FEATURE: Tomorrow Never Knows: Vinyl, Plastic, Electronic: The Changing Face of Music Technology

FEATURE:

 

Tomorrow Never Knows

IMAGE CREDIT: Pixabay

Vinyl, Plastic, Electronic: The Changing Face of Music Technology

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THINGS might get a little nostalgic today…

ALL PHOTO (unless credited otherwise): Unsplash

as I delve into the history of music/technology - and how incredibly far we have come. Rather than quote from other articles and provide streaming figures: I want to show how formats and hardware have changed over the years. I was born in 1983 and, when I was younger, remembered the joys of picking up a cassette and putting it into the newly-acquired player. This is not the most scientific and business-minded feature you’ll find - but I wanted to look at the way music has shifted through my life – and whether the revolution has been all positive. The tape cassette was invented in 1962: it was a great time for British music: The Beatles were coming through and there was huge excitement in the air. Of course; fans were listening to vinyl and queuing to buy their music (of The Beatles). The invention of cassette did not instantly lead to an advent and transplant. Vinyl was still very much the chosen format of the masses and, from my parents’ record collection; they did not move to the cassette until the 1980s. I was born towards the middle of the decade but, even when I was old enough to produce memories and visions – around 1986/1987 – I remember the house was chocked with vinyl and sleeves. There were cassettes here and there but the honest record was what I heard when I was young.

I am not sure when vinyl came in but I know the first small record was printed in 1888. It was not until 1951 when Ewing Nunn founded Audiophie Records and released a series of 78 R.P.M.-mastered albums that were microgrooved - then, that was when the explosion began. In a weird way; I find vinyl to more capacious and versatile than the cassette. I am glad both are still in existence and, if anything, we are seeing a wave of artists produce their music on cassette. Vinyl has not radically altered the past few decades or so. It has got more expensive but the fact it was pretty damn-near-perfect back in the 1950s means there is no need to reinvent the wheel. Cassette, too, has not had the chance to shift and improve. One of the things that always grated me concerning cassettes tapes was their fragility. One could stick them into a player and, within seconds, hear a winding sound – to remove it and find it was unspooling and ruined. You could try winding the tape back in but, unless you got really lucky; the thing was beyond repair and gone – no real explanation why that particular album/single unwound itself to start with. Vinyl has its negative aspects but one needs to play it pretty vigorously until it scratches and becomes unplayable – the odd scratch and crackle actually add character to a record!

One of the reasons I feel the development of technology/hardware is a good thing is because we can listen to music in a more joined-up, accessible way. Vinyl is great but it is unwieldy and expensive; the record needs to be flipped and, if you are listening to a double/triple-record; you might need to unsheathe a couple of vinyl and stop-start a fair bit. Tape is laughably basic and flawed...If you want to access a particular track then you literally have to put your finger on the fast-forward/rewind button and keep checking – like someone at a petrol pump; you need accuracy and patience to get to the right point. I guess, like reel-to-reel film; it is impossible to add diverts and compartments so one can easily get to that point. It has been a few years since I last picked up a cassette tape so things might have improved; although, judging from the submissions I have sent; I know the technology is not advancing that format one iota! For all the ‘quirks’ and drawbacks; the sensation one got from picking up a tape/vinyl could not be matched. I am not going on some highway nostalgia trip but I miss the physicality of music. When I was younger, and my grandfather built a go-kart in his garage; one of the first accessories for it – it has a bar at the back where someone could stand as the driver peddled it – was a red boom-box/duel-player.

PHOTO CREDIT: Getty Images

There was a double tape compartment where you could put cassettes (slot ‘A’ and ‘B’) and so, within seconds, you could get an album underway and enjoy it at full volume! Not only was there the social side of cassette tapes – when you would swap them in the playground – but, I feel, music feels and sounds different depending on the format. Vinyl has that special quality where you need to be still and experience the music. They have not invented a portable vinyl player (even for seven-inch single) where you can drop the needle and listen to it on the move. Strangely, if one looks at the logistical flaws of music formats; there seemed to be revere-evolution as new technology came in. My earliest experience was with vinyl and cassette but there was new excitement and lust regarding the C.D. It was invented in 1982 but was not really common in my (and my friends’) house until the late-1980s. The 1990s saw a fantastic boom of world-class musicians so it deserved and demanded a full arsenal of technology. Vinyl was still much demanded and the cassette tape was holding strong: a third tentacle of C.D.s meant artists had plenty of options regarding release and distribution. If anything, music has gone back in that sense: C.D.s are the most-common format for new releases; artists release to vinyl but it is less popular than decades like the 1990s (and cassette tapes are pretty rare).

PHOTO CREDIT: Getty Images

I mentioned how physical formats had transposed evolution and fortune as we headed into the 1990s. The Walkman meant one could listen to tapes on the go; the (C.D.) Discman meant you could load a disc into your pocket and discreetly listen to music in the open. Of course, players and recorders simulated that but the mobility issues were clear. That said; one of the most memorable aspects of my musical childhood was one of the most comical: the way, if one moved when they walked, a C.D. would skip. Anti-skip technology did not come in until the 1990 and, for avid music fans like me; it was a relief and revelation. The fact you could listen to cassettes and C.D.s without their skipping, juddering and stopping was a breath of fresh air. It was ‘interesting’ negotiating the technologies of the 1980s but it all added to the fun and memories. I feel, if digital music was around in the 1980s, most of us would not pursue music and have such evocative recollections. It was the way I bonded with the Walkman and cassette; the pleasures of Discman ownership and the hours wiling my time away spinning vinyl that got music into the brain – and meant I would follow its allure and tease to this day! C.D. was the big leap forward that meant we did not have to wrestle with tapes and risk damaging them with ease.

One of the biggest bugbears in all of music is the fact the C.D. has not leapt and improved since the day it came out. A blank C.D. holds eighty minutes of music which, for the most part, is fine. If you have a double-album then you might have to exceed that length but I wonder why C.D.s do not hold more data. Nobody ever records on both sides of a C.D. and the limited capacity meant a lot of people recorded on a second disc. I do not know why there is that eight-minute-limit - but it is quite galling! There were some tried-and-tested-and-failed formats like MiniDisc that had the same time limits but were not as revolutionary and popular as C.D.s/cassettes. The MP3 player was not introduced until 1998 but, like the C.D.; it did not sustain as long as you’d hope (trivia fact: Suzanne Vega’s song, Tom’s Diner, was the first song put into an MP3 format; Karlheinz Brandenburg was experimenting and wanted to see what was possible). C.D.s, to be fair, shared the same sort of vulnerabilities as a cassette tape. I have owned many and accidentally dropped them on the floor. Many survive but I have lost many without any provocation and real attack – they are brittle and can be derailed with a mere smudge or accidental scratch. The infantile frailness of these formats did not matter: the physicality and resonance compensated and it helped bring the most popular sounds of the day to the world.

That unity between handheld devices and physical formats meant music was able to reach more people than ever before – further and wider than vinyl ever could. The biggest step forward was the in the '00s when digital media took over. MySpace (remember that?!) was introduced in 2003; YouTube in 2005 – Spotify the following year. It was quite a quick and competition-led revolt that meant each owner/company wanted to get ahead of the other. If MySpace has fallen at the hurdle and had its leg broken – the ongoing competition between YouTube and Spotify exists in 2018. Spotify offers subscription and has a wide catalogue than YouTube: the visual aspect of YouTube means it is the best place to put videos on. One day, someone will supersede and subsume the mandates of both and integrate them into an all-powerful Godzilla that renders – Spotify and YouTube – obsolete. The first couple of years was all about testing and getting things solidified. I was twenty-one when YouTube was kicked to the world and, having graduated the year before; it was another fascinating development. Like MTV – I will discuss that in a piece tomorrow - we could see all the latest videos on the screen. Unlike the rather right-place-right-time nature of a T.V. channel; the fact we could pick up a laptop and watch a video on the move was the same sort of eye-opener as a Discman – albeit without the cumbersome stop-start issues and the lack of reliability. I cannot claim the digital takeover has been all bad: new musicians do not need a record deal to get their sounds heard and played on the radio.

The best part of the move from physical to digital has been the horizons opening and the market removing barriers. I will not get into a theological, liturgical discussion relating to the worthiness of the physical format – I have written about vinyl and how things were better, then. I am pleased we still have formats like C.D. and vinyl and I dearly believe either will see their final day. We can never replace C.D. and vinyl with streaming. Someone, somewhere wants to hold on to physical possession and there is a danger music is becoming too impersonal and machine-fed. So many new artists are, without irony, reverting to cassette tapes and C.D.s to release their music. They do not want to spend their lives marketing online and being detached from the production and design of the older formats – where an artist could get involved with the entire process and see that finished result come to life! Whilst it is fun to remember and cast back to a safer time: the only way music could ever evolve and come this far is because of the Internet-led charge. I would not be as passionate about music were there no streaming and music-sharing sites. The reason I am writing a few pieces about ‘older’ music is (because) it is important to see where we have come from and how the industry has changed. Technological advancements are taking place but we have reached the limits of what portable devices can achieve.

We can fit thousands of songs into a phone and do so without interference and problem. Things are as smooth and seamless as they have ever been. Sites like Spotify means we can listen to pretty much any song from any year at the touch of a button – can we go further and make another leap?! I feel we have hit the natural wall of what is physical and technologically possible. The greatest development is the access musicians have to get their music out to the world. Social media and streaming mean anyone in the world can discover a small, independent artist and share their music. We cannot live in the past but I think, with music growing by the year; we need to find new ways to accommodate the population and take that next step. I wonder whether a return to the past is, ironically, a way forward? Physical formats have been overtaken because digital music offers more options in terms of accessibility, capacity and affordability. I know we can stream songs for free and create libraries with thousands of songs but, if we do not want to become too electronic and inhuman – maybe finding ways of strengthening older formats would be a good idea. I long to get hold of physical formats with artwork and a unique edge. Maybe it would be too weird returning to past decades but there might be a modern way to make that happen. It is clear the cosmic blast from the dying days of cassette and the full realisation of Spotify has been immense.

I have been experiencing technological changes in music my whole life - and it is amazing to think that, in the past few decades, we have come so far. It would have been baffling, as a young boy holding vinyl and cassette tapes, to think my faithful tape-machine and Walkman would be replaced by something like a streaming site. The Internet did not come about until the 1990s and, when it was brought into every house; the dial-up modem – and its laughable dial-tone and slow speeds – did not seem like it could create progeny such as YouTube! People are always looking to push things as far as possible and see what that next breakthrough is. I am glad streaming and digital music are here and I know there will be that balance of physical and streamed. Let’s not hope the music industry chooses to retire C.D. and vinyl because, as I have shown, those memories and tangible times have made a huge impact in my life. The same can be said of so many others out there, too. Looking back can be dangerous but, in terms of the advancement of music – in terms of the formats that hold it and the way it is recorded – it has been an amazing time. I am thankful to the innovators and musical magicians that brought music to my young, impressionable ears: I am constantly thankful the modern-day innovators have made new and existing music readily available to me and…

THE entire world.  

