away from the basic and simpler venues and performances you get in this country, all of this made me think about how we need something like the Sphere venue in the U.K. Prior to getting to that, here is part of the review of U2:UV’s opening night in Las Vegas:

“U2 have never been a band noted for their love of shy understatement, but even by their standards, their arrival in Las Vegas represents a hitherto-unimagined degree of grandiosity.

They unveil not just an entire venue – the 18,000 seat Sphere, its exterior completely covered in LED screens that turn it different colours, flash up QR codes and occasionally transform it into a giant emoji face, leering over the Las Vegas strip – but also a vast overhead walkway that links it to the Venetian Resort (hotels are tireless in their efforts to stop patrons going outside, an activity that carries with it the danger you might spend your money somewhere else). The interior of the concert hall is completely covered in LED screens, too. They stretch out far above the band and over the audience’s heads, the better to provide a sequence of genuinely astonishing visual effects.

Some big, rather arty names have been involved in the visuals, among them Es Devlin and Brian Eno, and there’s a moment early on when the screens flash up a preponderance of aphorisms that recall Jenny Holzer’s text-based installations – WORK IS THE BLACKMAIL OF SURVIVAL, TASTE IS THE ENEMY OF ART, ENJOY THE SURFACE – but ultimately, it’s all about spectacle, which it provides in jaw-dropping spades. During The Fly, the visuals appear to descend from the roof of the auditorium, creating a fake ceiling made of pulsing numbers. During Even Better Than the Real Thing, they give the disorientating impression that the stage and the standing audience around it are slowly moving upwards: an amazing bit of visual sleight of hand that leaves you slightly queasy. “What a fancy pad,” offers Bono, casting his eyes around the venue. “Look at all this … stuff.”

Of course, there are dangers inherent in all this stuff. On the most prosaic level, there’s the section in the show when what appears to be a giant rope made of knotted sheets ascends to the roof and transforms itself into a swing. Bono selects a fan from the front row in an echo of U2’s fabled Live Aid performance, seats them in the swing and pushes them out over the audience: with the best will in the world, this seems less like stagecraft than an injury lawsuit waiting to happen. But there’s also the risk that U2 themselves will be not just literally be dwarfed by the visuals, which they obviously are, but overshadowed by them, the music merely an accompaniment to a vastly expensive and impressive light show”.

Although there are differences in the U.K. and U.S. regarding live music and the availability of venues, we do have some massive arenas here. There seems to be more available capital in the U.S. to support the live music scenes. We do not have anything like Las Vegas’s venues and glitz here. I hope that the U.K. government invests as much money as it can into grassroots venues. As many as possible need to be preserved and protected – ensuring that very few close in the coming years. Also, there either needs to be consideration to our larger venues. Of course they need to be supported so that they can host larger acts and, in the process, earn money for the economy. I have been to venues like London’s 02 though, to me, there are not many in this country that has that multi-dimensional and visual splendour aspect as something like Las Vegas’s Sphere. Whether it was a bespoke venues built somewhere like Birmingham, Cardiff or Newcastle, imagine bringing a cinematic and epic slice of Las Vegas to the U.K. For one, it might afford us the chance to see residencies be a regular thing. Huge artists playing in the U.K. at a converted or new venues. More importantly, it would be a rare and unique chance to witness music being backed with the most breathtaking visuals. Artists now can create terrific light shows and build wonderful sets for big gigs. Rather than have people pay a load of money to be so far away from the stage that the brilliance and spectacular nature of a set is lost, how about something that is immersive and accessible to all?! Of course, there is the ongoing and angering issue of ticket sites and artists charging exorbitant amounts for tickets.

Together with the cost of travel, many people also have to shell out hundreds to see one gig! It is eye-watering and unethical. I know it is more the venues and ticket sellers who hike the prices and set them to begin with but, as most of these huge artists earn a staggering amount on tour, they can afford to slash prices and ensure that as many people as possible are not gauged and priced-out. If this thorny problem could be resolved, then I think we could then see even more people attending live music. I guess even cinema has not mastered and experimented with viewing films much like one would view a display ta a Planetarium. Rather than people looking at the screen and it being in front of them, I wonder whether cinema will change its aspect and lens and be more immersive in that sense. Being surrounded by the picture rather than it being more centralised. Bringing some of the grandeur and wonder you get from the big screen to music would take it to a new level! I love this idea of live music being entwined with visuals. A more sensory experience where you still get to see and feel the artist playing, you would also get this extra stimulation from the screens around you. Maybe having the sound projected from different points of the venue would mean everyone was getting the same experience. From those right near the stage to those right at the very back, everyone would be witness to an unforgettable experience. Of course, it would be expensive to project and accomplish something like this. It does go back to funding and how many venues are struggling. Would it be ethical and appropriate to inject that much money into one venue that could go to hundreds?! With there being this desperate need for those in power to free up funding for grassroots venues, there is a curiosity of how U.S. venues on a different level could make their way to the U.K. – even if it is in a few years’ time. This transformation, elevation and revolution would completely transform…

HOW we experience live music.

FEATURE: Spotlight: Hannah Diamond

FEATURE:

 

 

Spotlight

Hannah Diamond

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ONE of the biggest and most anticipated…

albums of the year comes from the superb Hannah Diamond. On 6th October, Perfect Picture is with us. Written and composed by Hannah Amond (Hannah Diamond) & David Gamson, with production by David Gamson, singles such as Perfect Picture and Affirmations confirm that London-based Diamond has a very long future ahead! A visual artist who is in control of her image, there is this confidence and autonomy that means her music and promotion is authentic. There will be more press interviews with her ahead of the release of Perfect Picture. Following 2019’s Reflections, there will be many eyes on Diamond and Perfect Picture. She is an artist who is going to make this remarkable statement very soon! Already being discussed as modern icon, it feels almost like I am late to the party spotlighting her - although she is still rising and her best days are ahead. I am going to start with a couple of older interviews. In 2020, a matter of weeks before the pandemic started, Diamond was getting a lot of buzz and love. It was an unfortunate time perhaps to highlight this wonderful young artist! That said, Hannah Diamonds music was a source of great strength and uplift for so many people at a very challenging time. Four years later, we get to see the next phase for Diamond’s music. DIY’s 2020 interview with Diamond is one I want to highlight first. There are a few sections that caught my eye:

“Speaking over the phone from Berlin on the day after the UK general election (“If I was at home, I’d probably be sitting on the sofa, watching the politics channel and feeling pretty disheartened,”) Hannah is freshly out of doing her first ever headline shows. Although she’s done live shows previously, supporting Charli XCX and as part of the PC Music showcases, this is the first time she’s performed to a crowd who have paid specifically to see her. Oh, and all three shows sold out. Obvs. “That’s kind of blown my mind,” Hannah gushes. “I’ve been really overwhelmed by it all, to be honest.”

It’s not a surprise that she’s reached this point, even though it’s been a fairly long journey to get here. A core member of PC Music since the very start, and with her first single released in 2013, Hannah’s debut has been hotly anticipated for years. First announced in 2016 as an EP, ‘Reflections’ has since morphed into an impressive full-length debut that is a moving package of heartbreak and despair, wrapped up with a shiny pop bow. But why the wait? “Because of how the first lot of music that I dropped went down, it felt like I was always under a lot of pressure,” Hannah, *ahem*, reflects. “I didn’t feel like I had the space to make mistakes. I wanted to take my time to make [this album] something that was really good and that I was proud of, and make sure that I could really feel like I stood behind every song. I really didn’t want there to be any filler tracks on the album; I worked really hard on it to make it feel coherent. But I feel like I’ve done it and I feel really happy with it, and that’s the main thing.”

Coherency and consistency are a big theme in both Hannah’s musical and visual output, to the point where she will famously sit retouching a photo she’s taken for hours on end. Does she then see herself as more of an artist or a musician? “I definitely think the feeling of what I am flexes quite a lot,” she muses. “Right now, and especially today, I feel more like a music artist than I do a visual artist. But I know that in January when I’ve got some downtime, I’ll probably primarily be a visual artist for that month.

“I can’t drop the visual work because I enjoy it too much. I need to learn how to navigate doing both somehow, because I think I’d be really unhappy if I had to stop. But I’m excited that I’m feeling more like a music artist at the moment, because it means that if my music starts going really well, it means that a lot of the visual work that I get to do will be personal work, and that’s the stuff that I enjoy the most. The more resources I have to work on personal stuff, the better. Every artist would like that.”

It feels inevitable that Hannah’s music will start taking off in the way she hopes. The PC Music sound has permeated the mainstream through Charli XCX, who has always been a staunch supporter of the pop outliers. In fact, A. G. Cook was the primary producer on her third album 'Charli'. “She’s been repping it for us, which is really cool, because definitely at the start, a lot of people thought what we were doing was pretty weird,” Hannah gleams. “It’s exciting that people are coming round to it.”

As more people tune into Hannah Diamond, she’s got big plans for 2020. “New decade! Shit, that’s crazy isn’t it?” She’s already working on a lot more new music, wants to photograph more pop stars, and has plans to add more live dates at the start of the year. “I’m slightly scared about doing more shows because this little leg that I’ve just done has been pretty interesting and eye-opening. I’m getting an idea of how performing this album affects me emotionally. There’s quite a lot of ups and downs, and I haven’t really experienced that before because I’ve just been doing shows with other people and for other people. It’s very different doing your own, but I’m excited to do a lot more, and work out a way that I can keep myself level’”.

Also in January 2020, CLASH spoke with Diamond after a triumphant gig in London. As part of the creative nexus of PC Music label/movement, Diamond’s aesthetic, collaborators and imagery is thought out – which, as CLASH note, also applied to her live shows. This was someone who was not being directed by the industry and moulded into something commercial and fake. A pure artist who was inspiring to watch come  through:

“There’s an old saying that an artist has their entire life to work on their debut album. With that in mind, what’s the meaning of the name ‘Reflections’?

The album is named after the track 'Reflections' on my album. For me it’s the most important track as I feel it really summarises the sentiment of the whole album and for me really contextualises every other song. It’s about having this image in your head about who you are based on someone else’s opinion of your worth. And slowly starting to realise that the picture you have of yourself is wrong.

That the relationship was a mirror that magnified the ways in which you weren’t compatible with that person and that you are perfect just the way you are. It’s about getting over someone and learning to transfer the love you had for them back onto your self.

You first gained attention as part of the PC Music coterie, how do you approach that term now?

For me, things with PC music have changed quite a lot since 2013. There was a period of time where we all felt super connected and were all living in the same city. Meeting up, hanging out going to parties together. Everything was less official and we were all in the same place. These days, things are transitioning to becoming more official in label terms and everyone has grown up and become more independent. Most of us live in different cities, I’m still super good friends with everyone there’s just more distance between us now.

PHOTO CREDIT: Rachel Lipsitz

At times, the press suggested you were merely an avatar, or a front for male producers. That kind of attitude is appalling – how did it feel to be on the receiving end?

It was really frustrating for me, and I think had more of an impact on my self-esteem than I realised at the time. On the one hand its like great that you must think this is so good that it couldn’t have possibly come from me. But also what is it about me or my appearance, or what I’m doing (because at the time no one really knew much about me at all) that makes me seem like I’m incapable?

It really sucked cos a lot of the think pieces were written from a feminist perspective, but no one reached out to me to ask about my process and some that did have their own agenda and bypassed/twisted what I said to fit that. And that really took away my agency. I still sometimes feel like I have to prove myself.

It’s been over five years since ‘Pink And Blue’ went viral. Why does an album feel right for you at this time, and what makes 2019 the best opportunity to release it?

Sometimes I’m sad that it took so long for me to release my album because it did take a long time. But when I listen to it and I take a step back and look at what I made, including all the artworks, images, graphics, videos. I think no one will ever fully understand how much work and time I put into it other than me. And I’m so happy I took my time because it’s the best body of work I’ve ever made and the closest I’ve ever been to fully realising something I wanted to communicate. And somehow I made all of this when I was having a really tough time in my personal life.

I went through so much between 2016-2018, and 2019 I was coming out the other side and feeling so creative and powerful enough to finish everything off but also enough to feel able to get out on stage and start performing the album as well.

You work with different producers and collaborators on the record, how do you pick this cast? Do you have any tips on who you let into your life and art?

I’m still definitely learning about this, especially since now like I was saying earlier my main collaborators are all over the world. But I think at the start you should try things out, work with lots of friends, people you know who’s stuff you like and see what works and what fits. Then when you’ve worked that part out, if you’ve found someone or people that you really connect with on a creative level and personal level sometimes too is super important. Stick with them, look out for them support each other. For me it’s really important for me to have personal connections with the people I work with, it means I can be my self unashamedly and make my best work without feeling judged or inadequate”.

Before getting to a new interview, I want to come to a brief feature from FADER. It was in promotion of Diamond’s Affirmations. It arrived earlier in the year, at a moment  that the PC Music label is starting to wind up. Perhaps one of her best cuts yet, Affirmations is one of the best songs of the year. It all bodes well for an album that is already being tipped to be among the finest of 2023:

“With the news that PC Music is winding down after 10 years of changing the pop landscape, each new release from the label is bound to come with a new poignancy. That’s certainly the case with “Affirmations,” the new song from Hannah Diamond. Extraterrestrial mall-pop built for blasting away melancholy, “Affirmations” makes the struggle for positivity sound like a battle worth fighting.”

Diamond said of the new song in a press statement: “This one particular day we were on Zoom and my carefully placed camera angle in my bedroom had accidentally shifted to reveal my ‘wall of self-esteem.’ It’s a wall of affirmations I put together when I was at a really low point and had a really negative view of myself. I decided that I would every day when I was struggling write five good things about myself and add them to my wall.

“Through the window of the Zoom, I became aware that my wall might look like a wall of madness,” she continued, “so I explained to Dave what it was. He was super supportive and after a long chat he said, ‘hey, “Affirmations” – great song title’”.

I am going to finish with a new interview from The Guardian. There will be more press with Diamond closer to October and Perfect Picture. Declaring her upcoming album as the pinnacle of Pop in 2023, there is a lot of faith and support around what Diamond is doing. She has caught the heart and mind of the nation. An artist who will be a worldwide sensation soon enough:

“Diamond debuted a decade ago with Pink and Blue, a dewy-eyed but slightly unnerving bubblegum single with a photoshoot to match. Back then, her music was deemed so uncanny – so pink and so feminine, especially in the experimental circles she was associated with – that many onlookers speculated whether Diamond was a model hired as the face of a project by one of her (male) friends in the then-nascent PC Music avant-pop collective. “A lot of my agency was taken away,” she says. “There were a lot of think-pieces about whether I was a real person.”

While writing Perfect Picture, Diamond started thinking about her early career in the context of “what it means to be a girl or woman in the music industry, who’s having to deal with these two sides of herself – a very pure me that my family and closest friends know, and this outward version of myself that’s almost a magnification of all those things, a very pristine pop version.”

She came to the realisation that these are twinned experiences: “To be a pop star is to always be performing and to be a girl is to always be performing,” especially in a world dominated by the internet, where “everyone thinks about how they are branding themselves; you’re never really off duty.” This is amplified under the gaze young women are subject to. “As a woman and a girl, I’ve always felt a lot of pressure to be perfect in some way – when I was young, I was scared to not be good,” she says. “And then you become an adult, and you become aware your body has sexual currency and start learning that there are all these contradictions that are impossible to live up to.”

So Diamond leaned into the girlishness that is both scorned and fetishised across culture. For Perfect Picture, she says, “I wanted to shed the ick that had developed in me for all this stuff” – pink, exaggerated femininity – “that I was really attracted to”. But Diamond remains “always aware of how much I’m contributing to …” – she air quotes – “‘the spectacle of girlhood.’ Femininity, the way it’s been commodified, marketed and corporatised, you could argue it has been pretty oppressive towards women. How much, by creating the images I make, feeds into that [even with] the intention of challenging something?”

PHOTO CREDIT: Hannah Diamond/Carina Kehlet Schou

As a child in her home town of Norwich, Diamond was “very much a tracksuit kind of girl”; her “crazy creative” grandma’s house was an “explosion of pink,” which she found “all too much”. But by the time she moved to London for university, she was dressing “quite outrageously and really having fun with it,” then she found that in the capital, “the way I dressed affected the experience I had in the outside world.” She started dressing more plainly, to avoid being catcalled or kerb-crawled.

Things changed when she found a bright pink North Face puffer jacket for £10 in a Covent Garden secondhand store. The coat “almost felt like a safe way” to be typically feminine. Since then, she has been “learning to be myself in a confident way, and that it doesn’t have to feel limiting to express yourself in girlish ways.” Diamond wore the jacket on the cover of Pink and Blue; it’s since become one of her most iconic outfits. “Little did I know the impact that jacket would have,” she says. “A pink item had the ability to transform me into a musician, and make that a viable career, and transform my relationship with myself.”

Her single Poster Girl rejects the tyranny of perfection she had struggled under: “It’s the imperfections in moments / That make life so worth it.” It’s a surprising admission for an artist whose visual identity has always been defined by photos so airbrushed as to look surreal. Diamond’s early visuals – as well as the ones she made for other PC-affiliated artists, including QT, GFOTY, Sophie and Charli XCX – became hugely influential; their pristine, hyper-feminine aesthetic, once deemed outre, is now so commonplace in mainstream pop that, when Diamond released Poster Girl earlier this month, Swedish pop star Zara Larsson accused Diamond of copying her aesthetic before backtracking: “I didn’t know about her work … now I do, and she’s an icon”.

A truly wonderful artist who everyone should know about, I am so excited to see where Hannah Diamond heads next. Perfect Picture is certainly going to be one of the best albums of this year – no pressure on her! -, which will lead to new opportunities. Maybe some big exposure at huge festivals next year. With this loyal and very passionate fanbase behind her, there is no stopping this jewel in Pop’s modern crown. When it comes to Hannah Diamond, there is no doubt that she is set…

FOR superstardom.

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Follow Hannah Diamond

 Official:

https://shop.hannahdiamond.com/

Instagram:

https://www.instagram.com/hannahdiamond_/

TikTok:

https://www.tiktok.com/discover/Hannah-Diamond

Twitter:

https://twitter.com/Hannahdiamond_

Spotify:

https://open.spotify.com/artist/3sXErEOw7EmO6Sj7EgjHdU

YouTube:

https://www.youtube.com/channel/UCDX7cO28VXOvEdrwpWFQu0g

Facebook:

https://www.facebook.com/hannahdiamondofficial/

FEATURE: One For the Record Collection! Essential November Releases

FEATURE:

 

 

One For the Record Collection!

IN THIS PHOTO: Dolly Parton/PHOTO CREDIT: Vijat Mohindra 

Essential November Releases

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SOME great November-due albums…

IN THIS PHOTO: Cat Power

have been announced. Looking into next month and what is worth saving your money for, I will recommend those albums you should add to your collection. I am going to start off with four that are due on 3rd November. It is quite a busy week for new albums. bar italia’s The Twits is an album people should pre-order. A wonderful group everyone needs to know, here are some details:

“bar italia are the London based three-piece of Nina Cristante, Jezmi Tarik Fehmi and Sam Fenton.

They release their second full length of 2023, The Twits, less than six months after their acclaimed Matador debut, Tracey Denim.

The Twits was recorded by the trio over eight weeks from February 2023 in a makeshift home studio in Mallorca, and was mixed by Marta Salogni. It finds bar italia’s economical yet evocative songcraft taking raucous, mystic, unkempt, occasionally sinister, and wholly committed turns. Songs like “my little tony”, with its in-the-red riff and excitable hooks, the cathartic four-on-the-floor of ‘world’s greatest emoter’ and the festival tent psychedelia of “Hi-fiver” need little in the way of exposition – these are exhilarating rock songs, if wayward and strange.

Other moments see the band’s increasingly signature, three-act mini-dramas moving into previously uncharted territory. Cristante, Fehmi and Fenton can each manifest a different melody, mood, and cadence – at times overlapping and linear, at others unexpectedly divergent – often within the space of thirty seconds, a tag team rooted in shared language and kinship. “Jelsy”, for instance, plays out like a conversation between friends over wistful, buzzing country blues, the alternating voices at points comforting, wry and hopelessly yearning. The sinuous, slow-burning waltz of “twist” stands out in its bare lyricism and seems to invite each band member’s individual take on a confessional.

While Tracey Denim was notable for its compact 2-3 minute compositions, horizontal and open-ended tracks like “Shoo” ebb and flow, moving from reptilian dive-bar soloing to a palpitating two-note piano coda. ‘glory-hunter’ takes playful twists and turns before ending up somewhere entirely different from where it started. “Real house wibes (desperate house vibes)” and “que surprise” imply sleepless, noirish misadventure, while at the other end of the light spectrum, “sounds like you had to be there” features some of the band’s most sweetly optimistic musical gestures yet. Closer “bibs” is a rare instance where all three can be heard in unison, as a procession of ghostly chords and lacerating feedback bookends the group’s most adventurous and rich set to date.