FEATURE: Capital Punishment: Why, Despite Its Downsides, London is One of the Best Places for New Musicians

FEATURE:

 

Capital Punishment

ALL PHOTOS: Unsplash

Why, Despite Its Downsides, London is One of the Best Places for New Musicians

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MY mind is split between the desire to…

live and work in London and, on the other hand, look at music away from the city. I have already reviewed and interviewed a few London artists this year and, as the weeks progress; I will look at other capital-based musicians for inspiration. I have become somewhat inflamed because so many people I know are finding work in London – it is somewhere, and Manchester, I want to live/work. It is always hard finding appropriate work in such a competitive market and getting up there as quickly as hoped – there are some who have figured it out. I will continue to plug but, in terms of musicians; there is a split between those flocking to London and those who are moving to quieter areas. There is this idealised version of London as the home of opportunity and money: where one goes to obtain fortune and success. That is true if you are in a certain industry: for musicians, in such a competitive and low-paid role, that is not always the case. Although rent prices are starting to fall and it is become, gradually, more accessible – I feel an overhaul and review needs to happen so people can afford to live in London. Compared to where I work; the cost of renting in London is actually affordable and reasonable. There is plenty of choice and, depending on where you want to work/gig, you can get somewhere near a Tube line. There are, among the positives, some downsides that are still putting many off.

I was chatting with a photographer I know and she says the reason she lives away from London (Bath) is (because of) the pace of life. I can understand the zeal and determination associated with a music career; getting to the capital and settling in a vibrant hub. With that common mindset is an inevitable outcome: a masses of bodies and little room for movement! Others, when talking about the drawbacks of London, revert to that ‘people-point’: the folk are not as friendly and accepting as elsewhere. Again, compared to where I am; I have not really noticed much of a difference – maybe that is all the more reason to go there. I grant, for the non-musician; there is something daunting and cold about London. A lot of people want to be calm and mingle in an area where you can converse and feel safe. It does not matter which large city you go to – New York, Tokyo or Paris – there is always going to be a certain element of rudeness and cram. That is not necessarily the fault of the individual(s): putting that many people into a small-ish space, all needing to get where they are going, and you are going to struggle for conversation and breath. Musicians, largely, are not as bothered by that: one of the reasons they settle in places liked London is the energy and people.

What worries me, especially with the ascent and dominance of social media, is the fact there is a social split. People are either not going out (and communicating) or, owing to the mass of bodies, finding it hard to connect with anyone. Musicians are among the fastest-growing sector of the professional population. From all around the world; musical peeps are coming to lay roots here. Too many I know are finding the pressure of city-life stressful; there is a lack of available social outlet; they are tiring and seeing a negative impact on their mental-health. Again, maybe this is a sign of the over-populated city: I feel there are solutions are remedies that would make a London lifestyle more appealing. I was reading an article - published in Noisey a few years back - that highlighted the financial squeeze musicians are feeling:

“The decimation of London’s art squats is a metaphor for the city’s recalibrated attitude towards art, and 2015 London has all the spluttering symptoms of a city hurtling towards cultural void. Investors pick up housing estates as if they’re glass ketchup bottles, turning them upside down and smacking the bottom until all the inhabitants fall out. Wages have stagnated, living costs have soared, rents have rocketed, venues are being methodically demolished, 150,000 of us are working two jobs, and everyone with a creative one is considering a move to Woodford.

 Over in the fallows of central London, bankers body pump to “Everybody’s Free” at morning raves, each new bead of sweat more resinous than the previous, as last night’s cocaine residue is taxied out of their bloodstream. The same month London Mayor Boris Johnson launches his #BackBusking campaign, his police force are heavy handedly arresting musicians in broad daylight for doing just that in Leicester Square”.

The author makes interesting points and, perhaps, that is still the biggest drawback: the rent prices are still too high and oppressive. If you look at flat-sharing websites (like Spareroom) and you can get a good impression of rental prices. If you want a double room – most of do, let’s be fair – with enough room to swing a cat; flatmates who are easy to get on with; amenities nearby and a generally good living standard – it does vary depending on where you look! Even if you are looking out towards the more ‘lavish’ parts of the capital: you might be able to pick up a flat for £700 P.C.M. That might sound excessive but that price is for a very good place – it does vary, obviously, regarding location and landlord/landlady.

I am looking for places and most of the good-looking, decent-sized flats are around £650. That is steep compared with other parts of the U.K. but is manageable for most. The biggest issue comes when you throw in travel and living. It is ‘doable’ if you economise and skimp but that leads to a deterioration and mental-health issues. If you want to maintain a steady social life; eat properly and travel – you might have to (nearly) double that rent price. Most of us barely earn that much a month (£1,300-is) and, if you want to save up and travel; it is not going to be possible. Everyone has a different budget/salary – so there will be variables – but it is going to be tight for everyone. Flat-sharing, for a musician, can be a good way to make friends and take away (some of) the pressure of The Big City. Even if you pitch in with three or four others; it still gets a bit costly when you tot-up all the other ins-and-outs of a month.  I will end the ‘negative’ end of the piece addressing music venues and perception; but I wonder: is the gentrification of the music industry itself forcing honest musicians out of the market?! Returning (briefly) to that article and a very good point was raised:

“The growing impossibility of starting from the bottom and actually making it in today’s music industry is mirrored by the ugly portrait of successful British music. As Gavin Haynes wrote for Noisey in January: “We are living in an age where a certain kind of lozenge-folk have come to dominate. It’s no longer just the children of lawyers and architects. It’s the kids of the balls-out elite. Sam Smith’s £500k-a-year banker mother. The Mumfords—Winston Marshall’s dad being the chairman of one of the country’s largest hedge-funds.”

 The pursuit of funding for artists trapped at this level is the much publicized but largely artificial carrot dangled up front. The British government made a song and dance out of their £2.5 million slush fund for musicians last summer. In Kafkaesque fashion, bands were encouraged to fill out endless reams of forms, usually to discover that they were eliminated in round 3,843, and the money would be going to The Wombats”.

Those points were made in 2015 but, looking at this year; can we say things have changed that much?! Artists like Florence & The Machine and Ed Sheeran are still popular and performing – two artists accused of being out-of-touch and lacking working-class ideals – whereas previous ‘accused’ like Mumford & Sons have, I think, bitten the dust. There is still that centrality of middle-class, intangible musicians – those who have more-privileged backgrounds compared to most; they do not possess the struggle and pains most of us take for granted. I have been wondering whether music’s core has become less middle-class and more ‘real – looking out at the mainstream and the answer seems to be (a resounding) ‘no’! There have, sure, been changes and improvements but the constitution of the mainstream favours the better-of and elite. The (more) better-off artists you have coming to London, the higher rent prices get. It also means a certain sound/artist is favoured – and those hard-working, original artists take longer to find acceptance.

London is a dream but it is a city that does not patiently foster and support a struggling artist. Even if rent rises are levelling and stabilising; I wonder whether the predictably middle-class mainstream and gentrification of the city means anyone outside that circle is being ostracised and isolated. It is almost like the state-educated artists are going to a private school and finding that social shift alarming and hard to take. I understand cities need to develop and improve but London is losing some of its honesty and ethics – fewer low-cost properties and working-class/proper areas mean artists who used to fit seamlessly into those parts are either having to adapt or work harder to get their music heard. Back in past decades, when there was a band of working-class bands in the mainstream, there was a rush of artists towards London; rent was not too bad – the city still had its mix of classes, areas and tastes. Things are becoming more homogenised and that is having a detrimental effect on musicians. I will end with my conclusion regarding London: the positives outweigh the bad sides. Even if there is not a mass exodus out of the city; I am seeing many artists go up the M1 and/or take the first flight to other nations! Areas further north are appealing; cities like Berlin are proving to be more hospitable and affordable for many artists – is it only to do with cost?!

In tandem with the expense inherent is the security of music venues. I investigated this yesterday but, when we look at the state of our smaller venues – it is troubling seeing how many are closing and how fragile others are. Artists move to London for those gigs and the chance to get their sounds to the people. Whilst other parts of the country are not immune; I am concerned by the shakiness of the London venue scene. Whether increased noise-pollution will threaten the existence of these venues, I am not sure. There is a feeling things are not as secure and solid as they should be – making cities/towns further north a bit more attractive. I know a lot of artists going to places like Brighton – where there is a great community and a load of great venues. The more compacted and crowded the capital becomes; the more people available to go to gigs and support musicians. If these venues are being closed, and artists are going elsewhere, then that will great a long-term malaise London might struggle to overcome. It is, aside from all the negative prophesies, a city teeming with opportunity, hope and excitement.

London is, like every great city, flawed and over-populated. The only reason it is busy and populous is the attractiveness of living there. For musicians, it has always had that lure and impossible seductiveness. Even with problems and cracks; the advantages and bonuses of being in London outweigh all the bad stuff (in my opinion). The social downsides are evident – venues closing will keep people indoors – but there are so many spaces for artists to play. Pubs and smaller venues are starting to diversify and offer open mic. nights; events and special showcases are being run that allows the new musician the chance to show their wares. I come to the capital to experience the colours, scents and substance. London is unique and is a huge tourist hotspot. A lot of people come to London to see music and embrace the entertainment. This provides a window for artists to take advantage and perform as much as possible. I have suggested venues are closing – and there are fewer than past years – but it is not like the city has closed its doors. Competition might be high but there is somewhere for everyone: put the effort in and you will find a stage with your name on it. London has those transport links; making it easy to travel around the county and get about. It is that endlessly practical city where you can dive into the bustle and hustle or get away somewhere quieter.

Rents are starting to stabilise a bit so I feel, in years to come, the attraction of London will return. Those moving here can enjoy higher wages and a great quality of life. A lot of musicians do need to take a second job. If you are able to get a reasonably-paid job and balance that with your music; the rewards are endless. London has a fantastic buzz and the nightlife is incredible. A musician is never far away from like-minded souls and, given the eclectic nature of the city; the inspirational juices are always flowing. Whereas some areas are homogenous and limited; London has so many different races and nationalities sitting alongside one another. It is a city that wants change and to remain in Europe; it wants to be together and work towards a better way of life – that is not something you can say about other parts of the country! London gets that ‘cold’ tag without proper patience and investigation. If you are caught in the swelter of a rush-hour Tube trip then, yes, your impression of London will be somewhat strained. Most of the time, the reality is different and I am seeing more togetherness and unity than ever before. Maybe this is a counteraction of the Election result or the desire to show positivity – the spirit and bond of the people is stronger and more electric than past years. All of this will combine to create a more harmonious and attractive city.

The biggest attraction, for musicians and non-musicians alike, is the spirit and feeling of London. It does not take a sunny day to get you smiling and fascinated. One can, with proper planning and hard work, make a living here and survive without too much struggle. So many labels and stations are located in London; media eyes are trained here and, whether good or bad, that means you are never too far away from an eager journalist or ready record label – many attending gigs and events to discover that ‘next-big-thing’. The city is large but the spotlight is never far away. Musicians know the periscope is trained to the capital and with good reason: it is a thriving and sumptuous city that is producing some of the best music in the world. Whilst I am keen to see parity in terms of the North-South divide; I cannot resist the heady bouquet of London. It is a place to be inspired by and realise dreams. It may take a while – and hurdles will be placed in the way – but it is a city whose majesty cannot be dented. Tastes will dictate its coolness and relevance (those who will hate London no matter what) but, in pragmatic terms; there is no denying the quality and quantity of great music based in London. Changes are happening and, because of the political landscape; we are unsure how things will work out in the next few years. Against the descent and division is a city that wants to embrace and unify: there is no quarter provided to anti-European, discriminatory attitudes. 

The most ‘divisive’ aspect of London is, actually, its greatest strength: the multicultural communities and composition. The landmarks and tourist attractions compel awe and inspiration; the people are among the most compelling I have ever seen. There is an indoctrinated spirit that runs through the spine of London that has, for decades, wooed artists, musicians and creative. Our capital’s cultural and art is the envy of the world; we have one of the most impressive music scenes in the world – this will never be dimmed or under threat. Everyone knows what London can offer but issues like the high cost of living and crowded streets are understandable concerns. It is not easy to overhaul these problems but, on balance, London offers more benefits and joy than despair - patience and perseverance are virtues one needs if they are to adapt to a London lifestyle. If more can be done to cure issues occurring – more attention to musicians further north; get rent and high prices down – it will be even more appealing to those who want to embroil themselves in the myriad wonders of the capital. It has its faults – and is far from perfect – but, for those ambitious and hungry musicians, there is nowhere…

QUITE like London.  

FEATURE: The January Playlist: Vol.2: It’s a Surprise ANYONE Has Deep Pockets After Christmas…

FEATURE:

 

The January Playlist

 IN THIS PHOTO: Gaz Coombes/PHOTO CREDIT: Getty Images

Vol.2: It’s a Surprise ANYONE Has Deep Pockets After Christmas…

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THE best and biggest musicians are wasting no time getting…

IN THIS PHOTO: Skott/PHOTO CREDIT: Getty Images

their sounds out to the people! The hangovers have faded so, with a clearer head; we are preparing our hearts for some great new sounds. This week; Jack White, Skott and Gaz Coombes are armed; David Byrne, Jorja Smith and Sunflower Bean have new material; there are treasures from Manic Street Preachers, Camilla Cabello and First Aid Kit – new cuts from GIRLI and Dua Lipa.

It is a busy and quality week for music so, in that spirit, I have collated the finest offerings from this week's selection – guaranteed to get the weekend off to a banging and fiery start!

ALL PHOTOS/IMAGES (unless credited othewrwise): Getty Images

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Jack White – Connected by Love

David Byrne – Everybody’s Coming to My House

Manic Street Preachers – International Blue

Franz Ferdinand – Feel the Love Go

The Go! Team – All the Way Live

INHEAVEN – Sweet Dreams Baby

First Aid Kit – Fireworks

GIRLI – Mr 10pm Bedtime

 PHOTO CREDIT: @wangorya

Ezra Furman – Suck the Blood from My Wound

Get Cape. Wear Cape. Fly. – VHS Forever

Jorja Smith (ft. Stormzy) – Let Me Down

Gaz Coombes – Deep Pockets

Troye Sivan - My My My!

PHOTO CREDIT: Jaclyn Campanaro

Alela Diane – Ether & Wood

Dua Lipa - IDGAF 

Marshmello x Lil Peep - Spotlight

The Hunna – Flickin’ Your Hair

Fall Out Boy - Wilson (Expensive Mistakes)

Vance Joy - We're Going Home

ILLUSTRATION: Roy Morales

Nelson Can – Downtime

Jade Bird – Lottery

Rag'n'Bone Man - Die Easy

PHOTO CREDIT: Ed Miles/NME

The Killers - Rut

Wyvern Lingo – Maybe It’s My Nature

Sunflower Bean – Crisis Fest

Skott – Russian Soul

Field Music - Time in Joy

PHOTO CREDIT: Ronan Park

LUCIA - Melted Ice Cream

Andrew W.K. - Music Is Worth Living For

Black Rebel Motorcycle Club – Haunt

Camila Cabello – Real Friends

PHOTO CREDIT: Joshua Halling Photography

Michael Kiwanuka and Karen O – YO! MY SAINT

Nina Nesbitt – Somebody Special

Lo Moon – Real Love

Emily Burns – Bitch

TRACK REVIEW: The Rigs - The Hunted

TRACK REVIEW:

 

The Rigs

The Hunted

9.2/10

  The Hunted is available via:

https://www.youtube.com/watch?v=79XXVAkFo8I

GENRE:

Electronic

ORIGIN:

Los Angeles, U.S.A.

The album, World on Fire, is available via:

https://open.spotify.com/album/7552oTDbCvFPlBNpngSrIR

RELEASE DATE:

17th November, 2017

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THIS will be the last review of an artist with…

so few photos. That is not a shot at The Rigs – I accepted the review before my New Year’s embargo. That being said; it is nice to take my mind away from London and over to Los Angeles. I vowed to get away from our capital for a bit but, inevitably, the London-based reviews have come my way! This changes now and, in a bit, allow me the chance to talk about Los Angeles and the music of California. I want to return to the parapet of duos and why their connection is unique; a bit about standing out in a competitive market; how The Rigs’ music continues to evolve and strike; ways they could further evolve and stand out; playing in the U.K. – and why this year will be a busy one for them. I do not review albums – I keep telling people this – but I have been interested in The Rigs’ music and how it gets into the head. I will allude to their album, World on Fire, but have highlighted previous single, The Hunted, as the one to focus on. There are so many different and bold tracks on the record: picking one to highlight is hard – the limitations of my own rules, I guess! No matter because, as I shall explain, it is an intense and fascinating track from the L.A. duo. I want to come back to L.A. and why it is an area that continues to fascinate. Last year, several times, I mooted the possibility there are differences between the two big music areas of America: Los Angeles and New York. Historically, New York has always fascinated me more – I find the Hip-Hop and Rap that has come from the state has been stronger and more enduring than anything from the West Coast. L.A., through the years, has managed to rival New York in terms of style, variation and strength. We get that impression (Los Angeles) will be all about sunny music and Electronic sounds. The Rigs, to be fair, prefer their music electronic but, in keeping with the state’s ever-changing motifs; they fuse in other genres and sounds into the palette.

I have never been to L.A. – something to tick off the list for this year – but I know its vivid landscape and amazing people are enough to compel the creative mind and lead to stunning music. London is a fantastic city – as I shall argue later in the day – but it is becoming crowded and, in terms of its music scene; perhaps it lacks the same innovation as somewhere like L.A. Perhaps that is to do with the scenic splendours of Loa Angeles; the space available and the kind of artists playing there right now. The Rigs’ TJ Stafford and Caitlin Parrott have a very immediate and sexual connection. You can feel a passion between them, and so, when they record and perform; there is that understanding and bond. Everything is deep and immersive; the music has a more alluring and complicated quality. I will come to look at that advantage but, in terms of where they are based – I feel New York is starting to lose a bit of headway in the coastal race. I have looked at the five boroughs and the music coming from there and, whilst striking and strident; there are fewer standout artists than previous years. Some fantastic new Hip-Hop artists are intriguing, for sure, but L.A. hooks me with its width, colour and excitement. Other areas of the U.S. – Nashville and Austin – are producing wonderful music: to me, there is nothing quite like L.A. Who knows how the city will progress but, with the likes of The Rigs producing strong and always-changing music; I have no doubt the duo will continue to rise and conquer the city. The fantastic venues (another point I will explore) and a strong neighbourhood mean the music coming from here means it is at the forefront of the musical consciousness.

Great duos have always been on my mind but I feel 2018 will be a big year for them. Solo artists are dominant and, with bands not quite able to exert the same influence as they once did – this year will see smaller formations take some initiative. To me, bands succeed and remain when they produce people-uniting, popular sounds. A lot of the new bands coming from either possess little clout or unable to compel the mind. At times like this, for bands, I want songs that bring the masses together and stray away from the demands of the mainstream: something that gets the voice singing and talks about what is happening in the world. Solo artists and duos do not have that burden. They are able to explore more and, because of that, are proving more popular and mobile. Duos could, in theory, easily succeed. If they tried to force the same aspirations as bands – and go for something big and generic (not all bands sound like this: there are those who differ) – then that could be risky. Most duos, I have found, prefer to stick with electronic-based music. I am not sure why but, I guess, it is harder to produce a proper-full Rock sound or summon the command of a Punk band. Electronic music has a flexibility other genres do not and is free to assimilate all other genres. The Rigs have noted this and, on their debut L.P., sprinkle in all kind of sights and fabrics. It is a fascinating blend and comes with that rich vein of emotion and physicality. There is a very real and urgent relationship from the players. I am not sure what their status is but, when you hear the music; there is a deep understanding and flow that can only come from two people very close and connected.

Duos are either composed of good friends or lovers. That might be true of every act but, compared to bands, there is little wiggle room for anonymity and distance. A duo is like a relationship and, if you do not have complete faith and affection for one another…that will show. Even if it is only friends making music together; you are recording, writing and performing together – and any sign of weakness is more evidence than, say, a four-piece band. Stafford and Parrott could tire of one another and argue for control and influence. Instead; they have a solid foundation and respect and, as writers, are on the same page. Since 2014, the L.A. duo has managed to compel the city and get into the critical mindset. Listening to their album, World on Fire; I can only imagine the recording and writing sessions. It is wonderful hearing them work with each other and weave their magic; bring that intimate and vivacious connection to the forefront. If the music The Rigs was producing was weak and insincere then I would overlook the relationship connection and suggest they were not right for one another. There is a clear and unbreakable chain that unites the two and, when it comes to their music, they allow one another to experiment and express. Another reason why I feel duos will make a stand in 2018 is because of the lacking role of bands. We want to discover a solid unit that can provide a fulsome sound and songs that get into the brain; music that keeps on producing and providing wonder long after you have heard it. There are, I know, some awesome bands but there are few that lack real bite and endurance. Duos seem to feel that gap and, those like The Rigs, can clean up. The guys have the intensity, intelligence and force of a band but, unlike a lot of the groups in the mainstream like now; they want to earn credibility as opposed money and streaming figures – some of the worst lures of modern music.