Released in May, bar italia’s Matador debut Tracey Denim followed a string of word-of-mouth releases on Dean Blunt’s World Music label and received widespread attention from publications including The Guardian (“one of the albums of 2023 so far”), The Times (“excellent debut album”), The Observer (‘Artist To Watch’), NME ("a lasting impression that’s all of their own making"), The Quietus (“endlessly evocative”) and Pigeons And Planes (“quickly establishing themselves as one of the most enticing upcoming bands”). Single “Nurse!” was playlisted on BBC 6 Music and received spins from BBC Radio 1, Absolute Radio and NTS. The release was accompanied by a UK tour, culminating in a sold-out headline show at the ICA in London, which The Spectator described as “transfixing… They just make their beautiful, off-kilter music, and let you unfold your own stories on top”.

There are a few buying options when it comes to Black Grape’s Orange Head. Go and pre-order and see what I mean! Following 2017’s Pop Voodoo, Rough Trade give us some more details (the album isn’t available to own on their site until 15th November). I am really looking forward to one of the most characterful forces in music. Orange Head will definitely not disappoint:

“The return of Black Grape with an essential new platter. Black Grape could only have been made in Manchester. The swagger, fun and cryptic humour seem hewn from a city historian AJP Taylor once described as offering an archetypally different way of English urban life to London. Both Shaun Ryder and Paul Leveridge, known as Kermit, came from edgy-but-cool parts of the city. In Shaun’s case Salford, with Kermit originating from Moss Side. For those unfamiliar, ‘the Moss’ lay in the shadow of Manchester City’s old stadium at Maine Road, and was one of the first multi-ethnic areas in Manchester.

Black Grape are widely regarded as one of the most innovative and iconic bands of the last twenty five years. Black Grape have had 4 Top 10 singles and their debut album It’s Great When You’re Straight… Yeah shot straight to No.1 in the UK charts upon its release in 1995 and went Platinum. Follow up album Stupid Stupid Stupid went Gold in 1997. 

Ryder has grown from a wild young tearaway into a British National Treasure. Black Grape always were a grimily cosmic musical jigsaw, melding rock, hip-hop, acid house, psychedelic pop and reggae with Ryder’s gutter poetry, delivered in his inimitable shyster’s bark”.

Also out on 3rd November, the wonderfully-named new album from the legendary Laura Veirs, Phone Orphans, is released. The title is appropriate, given the fact that these incredible songs were from her phone. Almost lost to the world, this album follows the acclaimed Found Light of 2022. I would urge anyone new to her work or familiar to investigate this wonderful work. Phone Orphans sounds like it is an intriguing new chapter for one of the greatest songwriters alive. I would recommend people pre-order this essential album:

“It feels good, on my 50th birthday and after 30 years of writing songs, to bring these "Phone Orphans" into the light - These songs have been been hiding out on my phone, some of them for over eight years. They are about my family, my lovers and me. I recorded them alone in my living room into my voice memo app. I like their relaxed feel. These songs were mastered but we made no edits to the recordings. I hope you enjoy this intimate glimpse into my artistic process. All songs by me except "Up is a Nice Place to Be" by Rosalie Sorrels and "The Archers" with lyrics adapted from a poem by Federico Garcia Lorca”.

One other great must-order due on 3rd November is Cold War Kids. The eponymous album from the California band, go and get yourself a copy if you can. A hugely prolific band, their new album follows on from 2021’s New Age Norms 3. I am interested to see what Cold War Kids offers up:

“The band’s singer and songwriter Nathan Willett describes: "This is our self titled record. Everybody gets one. This felt like the right time because the sound of this record is the sound that makes Cold War Kids unlike any other. I’m so proud of these songs. They took a long time to come together. The longing and struggle and joy I wanted to express are personal to me and I am so excited to share it with our fans who have come with us on the journey”.

There are some other pretty great albums due on 3rd November. I wanted to finish this week’s round-up with Marnie Stern’s The Comeback Kid. Go and pre-order the fifth studio album from the New York City-born songwriter. The Comeback Kid comes ten years after the acclaimed and wonderful The Chronicles of Marnia. I am looking forward to seeing what Stern offers with her new album. It is going to be a wonderful release and an aural delight. An artist that takes you somewhere with her music:

“It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.

But this is no nostalgia trip. The Comeback Kid is a statement of intent. “I can’t keep on moving backwards,” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons. “Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”

“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I'd remember I'm allowed to do whatever I want! This is mine. It's me,” says Stern of writing songs for The Comeback Kid. “I'm trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”

Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness. “This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern”.

There are a couple of must-own albums due on 10th November from two established and loved acts. Beirut’s Hadsel is going to be a real treat. Pre-order this magnificent album from the U.S. band. Four years after the positively-received Gallipoli, it seems Hadsel is going to be another fantastic addition to their catalogue. You may be new to the band and unsure of where to start. I would say stream their albums and, if you can, set some money aside for their upcoming release:

“Hadsel is the first new full - length record since Beirut’s 2019 release, Gallipoli, and the first on Zach Condon’s own label , Pompeii Records. Recorded in the Norwegian island of Hadsel shortly after a physical and mental break forced Condon to cancel his 2019 tour, Condon was looking for a place to recover after being left in a state of shock and self-doubt. Working in isolation, Condon explains, “I was lost in a trance, stumbling blindly through my own mental collapse that I had been pushing aside since I was a teenager. It came and rang me like a bell. I was left agonising many things past and present while the beauty of the nature, the northern lights and fearsome storms played an awesome show around me. The few hours of light would expose the unfathomable be auty of the mountains and the fjords, and the hours - long twilights would fill me with subdued excitement. I’d like to believe that scenery is somehow present in the music.

The resulting is a collection of songs beautifully reflecting that vulnerability, sense of self-determination and belief that after collapse, one can learn to manage on their own again”.

Maybe an unexpected recommendation, Cat Power Sings Dylan: The 1966 Royal Albert Hall Concert is out on 10th November. This beautiful album is one everyone will want to pre-order. It is going to be such a rich and emotional listen from one of the most powerful and stirring voices in music. I do love a live album. Cat Power’s tribute to Bob Dylan is going to be a very special one indeed:

“In November 2022, Cat Power took the stage at London’s Royal Albert Hall and delivered a song-for-song recreation of one of the most fabled and transformative live sets of all time. Held at the Manchester Free Trade Hall in May 1966—but long known as the “Royal Albert Hall Concert” due to a mislabeled bootleg—the original performance saw Bob Dylan switching from acoustic to electric midway through the show, drawing ire from an audience of folk purists and forever altering the course of rock-and-roll. In her own rendition of that historic night, the artist otherwise known as Chan Marshall inhabited each song with equal parts conviction and grace and a palpable sense of protectiveness, ultimately transposing the anarchic tension of Dylan’s set with a warm and luminous joy. Now captured on the live album Cat Power Sings Dylan: The 1966 Royal Albert Hall Concert, Marshall’s spellbinding performance both lovingly honors her hero’s imprint on history and brings a stunning new vitality to many of his most revered songs”.

I will finish off with albums due on 17th November. There are four very different ones that I want to recommend. The first is Dolly Parton’s Rockstar. The iconic artist and philanthropist covers a range of legendary songs and joins forces with some musical greats, you will definitely want to pre-order this magnificent album. Aside from the questionable inclusion of Steven Tyler and Kid Rock – two quite controversial figures for different reasons -, the guestlist looks pretty impressive:

“Global icon and recent Rock n’ Roll Hall of Fame inductee, Dolly Parton, has joined forces with some of Rock music’s most legendary artists along with today’s biggest stars for her first-ever Rock album, Rockstar. The ever-evolving Parton teamed up with an all-star roster of musicians for the 30-song collection which includes 9 original tracks and 21 covers of iconic rock anthems”.

1. Rockstar (special guest Richie Sambora)

2. World on Fire

3. Every Breath You Take (feat. Sting)

4. Open Arms (feat. Steve Perry)

5. Magic Man (feat. Ann Wilson with special guest Howard Leese)

6. Long As I Can See The Light (feat. John Fogerty)

7. Either Or (feat. Kid Rock)

8. I Want You Back (feat. Steven Tyler with special guest Warren Haynes)

9. What Has Rock And Roll Ever Done For You (feat. Stevie Nicks with special guest Waddy Wachtel)

10. Purple Rain

11. Baby, I Love Your Way (feat. Peter Frampton)

12. I Hate Myself For Loving You (feat. Joan Jett & The Blackhearts

13. Night Moves (feat. Chris Stapleton)

14. Wrecking Ball (feat. Miley Cyrus)

15. (I Can’t Get No) Satisfaction (feat. P!nk & Brandi Carlile)

16. Keep On Loving You (feat. Kevin Cronin)

17. Heart Of Glass (feat. Debbie Harry)

18. Don’t Let The Sun Go Down On Me (feat. Elton John)

19. Tried To Rock And Roll Me (feat. Melissa Etheridge)

20. Stairway To Heaven (feat. Lizzo & Sasha Flute)

21. We Are The Champions

22. Bygones (feat. Rob Halford with special guests Nikki Sixx & John 5)

23. My Blue Tears (feat. Simon Le Bon)

24. What’s Up? (feat. Linda Perry)

25. You’re No Good (feat. Emmylou Harris & Sheryl Crow)

26. Heartbreaker (feat. Pat Benatar & Neil Giraldo)

27. Bittersweet (feat. Michael McDonald)

28. I Dreamed About Elvis (feat. Ronnie McDowell with special guest The Jordanaires)

29. Let It Be (feat. Paul McCartney & Ringo Starr with special guests Peter Frampton & Mick Fleetwood)

30. Free Bird (feat. Ronnie Van Zant with special guests Gary Rossington, Artimus Pyle and The Artimus Pyle Band)”.

Another essential 17th November album is Emeli Sandé’s How Were We to Know. A decade after she came onto the scene, this hugely respected artist is back with a new album. If you are not overly-familiar with Sandé’s music, I would still advise you pre-order this album, as it is shaping up to be very interesting and fantastic. Her fifth studio album comes a year after Let's Say for Instance:

“Introduced to the world ten years ago, Emeli Sandé MBE has become an icon of British singer-songwriting; emotional, honest, and prolific in the kind of manner that cements you as a go-to artist for heartfelt pop sensibility. This latest pop record is reminiscent of 2012, when Emeli had her first breakout hit.

How Were We To Know is Emeli's second independent album release through Chrysalis Records. “There was a lot I wanted to say about myself, and I hope that through the lyrics people will get to understand me on a deeper level.”

How Were We To Know’s 11 tracks explore intimate encounters with love in all its forms, along with the risk required to pursue it. “Once you’ve been hurt, it’s very hard to pick up the pieces again and allow yourself to be vulnerable,” Sandé says. “So I think these songs explore the bravery of love, and loving others but also yourself. These songs were pieces of a puzzle I had to put together, and now feels like the right time to share them.”