The Rigs could easily fade into a packed and busy market. Many are noticing the quality of duos and, as a reaction; that is seeing others form and come into the music world. I have mentioned how electronic-formed music forms the basis of most duo music – because it has that nimbleness and chance for endeavour. This is true when you listen to The Rigs. If they were to copy everyone out there then that could lead to a very short career. The fact they have been performing together for four years means there is a demand and need for what they were providing. I am hearing a lot of like-minded duos that are performing variation of Electronic music but are not showing much originality and determination. They seem happy to stay in the rut many have assumed and never think about going any further and making any real impact. This is true of duos in the U.S. and U.K. and I wonder whether one of the biggest shake-ups needs to be quality control and skimming. There are loads of duos and, whilst they are leading the bands; there are so many that do not really resonate and stun. The Rigs have seen the market build and change and, realising how the average duo operates; they have taken a stand and spent much more time on their music. What amazes me is the way you imagine a fully-fledged band when hearing their sounds. It is fulsome and dramatic but, when needed, it dips down and puts the lights out. If they were to produce a one-dimensional sound then that would be foolhardy: the guys take in so many other sounds and always ensure their music is disciplined and on-point. So many other duos throw loads into the mix without thinking about formation, consistency and nuance. I am worried commercial trends – more people lusting after duos – means many are rushing into the market and not considering the importance of quality and depth.

Maybe I am being a bit too severe but, with music being so busy, there are no excuses for taking shortcuts and playing it safe. Up-and-coming bands like Confidence Man are showing duos where they might head. That may seem like a strange angle but, if you listen to their sounds; they are producing music unlike any other four-piece and playing around with electronics. There are a few duos who match their innovation and colourful hues but, for the most part, one gets something more muted and restrained. The Rigs, in their own way, have the expansiveness and quality of Confidence Man but I feel, as their music progresses, they might take on some of their sound. Many might assume The Rigs are a very serious and emotive duo. There is venturing into playful territory but, given the comfort and faith Stafford and Parrott have (with one another); maybe they will explore a fizzier, bubblier brand in the future. I am not trying to lead their career because, as we hear with songs like The Hunted – they are among the most impressive duos out there at the moment. My point is the best and most necessary duos are those who can provide quality and effectiveness without compromising. Of course, you need to grab the ear of the mainstream but not compromise and settle for something easy. Too many in music are bargaining quality and innovation for something muted and unspectacular. There are duos who fail to register - but I feel the best out there are much more affecting and appealing than the best bands around. The Rigs take from the surroundings of L.A. and dip into the past of music. They, I imagine, grew up around an array of artists – one hears that in everything they do. The connection and relationship help but that need to stand out and impress is the strongest facet. Here are artists who do not want to play to small crowds and be seen only as local heroes.

The Rigs’ music has evolved and built since 2014 and I am impressed by that. They could cement a sound and then repeat that for years to come. World on Fire is their debut album but they have produced a couple of mini-albums since their formation. I notice, with each one, you get different influences and aspects. They are such an eclectic duo and, with every move, improve and add new elements. Because of this, the guys have seen their music come to the attention of the T.V. industry. True Blood, Parenthood and Pretty Little Liars are a few shows that have featured their music. That is no small feat and, given the success of these shows; who knows how many people would have heard their tunes?! Their album, produced by Michael Smith, is solid and extraordinary. Smith has worked with the likes of Britney Spears and Kesha but you never get a sense of either artist in The Rigs’ album. There is a big sound and experimentation but nothing bombastic and Pop-based. The music (of The Rigs) goes deeper and has a more enduring and endearing skin. I will allude to certain tracks and their standout characteristics but, with that T.V. exposure and great producer under their belts; you have a duo who have taken steps to outlive and stand aside from their peers. Talent and passion account for their success but making that bold move in terms of producer mean they have a man who has worked with some of music’s best names. Providing his insight and experience into the mix; one gets a combination of young and hungry artists and an older hand. I wonder whether they will work together on future music – or whether this is the only pairing we will see. The production is never too shiny and plastic and, whilst it has sheen and polish here and there; the emphasis is on bringing out the true personalities of The Rigs’ creators. It is a stunning concoction that means every song gets under the skin and has its own identity.

I wonder whether the duo will come to the U.K. because, as I see it; they are on the rise and creating their best music right now. Their debut album is not the first thing we have heard from them, I know. The E.P.s did good business and seen them accrue a band of fans and supporters. Reviewers and journalists are behind them and the California scene is buzzing and responding to their sounds. I am excited to see how far The Rigs can go but, as we are in 2018, I wonder whether they will come over here. I am not sure whether they have played the U.K. – I can do more research, I guess – but it seems natural they would want to appear here. Whilst we do not want President Trump stinking up our country: a trip from The Rigs would be welcomed and much-needed. We have a big and expanding Electronic/Pop scene and duos who would support and play alongside The Rigs. The venues and spaces we have here would put them up so maybe, let’s hope, there is a mini-tour of the U.K. planned. It would be wonderful seeing the guys here and hearing their music in the flesh. Now, with an album out, there is a demand and desire for the music of The Rigs. They will be busy playing their local area but I wonder whether U.S. dates will take precedence. The nation is huge so it is understandable should they want to remain here and cover as much (national) ground as possible. International dates cost a lot of money and it can be quite a struggle affording that kind of ambition. With their music popular with producers and the entertainment industry; I feel there are shows and directors here who would like to experience The Rigs’ music close-up. Let us not get ahead of ourselves and put words in their mouths – I hope they think about us in the months to come…

“They come with bows and arrows” the heroine speaks. It is a chilled and slightly wary vocal that points to possible chase and anxiety. Maybe she is being stalked and love, in all its cruelty, is ready to take a shot. Perhaps it is more a feeling of general unease and the way life can close in. The first few moments see the song exult shimmering synths and a mix of warm and cold. It is a cinematic and rousing introduction that manages to project stir but keep restrained and controlled. The teasing and softer vocals mix with the more spirited instruments to create a juxtaposition. Our girl is the chosen one and hunted; she is being chased and selected for this special ‘honour’. The video sees lovers in bed and, as the heroine awakes; the head is sore and the eyes wary. She touches her man and then, as she gets out of bed, there is a ringing in her head. That might be a niggling doubt but one suspect it is something that has been there for a while. Intangible yet raw and persistent; a voice that resounds in the brain and creates a feeling of stress and worry. I am not sure whether this hunter has discovered infidelity and transgression from the pair – maybe they are cheating or not being as pure as they could be. Perhaps it is the clock of love telling (the heroine) things are going to end. Whatever the origin; you bond with her and the pain she is enduring. That always-soft voice never explodes but, instead, investigates and poses questions. She is being pursued and is not being given time to rest. Why is she being selected and hunted? What does this all mean? Will it end soon? These are considerations that need answers and, as time goes on, that pain and fear come to the surface.

Other songs that appear on World on Fire have a more spirited sense of attack but this is one of the more emotive numbers. The instrumentation creates a storm and sense of drive but it is that impactful and meaningful vocal that stands out. You are brought into the songs troubles and turmoil. Rather than stand aside and plea with the heroine; the listener is motivated to take action and explore. The song gets steamier – the video certainly does! – and, against the bowing and weapon-priming; the lovers are racing and arm-in-arm. Some of the words, unfortunately, get buried in the composition and production. Rather than put the vocal higher up – making them more intelligible and clear – they are drowned, at times, by the electronics. That might be for dramatic effect but it means some of the words get drowned and swallowed. Perhaps that is to create a certain sense balance but it would have been good to pick up a few more of the words. It is a shame because Parrott’s voice is so full of life and contours. It expands and flies as the song progresses and shows the determination to overcome and succeed. The duo’s erotic and passionate kiss – as one sees in the video! – is in the foreground as, behind them, protestors are holding signs and trying to break the glass. That might suggest what the song is about: people not approving of their love and trying to undermine it. The sense of impending violence is there and, with Smith’s production turning the tension all the way to eleven – the listener is compelled and hooked right up to the last note. The closing moments of the song bring in rapturous notes and snarl; the song comes down and those questions and declarations are left there. I wonder whether the sweethearts were afforded peace and whether they managed to evade the chasing hunter. The Hunted is a stunning song that showcases what a tight bond Parrott and Stafford have. They ensure the song remains fascinating and emotive from the first to last – not many artists can do that with such ease!

The Brave is a perfect, carnival-like way to open World on Fire. It is an instant and explosive song that sees Stafford’s vocals howl and build; rapture and explore. Parrott’s alto creeps through and ensures every chorus is bolstered and electrifying. Runaway is a synthy track that has a Pop edge and can be seen as one of the more ‘traditional’ and accessible tracks on the record. Fall or Fly, a standout, sees the duo combine and blend their differing tones into a harmonious whole. It is a sumptuous and emotive track that really does remain in the heart. Exploring issues like broken relationships seems, to them, have a very personal and emotive edge. I know that sounds odd but it seems like, on that song, they are speaking about their own relationship and how close they are. Maybe they have taken from separate relationships but one can see an assessment of The Rigs’ connection and how they are joined together. White Flag – not the Dido song, fortunately! – frames a powerful Parrott vocal that hits their gut and creates one of the biggest emotional reactions on the album. It is a reflective and emotive song that differs from the brighter and physical tracks. That contrast means listeners are enriched more than an album that took a more linear and predictable course. I have summarised the album but that is what one can expect if they delve in. These tracks, mentioned, are among the finest but, to be fair, that is only skimming the surface. World on Fire is a rich and rewarding record that warrants some serious time and attention. Make sure you align yourself to L.A.’s The Rigs and experience the full breadth of their new album. I know the duo will go far and continue to exert influence and produce fantastic music. 2018 has only just begun but, with their album out in the ether a couple of months; attention is still coming and the desire to see them perform is strong. Were they head is up to them - but there is no part of the world who will be…

IMMUNE to their charms.

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Follow The Rigs

Official:

https://www.therigsofficial.com/

Facebook:

https://www.facebook.com/therigsofficial

Instagram:

https://www.instagram.com/therigsofficial/

Twitter:

https://twitter.com/therigsofficial

SoundCloud:

https://soundcloud.com/therigsofficial

YouTube:

https://www.youtube.com/channel/UCxVEZAWfCAeGotldk5bbI0w

Spotify:

https://open.spotify.com/artist/4QrBV4OBjd798x3Aov1Yjy

INTERVIEW: Nath Bravo

INTERVIEW:

Nath Bravo

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IT has been a while since I have featured any artists with…

Mexican heritage. Nath Bravo is, perhaps, the second musician to hail from that nation (I have featured). She talks to me about her time in London and whether residency is a long-term possibility; if her hometown has/had a great music scene; which new artists are striking her heart – and whether we can see her tour over here.

She discusses her current single, Shadowman, and whether more material is due; what her fondest memories in music are; the three albums that mean the most to her – some useful advice for artists coming through at the moment.

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Hi, Nath. How are you? How has your week been?

Hey! I’m fine, thanks. It’s been all good.

For those new to your work; can you introduce yourself, please?

Well. My name is Nath Bravo. I’m twenty-one-year-old and I make music. I’m originally from Mexico but I just moved to London a couple of months ago to promote and perform my music - which is basically the result of a bunch of influences I’ve got; from genres such as Jazz, Blues; Rock and Alternative.

Talk to me about Shadowman (released last November). What is the inspiration behind the song?

Well. For this song; I did have a particular subject in my mind to be portrayed: fear. It was mainly based on the way I was feeling while going through some scary times in my life - in which I just couldn't find a scape. I kind of just faced it the only way I knew: making music. It’s a tribute, I think, because I know we’ve all gone through that specific state of feeling trapped in some sort of mindset. I brought fear to life as a character I named ‘Shadowman’ - and I’m just trying to describe the way I see/feel/experience fear most of the times.

Will there be any new material coming this year?

Hopefully, yes. I do have new songs and I’m constantly writing. So; if everything works out the way I’d like to…yes, that’d be fantastic.

You were born in a small town in Mexico. What was it like growing up there? Was there any sense of a music scene at all?

It was quiet. I didn’t have many friends as a kid. I think I was a bit scared of people…

But; I do have a really loving family, so we’d spend all of our holidays together - sometimes at home, traveling somewhere or just hanging out with all of my cousins and relatives. There wasn’t a lot to do - but enough for me to collect many beautiful memories that still make me happy. My parents are photographers so I’ve always been related to art. My mom also loved singing when she was a young woman - but I think I got into music by myself. There isn’t a lot of a ‘music scene’ in my city: only small contests I always joined (and choirs etc.)…but not a lot.

Mexico has so much to offer and a lot of beautiful music - but finding the right places for you as an artist is sometimes hard if you live in a small town.

Do you spend a lot of time in Mexico? What is the music culture like in the country?

Yes. That’s where my home is; the place I always go to after traveling. The music culture is really different. I think there are many great artists in my country, and our ‘classics’ have turned into some sort of anthem for us. It’s diverse, rich; colorful, interesting. I love boleros and mariachi whenever I listen to them…I just go back in time.

There’s also Rock, Pop; Jazz and more international things as well - it’s diverse if you know how to find it.

It seems like music came into your life early. What made you take up performance and songwriting? Which artists inspired you to write your own material?

As soon as my parents realized I could sing; they’d always encourage me to do it - so I just started loving it more than anything else. I took some piano lessons for a few years but then quit because that training wasn’t for me. When I was thirteen; I started to take my singing as a serious thing: I self-taught (myself) to play the piano and, eventually, started writing my own songs.

I have to say that one of the main reasons I started to write music was: Jazz. Nina Simone was the first approach I had to songwriting as something beyond my own singing. It was all about having that fire in your stomach that comes when you are completely lost in music. I just fell in love with it…the process; the beauty of free expression, freedom itself… it’s all pure magic.

She’s one of my biggest inspirations of all time.

How have you found the audiences in London? What has it been like performing in the capital?

Wonderful. I’ve loved it.

This is my second time in the capital and I have to say that there’s something so great about audiences in London: they listen. They accept new ideas, sound and projects.

That’s amazing.

Do you think you’ll stay in the U.K.? Is it somewhere you feel connected to?

I wish I could: I’d love to stay. I’ve felt really connected to Camden, here in London. I just love its diversity, the vibe and how cool it feels to be around in a really vibrating, colorful place.

IN THIS PHOTO: LP/PHOTO CREDIT: @kezianathe

Who are the new artists you recommend we check out?

LP (Lost on You (the live version) is a must); Charlotte Cardin; Moncrieff; Ibeyi; Tash Sultana (of course) – and, yeah; I might have more…

But I can only remember these at the moment.

IN THIS PHOTO: Tash Sultana

If you had the chance to select the three albums that mean the most to you – which would they be and why?

Live at Wembley '86 – Queen

It’s Queen, that’s why. I mean; whenever I feel like I can’t handle music, problems or life in general; this album would just bring my broken-self into one piece again. It’s just the most amazing thing ever. Such an amazing live performance: so energetic, filled with the purest passion…I’m a huge fan. So, this is like liquid-gold for me.

Hozier - Hozier

This man is amazing. I (just) love the sound, his songs. I remember I’d listen to this album over and over again every day for a while. I was sometimes struggling with my own music; so this album helped me to remember that I always have to trust myself and my instinct as a musician. It means a lot; maybe because I listened to it at the right time.

Themes from Calmi Cuori Appassionati (soundtrack) – Enya

My parents are photographers so, when I was a kid, they used to go all around the country and the States to do workshops - and I used to go with then every time I could. They’d make these videos with all of their best photographs - and used Enya’s album as the soundtrack. So; it brings me to a really melancholic memory of my childhood.

Is there any advice you would give to fellow artists coming through right now?

Be patient, be true to yourself; work hard, don’t overthink - and enjoy the ride. There are more people going through the same thing as you - so don’t worry too much and don’t be scared to ask for advice/help.

What other gigs do you have coming up as we head through 2018?

The closest date is on January 17th here in London. The night is called The Round and I’m gonna be talking about my songs, too. Gonna be cool.

More gigs will be announced on my social media, as well.

Looking back; what have been your fondest memories of your time in music?

I have many…

One of them is from two-and-a-half years ago. I was at this big event; it was a national competition for songwriters organized by the University where I was at that moment. I remember being surrounded by so many talented people all playing some great things with a full band - and I was so scared cause I was going to be performing a song I wrote all by myself with only my piano, so…

It was almost time for me to go on stage and I still remember I just took my earphones and went backstage to lie down on the floor. I played Why? (The King of Love Is Dead) by Nina Simone; because it was the only way I could stay calm. I literally didn't take the earphones off until I was seated in front of the piano - with all of those faces staring at me. I was stunned, in shock and I just started playing.

That night, I became the national winner (after being so scared and without even expecting something back from the whole thing). It was surreal, inspiring. I think it was since that day that I decided I wanted to do that for the rest of my life. I’ve met so many amazing people on this journey and have also faced music itself in so many different way…

I wish I could tell you all of them.

Do you have any ambitions of resolutions for this year at all?

I always do but, first of all; I’m gonna keep on promoting my E.P. and, later on; I really want to work on the latest songs I’ve written. I’m gonna keep on working and playing and, hopefully, finding the right places and people to work with.

Finally, and for being a good sport; you can name a song and I’ll play it here (not one of yours as I’ll do that).

Excuse Me - Nothing But Thieves...or Sirens – Fleurie

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Follow Nath Bravo

Official:

https://artist.spinnup.com/nathbravo

Facebook:

https://www.facebook.com/BRAVONATH/

Instagram:

https://www.instagram.com/thenathbravo/

SoundCloud:

https://soundcloud.com/nathbravo

Twitter:

https://twitter.com/thenathbravo

Spotify:

https://open.spotify.com/artist/50MLDp0XLGoVynTpJsDkEP

YouTube:

https://www.youtube.com/c/nathbravo

FEATURE: Agent of Change: The Ongoing Desire to Preserve Britain’s Music Venues

FEATURE:

 

Agent of Change

ALL PHOTOS (unless credited otherwise): Unsplash

The Ongoing Desire to Preserve Britain’s Music Venues

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IT seems like this is a constant thread of all I do…

but the ever-changing, always-rumbling debate around music venues and their survival attract press and discussion. It has come to the stage where facts have shouted loud: thirty-five-percent of all music venues closed in the past decade (in London). Some of them would have been very small; others would have sprung up – the evidence is still damning and troubling. Artists such as Isaac Gracie and Sir Paul McCartney have come out and spoken about the issue – and how important venues are to the British music scene. The implementation mooted would employ the ‘Agent of Change’ theory. That would mean developers would need to fit soundproofing to all new developments built near music venues. This will start in London but it is hoped it will become law throughout the nation. There are other reasons why so many venues closed in 2017 – aside from noise and complaints – but that is a good start. Many people buy houses knowing full well they are close to a venue. Extraordinary naivety means they move in and, when they hear music coming from the venue, a complaint is lodged (from everyone nearby) and that puts pressure on that spot. Many have closed because it is a lot easier closing the venue rather than getting rid of the flats/houses.

A lot of these ill-fated venues have been in the same spot for years/decades; they were operating fine for years and then, when new houses are erected, that leads to issues. One can say the idiocy of the developers did not take into account the fact a venue would produce noise and pollution – they went ahead anyway; driven by money and greed. Those who move in display a complete lack of compassion and compromise. In a lot of cases; the amount of noise thrown out is not that severe: delicate ears and snobbish residents feel any unwarranted sound is a violation. So, what we have seen is a hose of great venues shutting their doors due to new developments. I realise houses need to be built but, not only is a lot of green land being squashed and covered-up – some legendary, community-uniting venues have been sacrificed. Isaac Gracie was among those to come out recently and profess his love of the live music scene. He highlighted how important they are to the community; the fact they bring people together and can create a lot of tourism and business. People will come to see that band/artist - and having a great venue on your street adds a sense of cool, class and opportunity. It means you are never far from a good night out; there is a place to hang with like-minded people; discover great new artists and have a chance to unwind.

Take (the venues) away and you are causing social deprivation and blighting the landscape of a town/city – that empty venue has to be rebranded and repurposed; it looks ugly and means a lot of money has to be spent putting a new business in there. I am pleased new guidelines are coming in and let’s hope they are implemented as soon as possible. What we need to see happen is, if anyone is building within a certain radius of a music venue; check the sound levels and, if they are seen as too ‘high’; ensure soundproofing is put up. If you are then showing people around said developments; there is a due diligence to inform them that, even with soundproofing, there may be some slight sound-bleed. If every side is compliant and informed then you cannot have any cause for complaint. I feel those who buy houses near music venues know the risks but want to bully others. I do not believe they are unaware of the noise venues produce and did not see them when viewing the place. It is the selfish and myopic minds of those property buyers who have been responsible for so many needless closures. Many might argue that, if you have to build houses a certain amount will be constructed near music venues. That is true but, as we know, even the most raucous venue is not going to be causing that much noise – unless they have their doors open a lot and a load of people are coming in and out.