The album features production from Jonny Coffer (Beyoncé, Miley Cyrus), Jim Jonsin (ASAP Rocky, Usher, Eminem), DI Genius (Drake, Raye, Sean Paul), Rxwntree, Chris Loco and Mac and Phil”.

The penultimate album I am going to recommend is Nicki Minaj’s Pink Friday 2. We do not have a pre-order link at the moment. Suffice to say, keep your eyes peeled and add it to your calendar to order this album when it arrives. Capital FM give us some details about the upcoming album from a legendary rapper and global superstar. Someone who recently featured on the soundtrack for Barbie:

“’Pink Friday 2's release date is 17th November, so Barbz have a matter of weeks to wait.

Nicki has promised fans 'will love this album', which is a follow-up to her iconic record which dropped in 2010. If the bombshell release news wasn't enough to get fans hyped, Nicki also announced she's heading on tour(!), news of which will come later this year.

Here's what we know so far about Nicki's 2023 album...

When is Nicki Minaj's 'Pink Friday 2' album coming out?

Nicki Minaj's fifth album 'Pink Friday 2' will be released on 17th November 2023 after she had to push back the release date for reasons unknown. The album was originally meant to be released in October.

In her announcement post about the album's updated release date, the rap queen told her followers: "I love you guys so much. I am so grateful for the years of support and love you guys have given me. At times maybe I didn’t even deserve all that you have poured into me.

"Nonetheless, you. will. love. this. album. I will give tour deets closer to that time, but obviously the tour will start around the first quarter of 2024. I’ll also share the REAL album cover at a later date."

Nicki has released her first single from the album 'The Last Time I Saw You', which sounds incredible, exclusively on TikTok and it's available on streaming platforms on 1st September.

What is Nicki Minaj's 2023 album called?

Nicki's upcoming album is called 'Pink Friday 2', a sequel to 'Pink Friday' which will be released within the same month her iconic EP was released in a whole 13 years ago.

'Pink Friday' was a generation-defining album when Nicki released the record on 22 November 2010 and included bangers like 'Super Bass', 'Blazin' and 'Here I Am'.

What's the album cover for 'Pink Friday 2'?

Nicki has finally unveiled the album artwork for 'Pink Friday 2', revealing a pink-themed photo of herself on half of a train carriage floating above a glistening city. Always one to treat her fans, Nicki confirmed there's another album cover on the way and that the first is just one of two.

Dressed an an all-white outfit and with an intricate head piece placed in her long ombre pink hair, Nicki looks like an actual goddess in the shoot.

What's on the track list for 'Pink Friday 2'?

There's not yet a track list for 'Pink Friday 2' but Nicki's promised it's going to be a banger and as it's a follow-up to her 2010 record of the same name, fans naturally have high hopes.

She also excitingly confirmed that Rihanna will feature on her new album - much like she did on the first 'Pink Friday'!

Responding to a fan who asked her if Rih is featured on 'Pink Friday 2', she said: "Is pigs motherf**king flying? Hold on I think I just gave a trick answer.”

That's all the confirmation we need!

As a reminder in the meantime, here's what was on the 'Pink Friday' track list all those years ago:

I'm The Best

Roman's Revenge (Ft. Eminem)

Did It On'em

Right Thru Me

Fly (Ft. Rihanna)

Save Me

Moment 4 Life (Ft. Drake)

Check It Out by Nicki Minaj & will.i.am

Blazin' (Ft. Kanye West)

Here I Am

Dear Old Nicki

Your Love

Last Chance (Ft. Natasha Bedingfield)

Super Bass

Blow Ya Mind

Muny

Girls Fall Like Dominoes

Catch Me

Wave Ya Hand

Roman’s Revenge”.

I am going to end with the new album from The Polyphonic Spree. Salvage Enterprise is out on 17th November. Go and pre-order what is going to be an enriching album. It comes two years after the collection of covers, Afflatus. It sounds like this is going to be another evocative and spiritual record from the huge choral group. Through the years, the Dallas group have had so many people pass through their ranks:

“The phoenix symbolizes a new beginning. The fire burns off the last vestiges of the past as the bird spreads its wings and takes flight into the future. The Polyphonic Spree harness the flames of rebirth on their 2023 full-length offering, Salvage Enterprise. Led by frontman, founder, producer, multi-instrumentalist, and visionary Tim DeLaughter, the group embark on their next season. They’re reverent of their history, yet they’re also ready for an even brighter tomorrow.

“Across all of the music I’ve done, lyrically there’s a sense of desperation and a moment of convincing myself I’m going to make it through regardless of how the music dresses up,” notes Tim. “On this one, I struggled with the amount of vulnerability I was experiencing and was willing to share both musically and lyrically, but ultimately decided to let it play out. Now that it's done, I'm happy with the dance between the two. It’s a ‘rising-from-theashes’ record.”

Salvage Enterprise beckons complete immersion. Opener “Galloping Seas (Section 44)” affixes softly strummed acoustic guitar to an orchestral hum as Tim urges, “Hold on through the galloping seas.” “We’re all galloping through rough waters,” he says. “I tried to describe the process as well as I could and encourage people to keep their heads above the storm and the waves. Ride it out. It’s going to be okay. It starts off very calm and introspective, and you can envision where it’s going.”

Flute echoes over nimbly plucked guitar during “Shadows On The Hillside (Section 48)” as keys twinkle. A glorious harmony amplifies the nostalgia of “Hop Off The Fence (Section 49).” It concludes with “Morning Sun, I Built The Stairs (Section 52).” Optimism strains through his hopeful intonation, “I learned to fly, the more that I become a new reason, I want to try,” uplifted by boisterous horns and cinematic strings. It crashes into an Ennio Morricone-style crescendo bolstered even higher by operatic vocals. “There is an arc of leaving the world behind, stripping your old self away, and becoming new again,” he offers. “You’re shedding off this old world, and you’re heading into the future. It’s an epic ending. You’ve made it. You’re going to be alright.” In the end, The Polyphonic Spree are the soundtrack to that light at the end of the tunnel”.

These are the November-due albums you should check out. You can see what else has been announced and the speculated and rumoured albums – some of which might be announced for November. Things can change and update very quickly indeed. The ones above give you a good starting point. I am sure there are a few that you will definitely want to…

ADD to your collection.

FEATURE: Kate Bush’s Lionheart at Forty-Five: The Interviews

FEATURE:

 

 

Kate Bush’s Lionheart at Forty-Five

IN THIS PHOTO: Kate Bush during the photoshoot for Lionheart, 1978/PHOTO CREDIT: Gered Mankowitz

The Interviews

_________

AS I do with anniversary features…

relating to Kate Bush I am going to bring in some press interviews. It is good to start off getting an idea of how the album was being perceived and what Bush was saying. Two of her albums have big anniversaries coming up. Her seventh, The Red Shoes, is thirty on 2nd November. On 13th  November, Lionheart turns forty-five. Released in the same year as her debut, The Kick Inside, Lionheart was a chart success. It reached six in the U.K. I am going to pull in a few press interviews that were published around the time of its release. One of Bush’s albums that is under-appreciated but is actually incredible strong and fascinating, below are some insights into how Kate Bush was feeling about a rushed second studio album. With gems like Wow and Kashka from Baghdad among its ranks, the ten-track beauty still sounds fantastic and offers up new treats! There are not a tonne of interviews about Lionheart from 1978. Some that go into 1979. I am going to end with one that is focused on the album. First, published on 7th October, 1978, Record Mirror’s Tim Lott interviewed Bush about a hectic and successful year. Just over a month until she released an unexpected second album, there was this sense of a unique artist finding popularity and a worldwide audience:

“Her abnormality has never been more apparent than in this setting: a L100 at night, two floor leather-and-flowers suite at the Montcalm Hotel, Marble Arch.

She has just been interviewed by "Ritz" and "Vogue". Attended by two press officers, she is, despite her protestations, a star, a true star, by virtue of her immense success, her pink skin and her Page 3 curves.

A number one single (an international hit) a number one album and immense publicity: Kate Bush is a phenomenon. The fate that befalls such animals - arrogance, self-indulgence, mania - has yet to manifest its symptoms, partially because this particular phenomenon is dedicated to the preservation of her personal reality.

Nervous

"I'm not really aware of being subjected to any starmaking machine."

She tap her fingers on the chrome and glass table in the only nervous gesture she possesses.

"I know that might sound odd, but I've really no idea about it. The record company thought this hotel would be practical. I thought it would be nice. It's quite a trip for me to be here.

"I didn't walk in here and say 'where are the flowers? Where is my champagne?'

"I hope I haven't become a prima donna yet. I really mean that. I really, really resent that a lot.

"It's nice if you're on the road that you should have somewhere nice to sleep. But I'm not into the 'Oh, Dahling!' bit, and everybody having a Rolls Royce."

It sounds almost defensive, but one subject that Bush is totally convincing about is how critical she considers her grasp on her own situation.

She has reached a point already of being such a valuable property to EMI Records that she is at the point of being able to control her immediate destiny.

The interviews she does are her own choice - "I want to get into as many areas as I can. So I did the fashion magazines and "Vegetarian" and "The Sun". I'm testing the water.

She says that she is, quote, into people. People, of course, reciprocate, and therein lies the danger. A surfeit of attention killed Janis Joplin and, more lately, put Ply Styrene into a mental home.

"I have some person principles I stick by, though they are pretty free. They don't just apply to the press. They are my way of living.

"I have tried to avoid an 'image'. If you have an image you intend to maintain, it's going to be very difficult, because you're going to get holes in your image. I may be that animal 'Kate Bush' a bit when I'm offstage, but mostly, I'm me."

Kate spends most of her time with a smile on her face that look straight at you, but she looks away and almost shutters for a moment.

"The things I don't like doing is... is... going to these sort of parties that you hear about. I don't go to parties. I find that sort of thing very unhealthy. In fact I find them disgusting."

She pronounces the word 'parties' like you or I might pronounce some vile disease or weird sin.

"It's not me. I'm basically a quiet person. When I get the time, I like to go home. I clean up the flat - which is a mess, because I'm never there. And I get some friends around that maybe I haven't seen for a long time.

"It's not a question of insulating myself. This is something that is extremely important to me - I'm very much a human being, and I don't want to lose that.

"You don't have to believe all the sycophants. I am aware that in my position I am both vulnerable and very powerful. People are always trying to grab a piece of your pie. But it can only be down to you to get yourself out of... er... a vulnerability situation."

This tiny vision is both unusual and predictable; the first because she is so damn scientific, the second because she is so blatantly optimistic.