A lot of pubs have gigs and D.J. nights and you have problems arising – many complain about the noise and it can lead to dispute. It is harder soundproofing existing residences because of the cost the owner will incur. New-build properties need to be more conscious of the need to protect the venues we have. I am hopeful the scheme will conserve a lot of venues and create greater harmony between the owners (of venues) and new home buyers. Whether it is a high-rise block of flats or a rather posh set of houses: getting them soundproofed and insulated is paramount. We cannot see more venues close because of complaints and a lack of foresight. Isaac Gracie was right when he highlighted the community angle: people converging on a venue and able to bond with their fellow man. Sir Paul McCartney raised a more alarming and eye-opening concern: many venues are closing because of other reasons. Whilst that Agent of Change principle will address sound and noise-pollution; one has to ask whether more should be done to protect other structural concerns. Look at the financial struggles and social trends; the increased role of digital streaming – other reasons why so many venues are endangered. McCartney knows the importance of great venues more than most people alive. Imagine if Liverpool’s Cavern Club existed today – or was based in London. I would genuinely fear for its future and the fact it has survived all these decades should be applauded. Maybe it is the wider folk of Liverpool; the fact it has been responsible for launching The Beatles – as they played a lot of their earliest gigs there – but one cannot overlook that landmark.

IN THIS PHOTO: Sir Paul McCartney/PHOTO CREDIT: Getty Images

That space is, of course, housing the new breed and part of the city’s fabric. I know the future of any venue is never certain - but one would hope such an iconic spot would be safe from bulldozers and complainants. McCartney’s concerns related to the shifting landscape and how the live music scene is dwindling and shrinking. There are a lot of us who want to see live music and have that appetite: if there are fewer venues around then where are they to go?! London still has its fair share but I have seen many close down. Some great pubs/smaller venues, who have helped forge the careers of great musicians, have had to close and, in the process, denied the new generation a chance to take to their stages. Sound insulation and pollution are important concerns but there are other factors that need to be addressed and tackled. The price of alcohol and the cost of an average night out/gig is increasing and is especially raw in the city. Throw in the rising train prices and commuting stresses – are people finding it easier staying in and listening to music online?! Music is getting busier by the month so the need to not only safeguard but grow the local scene is essential. No musician can survive on the Internet alone: they need gigs and a chance to hone their craft; get out to the people and earn money. T.V. and film have not gotten any better but, as there are fewer venues – meaning the average punter needs to cover more miles to reach the nearest one – they are opting to stay in and save some money. Inflation is always going to have an effect on any business but there are other factors…

It is great having platforms where any musician can put their music out to the people and get it heard instantly. I fear that openness and huge market means there is less focus put on physical, live music. Anyone can get a song for free and ‘discover’ an artist without leaving the house or parting with money. Established musicians like Sir Paul McCartney know digital outlets are important and essential but that needs to be accompanied by traditional live music. No artist, as I said, can survive online and forgo gigs. The only way they improve, grow and gauge reaction is to gig; bond with the people and get instant, physical response. I will talk about London in a feature later this week but I am worried there is a split between the capital and other areas. I understand London’s music scene is vibrant and exceptional – most of the big labels are here – but, with so many artists moving to the capital fearing they cannot get gigs and visibility where they are; it means there is a centralisation of venues. Cities fare better but nearby towns/villages are suffering because their artists are moving away and finding more life/money/people in London. That creates crowding and, going back to the issue of noise – the more people you put into a city, the bigger the epidemic becomes.

Existing tenants/properties are rallying against the increased noise and issues like Drugs and anti-social behaviour is compromising the security of many venues. I will not throw in figures regarding turnover, closures and arrests: we all know the problems that are affecting our venues and the structural rigidity of the live music scene. All of these factors need to be taken to heart and discussed. A lot of the ‘traditional’ corners – record shops, C.D.s and venues – are disappearing but, like the revival of vinyl; I know there is that extraordinary thirst for live music. The demand is still there but one cannot ignore the financial barriers; the way local venues are closing; why artists are moving to the cities – and the rise of new flats and the noise complaints that come when people move in and grow weary of the musical disruption. The concept/name suggests a Justice League for music: acolytes for parity and happiness that go around and make sure our music scene is secure and warm. That might over-romanticise the notion but I am pleased action is being taken. I feel one of the most insane and infuriating reasons why venues are closed is because of the people who move in near (a venue) and get a shock when they hear a bit of noise coming from it! Whilst you cannot cure stupidity: soundproofing new properties is a much-needed measure.

All musicians and fans want to see venues remain and succeed. Yesterday, it was announced the Agent of Change Bill will get a second hearing in Parliament on 19th (January). It is a step closer to a new law that will make a big difference in music. I am keen to see how far it can go and, when/if implemented, how effective it is. The movement is much-needed and shows a desperation to keep our venues safe. We cannot see them close needlessly and damage the future of music. There are some things the Internet/streaming cannot replace: the raw and real connection with an artist one gets when seeing them at a live venue. I realise there are complexities and unavoidable hurdles; things that will happen that will threaten a certain number of venues. Those all need to be addressed to see if there is a way to minimise danger and damage. Artists like Sir Paul McCartney have expressed their fears for the future. It a worrying time for music but I am glad to see progress being made; proof there is action being taken and a practical step to avoid some of our venues closing. Musicians old and new need venues to cut their teeth and test their material. If we keep the high-profile, established venues – and close down those smaller and less profitable – it means there will be fewer local artists (who move to the cities to get gigs) and that will have an effect on the communities there. We should not fear the future of music: embrace all the changes and have hope the live scene will grow and inspire. The only way we can adopt this attitude is to ensure there are no needless casualties. The Agent of Change Bill, and the musicians backing its implementation, is a huge step towards…

MAKING live music a safer, more stable landscape.  

INTERVIEW: OMYO

INTERVIEW:

OMYO

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THEIR current single was released late last year…

so I wanted to speak with the London duo OMYO about its story and background. Tom and William talk to me about their upcoming material - and whether we can catch them in the live setting. I was keen to know how OMYO came to be and whether there is any significance behind the name/acronym – and how the guys saw in the New Year.

They tell me about their influences and, on Wait for Your Love, the all-star production team they worked alongside; how it feels being a D.I.Y. act; working with Nicole Gregorczuk on their latest song (she will appear in the video); the new artists they recommend we check out – some advice for any new artists out there…

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Hi, guys. How are you? How has your week been?

Hey; how you keeping?! It's been really busy, actually.

Went to Fashion Week this week - and been sorting out a plan for our tour and album release later in the year. 

For those new to your work; can you introduce yourself, please?

The band is called OMYO. We've been together three years. We met randomly and New Year’s and made a drunken bet to write a song. Since then, we have played for BBC introducing; gigged in N.Y.C., Poland and Germany... 

How was Christmas for each of you? Did you get to spend time with family?

Christmas was nice - yeah we just chilled, really. Been eager to get back in the studio and continue where we left off last year!

Excited to get back gigging and making music…

I believe there is quite an interesting behind the story of OMYO’s creation? Is there any name-link between you and Yo La Tengo’s OHM at all?!

Hahaha; unfortunately not..

The name stands for 'Our Music, Your Opinion'. We needed a band-name - and thought it worked well. 

Wait for Your Love is the new song. It is an instant corker! How did it come together and what inspired it?

Ahhh; thank you! Really appreciate it.

The song came from a small relationship that didn't work out - and had been a waste of a lot of time (as we were so busy). So; it was initially an instrumental way of expressing the frustration which we then both connected on and built the full song - as we’d both been through these situations and thought how it could be relatable for other people.

I believe there is an all-star team producing. Tell me about their role and how you came to work with them.

Yeah; we have an amazing team working around us! We work with so many amazing producers! They've worked with some of the biggest House and R&B names out A.t.M.!

We just met them through studio sessions and became friends. We are actually the main producers on this song - which was a big step for us - and we brought in other guys for influences. Then; the final mixing was done through Dean Barratt - who has worked with some amazing people - because we met in the coffee area of our studio and became good mates.

He now mixes all our music! 

William. I believe the forthcoming, D.I.Y. video is your debut. Tell me about the concept and where it is being shot…

The video needed to be done short notice and on a very small budget; so, whilst not able to sleep, the idea suddenly came to mind to do it ourselves. I managed to reach Steve Glashier in Berlin - as we were out there for a show. He's an amazing director and he actually did all the filming; he was an amazing mentor - to help me learn the process - and I think the result really is great…

It’s a mix of taking small, loving moments and making them emphasised; to show how much they can mean - along with using colours to show how the emotions can be in a relationship. 

I believe Nicole Gregorczuk will appear (in the video). What was it like working with her?

Yeah; really good! She's such a professional. She adds an edge to the video. 

Are there plans for more material in 2018? How do you feel Wait for Your Love differs from previous tracks like Mysterious Girl?

Yeah; we have so many tracks finished - probably enough for two albums.

I think Mysterious Girl was more of a Club/Dance vibe: Wait for Your Love allows you to get lost in the story and picture the real emotion. 

You are independent and do not rely on labels and hype-machines. Is that preferably in terms of what you want to do? What is it like having stations like BBC Radio 6 Music and BBC Radio 1 behind you?

Yeah; we love the freedom that comes with running our own label.

We have full power and overall control in terms of creativity - from styling to the videos we shoot. It's great - and it helps having the backing of radio (playing the music you're creating). It’s been a lot of learning: from online marketing to Photoshop branding; networking with fashion brands and pitching constantly around the world. 

 PHOTO CREDIT: JP Cooper/PHOTO CREDIT: Getty Images

Who are the new artists you recommend we check out?

We're a massive fan of JP Cooper, The Weeknd; Tom Walker and NF.

  PHOTO CREDIT: Tom Walker/PHOTO CREDIT: Getty Images

If you each had the chance to select the one album that means the most to you – which would they be and why?

Tom: Born to Do It by Craig David

All of the songs are massive tunes. It is such a feel-good album - and this is the first album I ever bought.

Will: Bloom by Machine Gun Kelly

It is really special to me: it helped me through a very dark patch.

Is there any advice you would give to fellow artists coming through right now?

Tom: Just keep doing what you're doing! Believe in your work and hustle! People won't come and find you: you've gotta find them.

Will: Be stubborn. If you have something and it’s different and you truly believe in it…one day, people will also realise its potential. You have to believe it’s the best you can be and then go after that dream with all you have; don't take ‘no’ for an answer - and remember there’s so many different ways to get to a goal if, first time, you fail.

Can we see you perform anywhere soon? What gigs do you have coming up?