She takes a relentlessly practical approach to her career - "I have to look at it in a realistic way" - and admits that she trusts no-one at all. On the other hand she believes like many before her, that she can have her cake and eat it, that she can be a star and not a star, that she can somehow escape the pre-requisite of her job - to give, and give, and still give, at the expense of, at the very least, a part of her personality.

"People might call me it, but I'm not a star," she says, and I think she almost believes it. "I'm just a person who writes songs that, at the moment, people happen to like.

"They might not like anything on the next album: in which case I'll still be the same."

Except that she'll be a failed star. Kate has yet to reach the point of acceptance that things will never be the same. Her family, her friends will inevitably take second place and some will disappear. The blue-print is there, and inescapable.

Or maybe I'm wrong, and Kate has more strength of mind than I dare hope. Maybe. She is certainly convinced, and that's half the battle.

"You don't have to make yourself an island. In your head, you know what you are."

Illusions

"The only person with you all your life is you. Your parents die. Things inside you die - illusions, gushes of personality. Only you can sort yourself out. Yourself may not be all you need, but it's all you got."

Whatever problems have still to hit Kate, she is as mentally well prepared as anyone could be. A precious - in the real sense of the word - teenager, her defenses are rooted in her very successful self-adjustment.

After reading the teaching of the philosopher Gurdjieff, which made an enormous impression on her, she came to the conclusion that human beings were all a load of shit anyway, which is an enormous help with any ego problems that might present themselves.

"Look around you just a little bit and you realise that you're nothing. Look at the world, the universe - this is getting very hippyish, right? - but we are very small.

"And yet everybody goes around thinking how incredible they are - you know, I am it, I am everything.

"People are obsessed by themselves. I am even. I find myself thinking about myself a lot. "

Kate sees this, to a certain extent, as an evil suffered through lack of mental discipline, of which she wishes she possessed more. She wants, she says, to be a "better human being."

"Because I'm in the position I am I have an incredible chance of being able to do that. I'm in a position where I have power to help people - by doing charity shows, spreading the word about whales... I don't know."

With her peace and love philosophies, her conservation ideals, her Gurdjieff satin 'n' tat post sixties glamour, and her vegetarian obsession, it's not surprising that she has been mistaken several times for that anachronistic chestnut, the "hippy".

"I'm not a hippy, though I thought the potential of the movement was enormous. I was too young, really.

"I was never particularly into drugs. I don't even get into alcohol very much. Just nicotine really. I smoked my first cigarette at the age of 9."

She experimented with drugs, though - marijuana and something she never managed to identify.

"I've never taken acid. I don't think I'm into things like that. I've seen a lot of people screwed up through it. The idea of it is really fascinating, though - to be able to see the room breathe, and stuff like that.

"There must be a way for you to do it without drugs."

Kate, nevertheless, has her trite addictions, innocent though they are. She is, for instance, hooked on chocolate, which she says she has a physical craving for. Food is drug enough.

How long that situation holds remains to be seen. Kate is about to experience pressures she can only guess at, by embarking on a major tour, reaching Britain in February.

This, she is told, is not a necessity, the album would still sell without it.

"But I feel it's a really important thing for an artist to do. It's the only chance people who really like you get to see you without media obstruction."

Kate is in the very unusual position of being a young, inexperienced artist who isn't being forced into any compromises. EMI has exerted pressures for her to hurry her new album, something she refuses point blank to do.

"I have to. If you're not ready, then you can't give it to them. There is no way you can rush an artistic thing to meet a business deadline.

"If you blow that artistic," she laughs at her own grammatical gaff, "you're going to lose so much for nothing.

"I've been really lucky, I have. I [It???] often terrifies me, and I wonder, why? I think it's a very karmic thing - what you give you, you get back."

Kate has Good Karma. She does nothing to bely her apparently angelic nature. It gets difficult to stomach that anyone can be so thumper.

"Actually," she jibes, "I mug old ladies. Would you like me to smash a window or something?

"Seriously, I recognise flaws in myself, and try to keep them quiet.

"It's a drag to throw your faults around for other people to see. But I do recognise flaws in myself, of course.

"I don't, for instance, like hearing very truthful thing about myself. It's hard to give examples without giving away very personal things, like within the family, but I get really indignant. I put a lot of defenses up.

"And I can be stubborn. I might have a strong idea in my brain and it's hard to thrash it out with anyone else, though the idea could be wrong."

Emotion

"Also, I'm very soft. My emotion just gets in the way, sometimes at business meetings - my intellect does not have control over my passions.

"Still I don't know anyone who hates me. Why should anyone? I don't do anything to make them. There are, after all, very few people I dislike."

Tread carefully here Lott.

The assumption is very easy after quotes of such a... gentle nature, that Kate Bush is a sort of talented blancmange, determined to be like, a rock 'n' roll goody twoshoes.

I don't think that's true. Though people complimenting people was never one of my hobbies, I went to meet this cherub with some determination to find the brat inside, or at least expose the milky veneer as a good PR. I got a glimpse of neither.

This lead me to suspect that Kate Bush is actually for real. She is not a hippy-dippy altruist or a walking media exercise. She is what she seems: a teenager with a clear head, and obvious talent.

The vision will probably crack as the Biz tightens its grip on her swan-like neck, but at the moment Kate Bush is a creature I thought extinct: a phenomenon with ideals.

This thing of beauty may not be a joy forever, but least acknowledge it while it lasts”.

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

The second interview moves us into November 1978. One I have highlighted before, Harry Doherty spoke with Kate Bush on behalf of Melody Maker. Clearly fascinated by this true original and wonderful voice, there was this sense of Kate Bush being enigmatic. Not as transparent and predictable as most of her Pop peers:

“The enigma that is Kate Bush--it confuses us all. I've just read a bitter character assassination of Kate Bush (in another paper) and the central area of complaint around which this assault revolves is that Ms. Bush is "nice"

"An hour or so in the company of Kate Bush," this enlightened scribe considered, "is like being trapped for the duration in a very wholesome TV show with definite but unwarranted intellectual aspirations."

I can understand that as a reaction to a well-mannered chance meeting, but really, had the writer listened attentively to her first album (regardless of liking or disliking it), I don't think he would have come to the same rash and puerile conclusion.

Actually, Kate Bush scares me, for a combination of reasons. The first is the diplomatic pleasantness and awesome logic she displays in interviews, but that is only one dimension--she is, in fact, a "nice" person. It is when that initial impact is paired with the multifarious intensity of her music that I start to quiver.

The contrast is eerie, and frightening. In the studio, living out her imaginative fantasies, kate Bush is strickien by a rush of surrealism, and suddenly a range of weird personalities are displayed. It is a subconsciousness that was evident on her first album, The Kick Inside, and it is captured to an even greater extent on Lionheart, the sequel now released.

"Nice" is not a word I'd turn to to describe the consequences. The songwriting, the singing, the arrangements, the production have the mark of a singular personality. Kate Bush's music is more like a confrontation. At times, it makes the listener feel uneasy and insecure. Kate's approach to her work is marked by an obstinate refusal to compromise in any way, so she does not make it easy for the listener to get into the music. To begin with, it's a challenge.

Because, then, it's difficult to appreciate full Kate Bush's music (and who, after all, is she to make such demands?)--compounded with the fact that she seems to have the Midas touch--she is set up for criticism, which must make it all the more fulfilling to carry off two awards in the MM Poll. Even when told of her performance in the Poll, Kate girlishly enthuses: "That's wonderful! Fantastic! Incredible!"

Nice.

The success of The Kick Inside and its hit singles ( Wuthering Heights and The Man With the Child in His Eyes) was as much a hindrance as a help when the time came for Kate Bush to record a second album. As she has said before, the terms of reference were suddenly overturned. Instead of a rising talent, she is now a risen talent--and anything less than an emulation of the initial success will be interpreted as a failure. It's a pressure, though, that she can live with.

There are similarities to the debut album. Lionheart is produced once more by Andrew Powell and, generally, the musicians who did the honours on The Kick Inside are recalled. Kate wants the connections between her first and second album to stop there.

For instance, her own band makes a slight contribution to the new album, being featured on two of the tracks, Wow and Kashka From Baghdad, and had it not been for a mix-up in the organisation, might have made a heavier contribution. It is, it appears, a sensitive situation, and one that Kate doesn't care to dwell upon, but she's still determined that, eventually, her own band--Charlie Morgan (drums), Brian Bath (guitars), Del Palmer (bass), Paddy Bush (mandolin)--will play a more prominent part in the recording proceedings.

IN THIS PHOTO: Kate Bush during the photoshoot for Lionheart, 1978/PHOTO CREDIT: Gered Mankowitz

On the subject of producing, it's significant that Kate is accredited as assistant producer and so is acknowledged as playing an active role in mixing the sound as well as performing. She takes an immense interest in recording techniques and states intentions to pursue ambitions in that area. There was, however, a problem in communication when she was involved in the production and her lack of professional lingo for various methods of recording often led to confusion and amusement in the studio.

"I feel I know what I'm talking about in the studio now. I know what I should hear. The reaction to me explaining what I want in the studio was amusement, to a certain extent. The were all taking the piss out of me a bit."

Overall, Bush was concerned that the new album should differ quite radically from her first. Maybe I'm a bit too close to it at the moment, but I find it much more adventurous than the last one. I'm much happier with the songs and the arrangements and the backing tracks.

"I was getting a bit worried about labels from that last album: everything being soft, airy-fairy. That was great for the time, but it's not really what I want to do now, or what I want to do, say, in the next year. I guess I want to get basically heavier in the sound sense...and I think that's on the way, which makes me really happy.

"I don't really think that there are any songs on the album that are as close to .bf ital Wuthering Heights .pf as there were on the last one. I mean, there's lots of songs people could draw comparison with. I want the first single that comes out from this album to be reasonably up-tempo. <The first single was Hammer Horror .> That's the first thing I'm concerned with, because I want to break away from what has previously gone. I'm not pleased with being associated with such soft, romantic vibes, not for the first single anyway. If that happens again, that's what I will be to everyone."

She is acutely aware of the danger of being pigeon-holed, and is actively engaged in discouraging that.

 "If you can get away with it and keep changing, great. I think it should be done because in that way you'll always have people chasing after you trying to find out what you're doing. And, anyway, if you know what's coming next, what's the point? If I really wanted to, I guess I could write a song that would be so similar to Wuthering Heights . But I don't. What's the point? I'd rather write a song that was really different, that I liked, although it might not get anywhere."

Have you heard her new single, Hammer Horror ? Now that's really different.