We're playing several dates over the next few months, starting with 13th January (date) at Notting Hill Arts Club. (All our dates are online at omyomusic.com). 

2018 is here. What do you have planned in terms of personal goals and ambitions? How did you both see in the New Year?

Our personal goals are very similar: trying to push for regular national air-play; to be the best artists and label-owners we can; to keep competing with the majors; to inspire other independent artists - and play as many gigs as possible.

We (just) saw in the New Year with our families (which was nice). 

Finally, and for being good sports; you can each name a song and I’ll play it here (not one of yours as I’ll do that).

Craig David - What's Your Flava?

Bee Gees – Stayin’ Alive 

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 Follow OMYO

Official:

http://www.omyomusic.com/

Facebook:

https://www.facebook.com/OMYOMUSIC/

Instagram:

https://www.instagram.com/omyomusic/

SoundCloud:

https://soundcloud.com/omyomusic

Twitter:

https://twitter.com/omyomusic

Spotify:

https://open.spotify.com/artist/55ljRDIZC2YbMFEpCK9xzA

YouTube:

https://www.youtube.com/user/williamgraydonable

FEATURE: Tim Smith: Mind and Body: Raising Awareness of Musicians’ Health Issues

FEATURE:

 

Tim Smith: Mind and Body

IN THIS PHOTO: Tim Smith/PHOTO CREDIT: Getty Images

Raising Awareness of Musicians’ Health Issues

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A lot has been discussed…

PHOTO CREDIT: Unsplash

concerning the psychological well-being of musicians – and whether enough is being done to preserve their mental-health (and ensure they are okay). It is an oversight that needs a lot more focus and compassionate research this year. I am concerned by the growing number of seriously distressed, depressed and anxious musicians whose health is being compromised by the nature of the business – how demanding it is - and (how) isolating social media can be. It is a tricky and time-consuming crusade we have before us. Curing someone’s mental-health problems takes more time, effort and patience than, say, a physical malady. I have been compelled to write because of a certain Tim Smith. Maybe there is a cruel irony that a productive musician/writer/producer who led a band called Cardiacs should be waylaid and incapacitated because of health issues. In Smith’s case; he suffered a catastrophic brain injury that has, sadly, seen him sidelined from the music industry and unable to create. It is heartbreaking seeing a legendary figure in such ill health; suffering so much and not contributing to the world of music. I will come to a fundraising campaign that has been launched – where you can contribute and help get treatment for Smith – but, since two strokes and (two) heart attacks in 2008 – fans have been rallying and supporting their idol. Back in 2005, when talking about the Cardiacs; Smith professed the meaning and relevance of the band:

“Cardiacs is our life and everything we do, and everything we have ever done since we were tiny. We play a kind of music that we are very, very proud of and love more than life. A kind of music that apparently makes people hate us with a terrifying vengeance, or love us so dearly and passionately that it becomes a worry. No in-betweens . But to us it’s just tunes. Lovely tunes. Tunes are important in life.”

Smith’s passion for music began as early as the mid-1970s when the fourteen-year-old schoolboy procured a copy of The Who’s Tommy songbook. Teaching himself to read and write music; Smith wanted to play music loudly to, as he claimed, make his brother Jim look foolish! Bass guitar-playing Jim and his brother played together in The Cardiacs – it was shortened to ‘Cardiacs’ soon after. There was a sense of retribution and retroactive game-settling regarding the music. Tim Smith saw the band as an opportunity to exact vengeance on a brother who caused unkindness as a youngster – all loving and with no malice but, even from the first days, there was a sense of rivalry and strange ambition. This fervour led to a series of acclaimed studio albums and brilliantly-attended gigs. From their 1980 debut L.P., The Obvious Identity, to the tragedies that occurred in 2008 – the band have been on hiatus. Many count the band’s 1996 album, Sing to God, as one of the finest of the decade – there was high-hopes the group would continue to record music to this day. Before I highlight why it is important to back Tim Smith’s medical treatment – and highlight why musicians’ physical health needs to be highlighted – a statement from Smith himself:

“Most of you are now familiar with the ins and outs of what happened all that time ago during the summer of 2008. But for the sake of clarity, which here and there has drifted a little, let me just state it here for the record.

Tim was indeed felled by a full cardiac arrest (which differs from a heart attack in that the heart stops beating completely) which in turn led to hypoxic brain damage to the parts of his brain that are largely associated with the starting and stopping of all movement. It left him with a little known about condition called dystonia. That’s it. There were no further heart attacks or strokes it turns out and there is no true paralysis…

PHOTO CREDIT: Unsplash

Hypoxia simply means a lack of oxygen to the brain. It causes the cells to die or be damaged in the affected area just as any form of stroke does, be it a bleed or a blockage. Deprived of blood flow, or too much of it and in the wrong places, the result is the same.

It’s pretty rare to end up with this particular condition as a result of hypoxic brain injury. We know of maybe two other cases worldwide. If there are more, it’s still, in all likelihood, a very small number. But you might say that’s just typical of Tim: it’s in his nature to do things others don’t and to do them properly!

As we know, this condition has affected Tim’s movement as a whole, his dexterity, his ability to speak and it has added painful muscle tone and spasms that are a permanent feature of his life these days. These also hamper movement generally. Obviously all medical and surgical options to ease some of his suffering have been, and continue to be, investigated”.

I realise musicians suffer poor physical health but the fact such an iconic and prolific musician suffered a series of strokes and heart attacks seems especially vicious and unfair. I will conclude this piece by looking at another high-profile musician, Solange (Knowles), and a condition that affects her. Regarding Tim Smith; one can help fund vital medical treatment and (help hit) a £100,000 target-figure. The fundraising is strong but, as we read those brave words from Smith; the desire to see him recover and back in the studio is strong.

The Cardiacs’ lead is fighting bravely and ensuring his health problems do not get him down. It is good to raise awareness of a musician’s health concerns because, unless it is very serious, we do not often hear about it. Not only can raising awareness give encouragement and guidance to those similarly-affected: we get to see the human side and show true support. Music, today, seems to be mostly about electronic purchases and a certain amount of detachment. Unless you go and see a band/artist; how often do you connect and relate to them? Even in the live setting; we do not get to know about an artist and what makes them tick. I am not suggesting Tim Smith’s health problems are a positive thing: it does bring us closer to the legend and creates a deeper feeling. I am determined to see Smith back in the studio because Cardiacs have always been a love-hate type of band. Back in the Britpop age (around 1994-1997-ish) they were seen as the outsiders – much like Radiohead but not as revered and respected. That might have something to do with their music: an assortment of unhinged sounds, nursery rhymes and off-kilter angles. It is hard to categorise them (Prog-Punk?!) because there is, and will never be, anyone quite like them. If celebrity fans like Blur and Mark Radcliffe have helped raise the profile of the band: the projectiles and abuse they were afforded during some of their concerts.

PHOTO CREDIT: Getty Images/Press

Especially in the 1990s, when Britpop and a certain musical sound was king; the guys were an oddity and isotope of rebellion – their stage mannerism and presence hardly helped when it came to assimilating and normalising. The band would play a traditional set-closer at the start; they would subvert expectation and change the rules. The tension and rivalry between the two Smiths – some saw it as bullying regarding Tim’s treatment towards Jim – and some controversial requests (the band would try and get the crowd kissing one another) certainly put them in the public imagination. Times are such where we have few ‘memorable’ bands like Cardiacs. In terms of innovation and sound-experimentation; how many artists like them are around?! Aside from a few left-of-centre bands like King Gizzard & The Lizard Wizard; there are not many bands who have such a strange and alluring sound. Some have accused modern music of lacking inspiration and any real development. I am not suggesting a Cardiacs return would get music’s heartbeat strong and in-time: it would provide an influential and established group the chance to keep recording – or Tim Smith recording some solo material. I am confident Smith’s campaign will hit its six-figure target – thus ensuring he can get that all-important treatment and be on the road to rehabilitation and recovery.

PHOTO CREDIT: Getty Images

Another artist, and before I finish, who has publically spoken about their health issues is Solange. The musician posted the below on her Instagram account (last year):

“Wrote, deleted and re wrote this like 5 times... Still not sure what exactly or how much I want to share... However it’s so important to me for the people in South Africa, a place that has tremendous meaning to me and that has given me SO SO MUCH, to know why I won’t be performing at Afro Punk this NYE. The past five months I have been quietly treating, and working through an Autonomic Disorder. It been a journey that hasn’t been easy on me... Sometimes I feel cool, and other times not so cool at all. It’s a complicated diagnoses , and I’m still learning so much myself, but right now, my doctors are not clearing me for such an extended lengthy flight, and doing a rigorous show right after. I can’t put into words how saddened and sorry I am that I am unable to perform for you guys this NYE, there is simply no other place I wanted to be than there with my family to bring in 2018 with you.......but I give you my ABSOLUTE WORD I will come back with AfroPunk and deliver this performance.....

 IN THIS PHOTO: Solange/PHOTO CREDIT: @solangeknowles

…as it is so extremely important to me to connect with the people who have so closely inspired me in so many ways. I can’t thank Afro Punk enough for their support, and to all of the other festivals this past summer/fall who have known about my health, kept it confidential, and gone out of their way to make me feel supported while doing these shows. As a part of the self care that I’ve tried to encourage this past year, it needs to start with myself, and I’m looking forward to doing a better job of this 2018. This past year has been one of the most fulfilling of my life... Performing this record and experiencing the energy exchange with you guys has been astounding, and I’m so excited about continuing to do the work I feel so absolutely humbled and appreciative to be doing next year. It gives me life”.

Not only did Solange cancel her Afropunk headline set; she has helped raise awareness of autonomic disorders and put it into the spotlight. She has not revealed which specific type she has but, by speaking about it so openly; it will make other artists more confident about sharing their health problem with the public. Both artists have spoken out for different issues but we often digest music without thinking about the artist – relating on a human-level and actually connecting. It might sound like an odd way to connect but, as is the case with Tim Smith; people are coming together (from various generations and nations) and helping support a great musician. Solange’s fans have shown their support and love and, fellow autoimmune disorder suffers have a high-profile spokesperson. This year has only just begun but I can feel a need for change and togetherness. I worry we disassociate and disconnect from musicians - and never really consider the person behind the music. I am keen, especially, for people to get behind Tim Smith’s fundraising and get the master back into the studio – and help fund some life-changing medical treatment. If that can happen, and an amazing target can be hit; it means we can ensure a fantastic musician has the change to put…

PHOTO CREDIT: Getty Images

MORE music out to the people.

FEATURE: Mutual Accord: Is Radiohead’s Lawsuit Against Lana Del Rey a Step Too Far?

FEATURE:

 

Mutual Accord

IN THIS PHOTO: Lana Del Rey/PHOTO CREDIT: Getty Images

Is Radiohead’s Lawsuit Against Lana Del Rey a Step Too Far?