The major changes in the preparation for Lionheart was undoubtedly that Kate, over-burdened with promotional schemes for the first album, was for the first time left with the unsavoury prospect of meeting deadlines and (perhaps) having to rush her writing to do that. It was a problem she was having trouble coming to terms with at our last meeting, when she spoke in obvious admiration of bands like Queen--who came up with the goods on time every year, and still found time to conduct world tours.

But Kate insisted that she wasn't going to be rushed, and eventually the songs came along. In all, it took ten weeks to record the twelve tracks (ten are on the album), an indication of the meticulousness shown by Bush herself in exercising as much control as possible over every facet of the work. "I'm not always right, and I know I'm not," she says, "but it's important to know what's going on, even if I'm not controlling it."

I'll be interested to read the reviews of Lionheart . It'll be sad, I think, if the album is greeted with the same sort of insulting indifference that The Kick Inside met, when Kate Bush was pathetically underrated.

Lionheart is, as the artist desired, a heavier album than its predecessor, with Bush setting some pretty exacting tests for the listener. Kate's songwriting is that much more mature, and her vocal performance has an even more vigorous sense of drama.

Musically, the tracks on Lionheart are more carefully structured than before. There is, for instance, a distinct absence of straight songs, like the first album's Moving, Saxophone Song, The Man With the Child in His Eyes and The Kick Inside . Here, only Oh England, My Lionheart makes an immediate impression and I'm not sure that the move away from soft ballads (be it to secure a separate image) is such a wise one. As Bush proved on those songs on The Kick Inside, simplicity can also have its own sources of complication.

There is much about this album that is therapeutic, and often Kate Bush is the subject of her own course. Fullhouse is the most blatant example of that. <There is no evidence that this song is autobiographical.> On of the album's three unspectacular tracks musically (along with, in my opinion, In the Warm Room and Kashka From Baghdad ), it is still lyrically a fine example of ridding the brain of dangerous paranoias. The stabbing verse of "Imagination sets in,/Then all the voices begin,/Telling you things that aren't happening/(But the nig and they nag, 'til they're under your skin)" is set against the soothing chorus: "You've really got to/Remember yourself,/You've got a fullhouse in your head tonight,/Remember yourself,/Stand back and see emotion getting you uptight."

Even Fullhouse is mild, though, when compared to tracks like Symphony in Blue, In the Warm Room and Kashka From Baghdad, which exude an unashamed sensuality. Symphony in Blue, the opening track, is a hypnotic ballad with the same sort of explicit sexual uninhibitiveness as Feel It from the first album. "The more I think about sex,/The better it gets,/Here we have a purpose in life,/Good for the blood circulation,/Good for releasing the tension./The root of our reincarnation," sings Kate happily.

In Search of Peter Pan, Wow (running together on the first side) and Hammer Horror are are examples of Kate's strange ability to let the subconscious mind run amok in the studio. Wow is tantalisingly powerful and Hammer Horror (the single) is most impressive for the way it seems to tie in so many of the finer points of the first album and project them through one epic song.

That leaves three tracks, Don't Push Your Foot on the Heartbrake, Oh England, My Lionheart, and Coffee Homeground . All of them with totally contrasting identieds but all succeeding in areas that many might have considered outside the scope of Kate Bush.

A few months ago, in the paper, Kate said how one of her musical ambitions was to write a real rousing rock'n'roll song and how difficult she found that task. James and the Cold Gun was her effort on The Kick Inside, and with Don't Push Your Foot on the Heartbrake she has tackled the art of writing a roasting rocker on her own terms. Heartbrake (another piece of emotional therapy) might not be considered a rocker in the traditional sense of racing from start to finish but it's still one of the most vicious pieces of rock I've stumbled across in some time. The chorus is slow, pedestrianly slow. The pace is deceiving. It slides into the chorus. Bush moves into a jog. Then the second part of the chorus. It's complete havoc, and when it comes to repeating that second part in the run-up to the end, Kate wrenches from her slight frame a screaming line of unbelievably consummate rock'n'roll power that astounded me. A rather unnerving turn to Kate's music, I think.

Then there's Coffee Homeground, influenced by Bertold Brecht and inspired by a journey with a taxi driver who was convinced that somebody was out to poison him.

For Oh England, My Lionheart, from which the album title is derived, Kate is expecting a barrage of criticism because of the blatant soppiness of the lyric.

Kate's reasons for writing the song are simple enough. She had always liked Jerusalem, and thought that a contemporary song proclaiming the romantic beauty of England should be written.

"A lot of people could easily say that the song is sloppy. It's very classically done. It's only got acoustic instruments on it and it's done...almost madrigally, you know. I daresay a lot of people will think that it's just a load of old slush, but it's just an area that I think it's good to cover. Everything I do is very English, and I think that's one reason I've broken through to a lot of countries. The English vibe is very appealing”.

A brilliant second album that arrived on 13th November, 1978 – though some sites claim it was 10th November -, I am going to explore Lionheart more before the anniversary. It is interesting revisiting interviews Bush gave around the time Lionheart came out. Someone who is always intoxicating and fascinating, her second studio album spawned a hit single in Wow. An album that was a commercial success but less appreciated by critics, it warrants more love and respect as this album heads to…

ITS forty-fifth anniversary.

FEATURE: Kate Bush’s The Red Shoes at Thirty: Ranking Its Five Exceptional Singles

FEATURE:

 

 

Kate Bush’s The Red Shoes at Thirty

IN THIS PHOTO: Kate Bush in 1993/PHOTO CREDIT: John Stoddart 

Ranking Its Five Exceptional Singles

_________

THIS 2nd November…

marks thirty years since Kate Bush released The Red Shoes. Her seventh studio album, it was her last before a twelve-year hiatus. I think it remains one of her most underrated. Few people place it high in their list of favourite Kate Bush albums. I think that there is a lot to recommend when it comes to this album. I will do one or two other features ahead of the thirtieth anniversary – maybe looking at 1993 and the events around The Red Shoes’ release – but, today, I am going to feature the single released from the album. Including international-only releases, five were released in total. They are all very different songs. I will rank each of the songs, drop a bit of information in about the singles, in addition to where they charted and any new reviews/articles about them. I have changed my mind recently regarding the top-two singles, so that will be a surprise to some! I think that there are other tracks on The Red Shoes that could have been singles. Lily is one of those great ‘what ifs’. That seems a natural single! I also feel like The Song of Solomon could have been an interesting single internationally. Before getting to the singles – and I will turn to the Kate Bush Encyclopedia for information regarding all of them -, here is a bit about Bush’s under-appreciated album:

“Seventh album by Kate Bush, released by EMI Records on 2 November 1993. The album was written, composed and produced by Kate.

The album was inspired by the 1948 film of the same name by Michael Powell and Emeric Pressburger. The film in turn was inspired by the fairy tale of the same name by Hans Christian Andersen. It concerns a dancer, possessed by her art, who cannot take off the eponymous shoes and find peace. Bush had suggested she would tour for the album and deliberately aimed for a "live band" feel, with less of the studio trickery that had typified her last three albums (which would be difficult to recreate on stage). However, the tour never happened in the end. A few months after the release of the album, Bush did release The Line, The Cross and the Curve, a movie incorporating six tracks from the album.

Most notably, The Red Shoes featured many more high-profile cameo appearances than her previous efforts. Comedian Lenny Henry provided guest vocals on Why Should I Love You, a track that also featured significant contributions from Prince. And So Is Love features guitar work by Eric Clapton and Jeff Beck. Gary Brooker (from the band Procol Harum) appears on two tracks as well.

The album was recorded digitally, and Bush has since expressed regrets about the results of this, which is why she revisited seven of the songs using analogue tape for her 2011 album Director's Cut”.

Below are the five great singles released from The Red Shoes. I really like them all, though there are some that stand out as being especially great – and didn’t get the chart love that they deserved! It will be interesting to see how many people react to the thirtieth anniversary of The Red Shoes. A remarkable album with only a couple of weak spots, here are the five singles that I think still…

STAND the test of time.

______________

FIVE: And So Is Love

Release Date: 7th November, 1994

B-Sides: Rubberband Girl (U.S. Mix)/Eat the Music (U.S. Mix)

Label: EMI

Release Territory: International

Chart Position: 26 (U.K.)

Background:

“Song written by Kate Bush. Originally released on her seventh album The Red Shoes. Also released as a single by EMI Records in the UK on 7 November 1994.

Formats

'And So Is Love' was released in the UK as a picture disc 7" single with a large poster and as two CD-singles: one in a regular small case and one in a big case with three 5" x 5" card prints.
All formats feature the lead track and the U.S. mix of Rubberband Girl. The two CD-singles also featured the U.S. mix of Eat The Music.

Versions

There are two versions of 'And So Is Love': the album version from 1993, and the version from Bush's album Director's Cut in 2011, on which the key lyric 'But now we see that life is sad' is changed to 'But now we see that life is sweet'” – Kate Bush Encyclopedia

Players:

Stuart Elliott - drums

John Giblin - bass

Eric Clapton - guitar

Gary Brooker – Hammond organ

FOUR: Moments of Pleasure

Release Date: 15th November, 1993

B-Sides: Moments of Pleasure (instrumental)/Home for Christmas/Show a Little Devotion/December Will Be Magic Again/Experiment IV

Label: EMI

Release Territory: International

Chart Position: 26 (U.K.)

Background:

“I think the problem is that during [the recording of] that album there were a lot of unhappy things going on in my life, but when the songs were written none of that had really happened yet. I think a lot of people presume that particularly that song was written after my mother had died for instance, which wasn't so at all. There's a line in there that mentions a phrase that she used to say, 'every old sock meets an old shoe', and when I recorded it and played it to her she just thought it was hilarious! She couldn't stop laughing, she just thought it was so funny that I'd put it into this song. So I don't see it as a sad song. I think there's a sort of reflective quality, but I guess I think of it more as a celebration of life. (Interview with Ken Bruce, BBC Radio 2, 9 May 2011)

I wasn't really quite sure how "Moments of Pleasure" was going to come together, so I just sat down and tried to play it again-- I hadn't played it for about 20 years. I immediately wanted to get a sense of the fact that it was more of a narrative now than the original version; getting rid of the chorus sections somehow made it more of a narrative than a straightforward song. (Ryan Dombai, 'Kate Bush: The elusive art-rock originator on her time-travelling new LP, Director's Cut'. Pitchfork, May 16, 2011)” – Kate Bush Encyclopedia

Reaction:

“In his review of the song, Ben Thompson from The Independent remarked, "A smile and a tear from the Welling siren." Chris Roberts from Melody Maker said, "'Moments of Pleasure' is The Big Literary Effort, Kate at her very tremble-inducing, vocal-range-like-the-Pyrenees best." Alan Jones from Music Week gave the song four out of five and named it Pick of the Week, writing, "Beautiful and traditional Bush fare with expansive orchestrations, poignant vocals and off-her-trolley lyrics. As subtle as "Rubberband Girl" was direct, and probably as big a hit." Terry Staunton from NME commented, "Her personal exorcisms reach new heights on "Moments of Pleasure", a deceptively simple ballad with a swooping chorus and a coda where she namechecks the people who've been important to her over years. It's a song that may baffle the world at large, but it wasn't written for us; Kate's just decided to share it” – Wikipedia

Players:

Kate Bush – Piano

THREE: The Red Shoes

Release Date: 5th April, 1994

B-Sides:You Want Alchemy/Shoedance (The Red Shoes dance mix)/Running Up That Hill" (12-inch mix)/The Big Sky (special single mix)/This Woman's Work/Cloudbusting (video mix)

Label: EMI

Release Territory: International

Chart Position: 21 (U.K.)

Background:

“Song written by Kate Bush. Originally released on her seventh album The Red Shoes. Also released as a single by EMI Records in the UK on 4 April 1994. Lead track of the movie The Line, The Cross and the Curve, which was presented on film festival at the time of the single's release” – Kate Bush Encyclopedia

Reaction:

“Chris Roberts from Melody Maker said, "'The Red Shoes' meets its jigging ambition and sticks a flag on top, making her dance till her legs fall off." Another editor, Peter Paphides, commented, "Only as a grown-up will I be able to fully apprehend the texture and allegorical resonance of the themes dealt with in "The Red Shoes". Until then, I'll content myself with Tori Amos and Edie Brickell." Parry Gettelman from Orlando Sentinel wrote, "The mandola, the whistles and various curious instruments on the driving title track really recall the fever-dream quality of the 1948 ballet film The Red Shoes, the album's namesake” – Wikipedia

Players:

Kate Bush – lead and backing vocals, keyboards

Paddy Bush – mandola, tin whistle, musical bow, backing vocals

Del Palmer – Fairlight CMI programming

Danny McIntosh – guitar

Gaumont d'Olivera – bass guitar

Stuart Elliott – drums, percussion

Colin Lloyd Tucker – backing vocals

TWO: Rubberband Girl

Release Date: 6th September, 1993 (7th December, 1993 in the U.S.)

B-Side: Big Stripey Lie

Labels: EMI/Columbia (U.S.)

Release Territory: International

Chart Position: 12 (U.K.)

Background:

“I thought the original 'Rubberband' was... Well, it's a fun track. I was quite happy with the original, but I just wanted to do something really different. It is my least favourite track. I had considered taking it off to be honest. Because it didn't feel quite as interesting as the other tracks. But I thought, at the same time, it was just a bit of fun and it felt like a good thing to go out with. It's just a silly pop song really, I loved Danny Thompson's bass on that, and of course Danny (McIntosh)'s guitar.  (Mojo (UK), 2011)” – Kate Bush Encyclopedia

Reaction:

“Alan Jones from Music Week gave the song four out of five and named it Pick of the Week, writing, "With Kate at the helm any single would be quirky but by her own otherwordly standards this is Ms. Bush at her most direct." He added, "It's a rhythmic, almost raunchy, workout with the occasional outburst of rock guitar, strange lyrics — "if I could twang like a rubberband, l'd be a rubberband girl" is as ordinary as it gets — and a weird vocal impression of said office accessory being stretched. It is also a very commercial rejoinder and will probably be Kate's first Top 10 solo hit since "Running Up That Hill" hit the spot eight years ago." Everett True of Melody Maker felt that the song is "a little too uptempo for my tastes" and noted that he prefers Bush when she is "all dreamy and mysterious". Despite this, he added, "It still has enough kookiness to draw me under, and she's still the only artist for whom the word 'kooky' isn't an insult."

Another editor, Chris Roberts, praised it as "a gorgeous, daft, groovy single with a bassline to shame Bootsy Collins". Terry Staunton from NME wrote, "Kate's self-doubt emerges right from the beginning on "Rubberband Girl", the relentless one-chord single where she wishes she could learn to give, learn to bounce back on her feet.” Parry Gettelman from Orlando Sentinel said that "Bush waxes positively perky as she struggles to forge a "Sledgehammer" out of a flimsy tune, dopey lyrics and bouncy dance-floor beat." Richard C. Walls from Rolling Stone noted the "pure pop" of "Rubberband Girl". Tom Doyle from Smash Hits also gave the song four out of five, saying that it's "a bit of a shock because she's gone all funky with Prince-ish drums all over the shop" – Wikipedia

Players:

Kate Bush – vocals, keyboards

Danny McIntosh – guitar

John Giblin – bass guitar

Stuart Elliott – drums, percussion

Nigel Hitchcock – tenor and baritone saxophones

Steve Sidwell – trumpet

Paul Spong – trumpet

Neil Sidwell – trombone

ONE: Eat the Music

Release Date: 7th September, 1993 (30th May, 1994 in Australia)

B-Sides: Eat the Music (12" Mix)/Big Stripey Lie/Candle in the Wind/You Want Alchemy/The Red Shoes Dance Mix

Label: Columbia (U.S.)

Release Territory: U.S.

Chart Position: 10 (US Alternative Airplay (Billboard)

Background:

“Song written by Kate Bush. It was originally released as the lead single for The Red Shoes in the USA on September 7, 1993, while everywhere else in the world Rubberband Girl was released. In the UK, a small handful of extremely rare 7" and promotional CD-singles were produced, but were recalled by EMI Records at the last minute. A commercial release followed in the Summer of 1994 in the Netherlands and Australia, along with a handful of other countries. The song's lyrics are about opening up in relationships to reveal who we really are inside” – Kate Bush Encyclopedia

Reaction:

“Chris Roberts from Melody Maker felt that the song was "misguided", "all ghastly, Lilt-supping, Notting Hill Carnival calypso". Terry Staunton from NME declared it as "a shopping list of exotic fruit, as if Kate is pulling Carmen Miranda's hat apart looking for metaphors for love.” Parry Gettelman from Orlando Sentinel wrote, "The bizarre fruit metaphors on "Eat the Music" are exceedingly pretentious, but the song has a lilting, African high-life feel” – Wikipedia

Players:

Kate Bush – vocals, keyboards

Paddy Bush – vocals

Stuart Elliott – drums, percussion

John Giblin – bass guitar

Justin Vali – valiha, kabosy, vocals

Nigel Hitchcock – tenor saxophone

Neil Sidwell – trombone

Steve Sidwell – trumpet

Paul Spong – trumpet

FEATURE: Revisiting… James Blake - Friends That Break Your Heart

FEATURE:

 

 

Revisiting…

James Blake - Friends That Break Your Heart

_________

HAVING recently…

 PHOTO CREDIT: Josh Stadlen

turned thirty-five, I have been thinking about James Blake’s music. The U.K.-born, U.S.-based producer and artist released his Mercury Prize-winning second studio album, Overgrown, in 2013. That celebrated its tenth anniversary earlier this year. His most recent album, Playing Robots into Heaven, came out last month to widespread acclaim. I wanted to use this feature to spotlight his previous studio album, Friends That Break Your Heart. Released on 8th October, 2021, I was keen to look back a couple of years. At a time when we were still in the pandemic but there was a shaft of light ahead, it must have been a strange time to release an album. I think we get a different perception and flavour of them listening now compared to when they came out. Even so, Friends That Break Your Heart was met with applause and kudos. I will come to a couple of those reviews. Reaching number four in the U.K., and with his partner Jameela Jamil as one of the producers, Friends That Break Your Heart is a brilliant album from one of our finest and most consistent artists. In August 2021, CLASH interviewed James Blake from Los Angeles. At a time of lockdown, confusion and a strange new time, it was interesting getting this insight into the life and music of an artist who had relocated and was in a public and high-profile relationship with a huge name in broadcasting and acting:

“When Clash is patched through to James Blake there’s an immediate burst of energy in the songwriter’s voice. An Englishman abroad, he’s talking to us on the morning after England’s defiant defeat to Italy in the final of the European Championships. Having relocated to Los Angeles some five years before, he’s itching to discuss the game, and his enduring pride in Gareth Southgate’s young squad. “I think that they’re heroes,” he gushes. “They represent a huge step forward, culturally speaking.”

Living in America full-time has triggered a shift in the way James Blake interprets his own Englishness. “It’s definitely highlighted more. I am very English in contrast with what’s around me,” he says. “But you know, Englishness is a complex thing. It’s a multitude of different cultural reference points and identifications.”

PHOTO CREDIT: Michael Tyrone Delaney

There’s a subtle confidence to James Blake’s voice as he chats to Clash. He appears comfortable in his own skin – slim, tanned, and wearing one of the many colourful shirts that have bedecked his IG Live sessions, our conversation moves from UK rap to classic British comedy such as Monty Python in the blink of an eye. He’s eager to talk – whether that’s Marcus Rashford (“just an exemplary person”) or his now-compete new album, the pace rarely lets up.

In a way, it’s the energies of lockdown propelling him forwards. While he’s the first to discuss the traumas of the past 12 months, James Blake is also keen to assert the deep sense of emotional evolution that has come over him, something that permeates our conversation and ultimately defines his new album ‘Friends That Break Your Heart’. “The lockdown triggered a seismic shift in my personality,” he says. “I dropped a lot of things that were holding me back, in terms of insecurities and worries. I think it allowed me to be more creative. It’s a myth that when you get more mentally ill, your music gets more creative – that is never how it’s been with me. It’s always been… if I’ve had a breakthrough, mentally, then I had a breakthrough musically. I guess that kind of happened last year, and into this year.”

2019’s astonishing ‘Assume Form’ garnered incredible reviews, with James Blake’s intense artistry augmented by some stunning collaborations. Touring across the world in support, the songwriter’s itinerary was wiped clean by COVID. “My social skills really took a dive!” he laughs. “It definitely took a huge toll on my mental health, not being able to play shows and having a huge part of my identity put on hold. But I had to work it out and come to some other understanding of myself that wasn’t predicated on only this thing, that I do.”

PHOTO CREDIT: Michael Tyrone Delaney

Being forced to look inwards, he argues, opened him up to re-focusing on aspects of his life that he had neglected. “It’s forced us to prioritize our own mental health,” he says. “I think it’s something that a lot of musicians are prone to. A lot of us come from unpredictable home lives or situations where we’re placating others, and we ultimately become used to prioritizing others over ourselves. A lot of us are very vulnerable to industry power, because of that.”

The path to this kind of self-awareness hasn’t been easy. We chat a little about the previous Clash cover story James Blake took part in, a conversation around his debut album, and the EPs which preceded it. He’s used this passing decade to build a singular catalogue, one that recontextualized club tropes within a shocking personal musical landscape, resonating between poles as disparate as the nebulous post-dubstep nexus of his debut LP and the glorious Catalonian pop of Rosalia that erupts from ‘Assume Form’ highlight ‘Barefoot In The Park’. “I’d like to think that I’m always looking forward,” he insists, “but I think that it’s important – just like history in general – to look back and say: what did I get right and what did I get wrong?”

“It’s building on top,” he insists. “We naturally evolve as people, and our scenarios – and hopefully the context of our lives – change as we’re evolving.”

‘Friends That Break Your Heart’ is the latest junction on this ongoing journey. Soulful, lucid, and profoundly honest, it finds James Blake re-adjusting his connections with the world around him. “The album is not love song heavy,” he is at pains to point out. “It’s coming to terms with lots of different types of relationships – whether that’s friendships or professional types of relationships, or whatever – and reflecting on them, and reflecting on myself and my position, I guess, in the world. How I felt about myself, during lockdown. The dangers of comparing yourself to other people, worrying about, ‘have I done enough?’ Have I achieved my potential?”

PHOTO CREDIT: Michael Tyrone Delaney

“I live in Los Angeles, so there are plenty of people to compare yourself to!” he laughs. “It’s about coming to peace with the way you are, even if that’s not exactly where you plan to be. That’s a realisation that many people have to come to, regardless of situation. I’d say it’s a heavy record that sounds lighter. It’s a paradox. When you hear it, you’ll know what I mean.”

He’s conscious of people reading the album through a lens of his most prominent, most public relationship. “Jameela actually asked me to write an album that had nothing to do with her,” he says with a chuckle; “so, here it is! It’s called ‘Friends That Will Break Your Heart’ and it really is about that.”

If lockdown prompted a turn towards introspection, it also released James Blake from outside commitments. “I stopped thinking about other people, to be honest. I stopped thinking about the world, in terms of a musical perspective. I started thinking about the world in other ways. I was making music purely for my own catharsis, really, and that’s a very pure way of writing.”

James Blake shared an At Home playlist for Apple Music last year, one that seemed to parallel his creative thinking; fantastically chilled, it covered the folk-soul of Terry Callier and the abstract electronics of Floating Points. The emphasis, it seemed, was on sound in its purest form – sonics as a means of emotional communication, as well as aural delight”.

The reviews were hugely positive for Friends That Break Your Heart. You can get this phenomenal album on silver vinyl if you are a fan of James Blake and have not heard the album in a while – or you have but want it on a physical format. In their review, this is what CLASH had to say about an album they had heard about recently via their interview with Blake:

“In a recent interview with Clash, James Blake explained how lockdown saw him recenter and reset all his insecurities in light of a larger crisis. It marked another improvement in his career-spanning journey towards finding equanimity, most recently with 2019’s 'Assume Form' and its journey breaking free of the mental turmoil he once swam in. Now romantically self-assured, 'Friends That Break Your Heart' navigates the throes of the affecting friendships in his life. From that design brief, he has created an ethereal alternative to the cavernous Assume Form.

The stillness of ‘Famous Last Words’ puts full focus on Blake’s lyrics, aptly ushering in his most songwriting-focused project yet. Moreover, it’s his least jagged project, with a pastel atmosphere gently shading around songs. For the James Blake fan who prefers his more abstract electronic tracks, this one may, in fact, break your heart – though those ideas aren’t completely scrubbed off.

Ever the mad conductor, he still manages to sweep electronics through even the most cloudy of instrumentals. It pops up in the gulps of acid bass on ‘Coming Back’ and especially ‘I’m So Blessed You’re Mine’ – a James Blake cocktail of technicolour arpeggios, glassy chords and wordless harmonies to sonically illustrate joy in the presence of an amazing person.

Lyrically, James is reacting to seeing friendships fray, either with heartbreak, fatigue, pleading or acceptance. Explaining these situations is less descriptive than simply showing Blake’s singular lines that sharply sums them up. “It was built in a day, so it fell in a day / What do you expect?” on Foot Forward. “We both swam out to sea / you lost me willingly” on ‘Life Is Not the Same’, which is a highlight despite Take A Daytrip’s production tag being crassly shoved in just before verse #1.

‘Lost Angel Nights’ wrestles with feelings of envy and fears of being replaced, while a couple of duets offer two perspectives: ‘Coming Back’ with SZA and the touchingly despondent ‘Show Me’ with Monica Martin. In each, Blake is caught in a tangled web of thoughts and feelings, dealing with a fallout with lines that violently switch between ego-driven impulses and a longing to reconcile.

Note that most songs here can be applied to a romantic partnership, the same emotional push-and-pull still exists. Though the narrative is not as clear-cut as Assume Form, Friends That Break Your Heart expounds on the similarities between romantic and platonic relationships. And, by extension, their equal worth.

The LP’s home stretch is up there with Blake’s best, not just in the tense penultimate title track and wet-cheeked closer ‘If I’m Insecure’, but on the lead single. ‘Say What You Will’ shows off the magic trick Blake’s perfected by now. Vocally, he’s unsettlingly beautiful.

8/10”.

I will end up with a review from DIY. They had some interesting observations and takeaways from one of the strongest albums from 2021. It is one that I would urge people to seek out and listen if they have not heard it recently. Friends That Break Your Heart is one of Blake’s best albums. One that rewards repeated listens – and yet I do not heard many songs from it played on the radio:

“Laid over his trademark minimalist production, James Blake battles with his insecurities on the tentatively optimistic ‘Funeral’. “I feel invisible in every city,” he remarks on this familiar feeling. “Don’t give up on me,” he pleads, before promising that “I’ll be the best I can be”. It’s this journey through self-doubt that underpins his fifth studio album, one that ultimately looks to celebrate the self regardless of wider influence. It’s a mantra that reaches its fittingly melancholic climax on the painfully retrospective title track. “In the end it was friends who broke my heart,” he offers in his distinct tone.

Yet there’s freedom in James’s realisations, unfolding on a record that simultaneously expands on his delicate production and sees him fully embrace his singer-songwriter alter ego. The SZA-featuring ‘Coming Back’ sits alongside ‘Frozen’ as his most assured foray into new genres. The latter part of the record elevates his vocal delivery, as ever paired with considered electronic flourishes. ‘Show Me’, featuring Monica Martin, is among his most beautiful work to date. His shifts in sound are as delicate as his music, continuing to showcase his ability to blur styles with unparalleled precision.

It provides the space for him to take on these insecurities head on. The tellingly-titled ‘If I’m Insecure’ finds salvation in love. It lands on both resignation and acceptance, that it’s OK to be lost and found at the same time. This blissful resignation runs throughout ‘Friends That Break your Heart’. “I know I’ll be replaced,” he laments at the album’s midpoint before cementing the record’s driving force. “I put my best foot forward,” he affirms, “what else can I do?”.

The remarkable and always-brilliant James Blake crafted something rich and nuanced with Friends That Break Your Heart. Richly making the top forty albums of 2021 in many critical lists, and recorded between The Green Building (Los Angeles, California) and No Idle Campus (Los Angeles, California), everyone should clear some time to enjoy and dive into James Blake’s fifth studio album. It was another exceptional release from…

ONE of our very best.

FEATURE: The Digital Mixtape: The Northern Ireland Music Prize 2023: The Shortlist

FEATURE:

 

 

The Digital Mixtape

The Northern Ireland Music Prize 2023: The Shortlist

_________

IN recent weeks…

 IN THIS PHOTO: ROE’s (Roisin Donald) album, That's When The Panic Sets In, is among the shortlisted albums for this year’s Northern Ireland Music Prize

I have done a playlist around and covered national music prizes for Wales and Scotland. I don’t think we spend enough time investigating the strong and diverse music that comes out of Northern Ireland. As the shortlisted albums for the Northern Ireland Music Prize 2023 have been announced, I wanted to finish with a playlist of each. You can follow them on Twitter and Facebook. I am going to list the albums in a minute. First, here is some details about what the prestigious Northern Ireland Music Prize is and when it is happening:

“WHAT IS THE NI MUSIC PRIZE?

The NI Music Prize is an annual award aimed at recognising the great wealth of music from Northern Ireland. The prize includes a trophy and a monetary prize of £3000 for Album of The Year.

WHO ORGANISES THE NI MUSIC PRIZE?

It is organised by the Oh Yeah Music Centre in Belfast.

WHEN WILL IT TAKE PLACE?

The NI Music Prize 2023 will take place on Wednesday 15th November at the Ulster Hall in Belfast”

Given the richness of music coming from Northern Ireland, this year’s tantalising shortlist is hard to predict. Similar to Scotland and Wales, it is such a tough field. I guess that The Choice Music Prize - known for sponsorship reasons as the RTÉ Choice Music Prize – will announce their runners and rider soon enough. As the Northern Ireland Music Prize say, it has been a tough time narrowing the field down! Also, if you are local to Ulster Hall, you can book a ticket to go to the event:

“Wow! What a great year, that was possibly the toughest year to date, so much great music. So now that the counting and scoring has been completed we can reveal the shortlists for 2023. Thank you to our nominators for their time throughout the process and to the public and fans for your input so far.

Congratulations to all the acts that have made it through to this years shortlists and to all involved in the process regardless of lists, the level of music is something to be proud of. We look forward to celebrating the year of music with you on 15th November.

Voting opens Monday 9th Oct at 10am and closes on 4th November.

News on ATL Artist of The Year in association with BBC Introducing coming soon.

All winners will be announced at the awards on Wednesday 15th November”.

The twelve shortlisted albums are all remarkable and worthy. We will see who walks away with the prize in November. I have discovered some new gems via the shortlist. A few artists worth spotlighting. There are some new and rising artists sitting alongside the odd established and legendary group:

Arborist - An Endless Sequence of Dead Zeros

Clara Tracey – Black Forest (Public Vote Winner)

Conor Mallon – UNEARTHED

ferna – understudy

Jealous of The Birds – Hinterland

King Cedar - Everything More, & Other Stories

New Pagans - Making Circles of Our Own

No Oil Paintings - Rain Season

Phil Kieran - The Strand Cinema

ROE - That's When the Panic Sets In

Therapy? - Hard Cold Fire

Two Door Cinema Club - Keep on Smiling

To celebrate and spotlight a dozen diverse and interesting Northern Irish albums, below is a playlist of a song from each of them. Even though ceremonies like the BRITs and Mercury Prize are inclusive – the latter covers the U.K. and EIRE -, I think we sometimes focus too much on English artists and do not give as much exposure to artists from nations like Northern Ireland. With ceremonies like the Northern Ireland Music Prize, it is helping to put the country’s grand artists…

FIRMLY on the music map.