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THE latest high-profile legal threat in music…

PHOTO CREDIT: Getty Images

has come from Radiohead. A couple of years ago; Led Zeppelin were taken to court – accused of plagiarising Spirit’s instrumental song, Taurus, and incorporating elements into their hit, Stairway to Heaven. These are not the only cases of supposed plagiarism in music: for decades, artists have been taken to court and had to explain some very similar-sounding notes. A lot of the cases concern the most minor infractions. In the case of Lana Del Rey; she has been accused of ‘borrowing’ the chord progression/melody of Radiohead’s Creep for her song, Get Free. That is the closing track to her latest album, Lust for Life, and, if you look at both songs side-by-side, there are some similarities. Of course; Radiohead’s best-known song is a different tempo and sound: Lana Del Rey has not exactly copied everything about the track and produced something blatant. What we have are the slightest similarities many people have passed by. That is the point of my annoyance: it is only the lawyers for Radiohead who have picked up on the similarities. I wonder how involved the band have been in the lawsuit and whether it will actually progress to court. Del Rey has offered to give forty-percent of the publishing royalties to Radiohead: they want the full one-hundred-percent.

Variety explained the situation – and how such cases come about:

“I would say this case does cross the line,” said Bill Hochberg, an attorney at Greenberg Glusker. “This Lana Del Rey song is way too close to what is a rather unusual set of chord changes and a very distinctive melody line.”

Del Rey revealed the dispute in a tweet on Sunday, saying that Radiohead has demanded 100% of the publishing revenues from the song. She said that while her song “wasn’t inspired by Creep,” she has offered up to 40% of the publishing to settle the matter.

Typically in such disputes, the attorneys will communicate and try to reach a settlement without filing a lawsuit. Prior to litigation, both sides may also engage their own musicologists to study the similarities between the two compositions. Two songs may sound similar to the untrained ear, but a musicologist may be able to show that the similarities are trivial or commonplace.

“Musicologists are very good at showing where the note sequence is used in other songs and works going back to the Renaissance,” said Henry Gradstein, of Gradstein & Marzano. “Typically what sells it is where there’s a unique pattern of notes and keys and chords and rhythms.”

Asked about the similarities between the songs, Gradstein played them on his computer. “There’s some changes that sound pretty similar,” he said. “I get it. I get the case now.”

Gradstein thought it was notable that Del Rey offered 40% of her publishing rights, suggesting she may have gotten a musicologist’s report suggesting significant similarities.

 “I don’t think you would offer 40% of your publishing if you believed the claim was frivolous,” agreed James Sammataro, an attorney at Stroock & Stroock & Lavan.

If the two sides cannot reach a resolution, Radiohead would file a copyright suit in federal court, and Del Rey’s attorneys would file a motion to dismiss. Sammataro said Radiohead would likely prevail on that motion. If the case reached a trial, both sides would bring their experts”.

That gives you an idea of what has happened and why it has come about – and what the next steps are. It seems extraordinary someone has taken the time to listen to all music out there in the hope someone will use some melody/chord structure from a Radiohead song. One can only imagine the lawyers have nothing better to do than wait for this opportunity to arrive. I suspect someone brought the case to the mind of Radiohead’s lawyers – maybe an eagle-eared listener or super-fan. Although there is proof and enough evidence to bring a case; I wonder why it has been brought about. Del Rey herself stated she was not inspired by Creep – it is ironic the same song has been the subject of another high-profile legal case. The Hollies sued Radiohead (and won) after noticing similarities between their song, The Air That I Breathe and Creep – and, as such, the linear notes credited Albert Hammond and Mike Hazlewood (The Hollies) as co-writers.

PHOTO CREDIT: Getty Images

This ‘third-generation’ lawsuit, one imagines, has been inspired by the nasty aftertaste Radiohead felt when they were sued: their lawsuit against Lana Del Rey has come about as, if they let it slide, it would be ironic and not fair to them. My contention comes when we are looking so forensically at music and cannot allow the similar notes/melody-lines/chord reflections to come in. If there was a blatant and embarrassing copycat scenario then, sure, a lawsuit would be justifiable. I have heard a lot of other songs floating around where you can hear other tracks in them – quite literally, as it appears. Listen to a band like Oasis and songs like Cigarettes and Alcohol. (A certain T. Rex song springs to mind). The riff from Oasis’ song bears a striking resemblance to Get It On (Bang a Gong). T. Rex’s Marc Bolan is long-gone but his estate lives on – I don’t remember a lawsuit being brought about in that case. I, as I said, here a load of songs where you notice familiar choruses, melodies and chord sequences. Many of them are accidental and, as such, it does not lead to any trouble. I suspect Noel Gallagher’s use of the T. Rex line was a lot more blatant than Lana Del Rey (and her new song). Artists have to protect their songs but there needs to be a line drawn and a chance for ‘offending’ artists to have their say.

PHOTO CREDIT: Unsplash

Lana Del Rey is being taken to court and, one suspects, Radiohead will prevail and get a lot of money from her. I wonder whether they could have entered a discussion and agreed on a co-writing credit between them. Rather than embroil in a long-winded legal process; why not open a dialogue and come to a compromise? You can’t prove a negative so it will be hard for Lana Del Rey to prove she was not inspired by Creep. Rick Nowels and Kieron Menzies have a co-writing credit on Get Free – Dean Reid is listed as one of the producers. Lust for Life is a major-label release so Polydor and Interscope must come into the fray. How much of the culpability lies with Del Rey herself?! I suspect the lyrics were written (mostly) by her – the compositional duties helmed by one of her co-writers. It is Del Rey, mind you, that is being scrutinised and chastised. It is not fair to an artist who, I believe, made an honest mistake and has made an attempt to offer compensation. Radiohead could come out and distance themselves from this controversy: the fact they have remained quiet means they are not willing to let this one pass by. We remember the infamous, multi-million-dollar case involving Robin Thicke and the song, Blurred Lines. The estate for Marvin Gaye noticed Blurred Lines sounded an awful lot like the 1977-released song, Got to Give It Up.

PHOTO CREDIT: Getty Images

Blurred Lines is one of the biggest-selling songs ever and, I wonder, did the commercial success of the song make a difference?! If it were a minor song, and few people shared it/played the song; would Marvin Gaye’s estate have noticed?! In that case; seven-million was handed to the victors: it was a blow to Robin Thicke and to producer and co-writer, Pharrell Williams. Do we draw lines and write up constitutions that provide guidelines to artists? Are we going to listen to every song and note any like-for-like notes/melodies? It seems mainstream artists are more susceptible to legal issues. If an independent band or underground artist cribbed (accidental or otherwise) from another act – either popular or new – I feel they would be immune and okay. The fact they would not have the money to satisfy those who bring about a court case speaks volumes. Radiohead’s lawyers are not looking for parity and ensuring this does not happen again. They are looking for remuneration and restitution. They want money and to set an example. Get Free is not one of the biggest songs (from Lust for Life) so I wonder how much damage will be done in the long-term. If the song were released and gained heaps of money for Del Rey and her writers; maybe, then, one could see just cause for a lawsuit. The royalties from Get Free will be sizable but it hardly seems worth going to all the trouble!

PHOTO CREDIT: Getty Images

There are a certain amount of chords and possibilities in music and, with thousands of tracks in the ether; there are going to be similar-sounding songs and ‘stolen’ lines. Music is looking for the most innovative and hard-working so, naturally, you will get unintentional intellectual theft. Lana Del Rey’s Get Free has some familiar embers but it is not exactly a shameless fraud that hoped to slip under the bar. Get Free does no disservice to Creep and Del Rey will be affected and damaged by the impending court case. I hope, truly, some sort of détente will arrive before it gets that far – it seems Radiohead’s people are determined to get their ‘fair share’. The emotional and physical health of Del Rey is going to be damaged as the case unfolds and progresses. I fear artists like her will think twice when writing songs; to the extent they are taking easy options and having to triple-check to ensure they have not used familiar notes. That may sound wise but are we creating a culture of fear where musicians are scared to make any move? Do we retroactively have to look at artists who might have made errors themselves; look at every song that comes onto the market and study every note?! Those are absurd lengths but why it is fair Lana Del Rey is in the firing-line – whereas other artists, who have employed another artist’s music in a much less subtle way free from jurisprudence and consequence?!

It does look like a genuine mistake by Lana Del Rey and her co-writers. I believe her when she says Creep did not come into her mind. The songs are very different and the fact there are some similarities is purely coincidental. Do we look through Radiohead’s back pages and ensure they have not caused any faux pas?! Their lawyers are doing what they feel is right – and the fact they were sued by The Hollies because of copyright infringement and plagiarism – meant there was special motivation to bring a case against Lana Del Rey. Accidents do happen and, naïve as that sounds; most artists are not deliberately looking to rip-off popular songs/acts. There is dispensation and justification criteria that mean those accused could evade punishment. ‘Access’ states that the infringer can claim they have never heard the original prior to writing their song. ‘Substantial Similarity’ means the average listener cannot tell the difference between the two songs – if they notice an obvious similarity, then it is hard to argue. Lana Del Rey is not the only artist, as we know, to have the spotlight put on them. George Harrison, Beyoncé and Sam Smith have all been taken to task. Smith, in 2014, was accused by Tom Petty’s publishers. They felt Smith’s Stay with Me shared chorus similarities with Petty’s I Won’t Back Down.

IN THIS PHOTO: Sam Smith/PHOTO CREDIT: Getty Images

Smith claimed never to have heard the song – maybe that is a fair point. He is twenty-two (or was then) so it might have passed him by. The fact it is a well-known hit makes me a little suspicious of the claim. Maybe, subconsciously, artists like Smith are inspired by other songs! How can you prove an artist has deliberately chosen to take another artist’s song and use adapt it for their own means? The list of fellow music-related court cases brings into focus the fact we have a problem – I feel it is one that cannot be solved. Artists will, inevitably, listen to a lot of music and that will bleed into their bodies. There are few that go out their way to mimic and deceive. I feel Lana Del Rey has taken a melody-line and sequence of chords that is fairly common – I expect other artists have done the same – and not intended to con Radiohead. I suppose something as high-profile and lucrative as music-making cannot be written off as a playground misunderstanding: artists need to preserve their privacy and ensure others are not using their material. I am not defending all those who have been accused of plagiarism but I feel there are better ways to settle these disputes than taking others to court and seeking financial vengeance. The fact Del Rey will, possibly, have to give all publishing royalties to Radiohead does not make the song go away – it will be out there forever and sound the same.

PHOTO CREDIT: Neil Krug

I know there is certain ignorance on my part – I am not well-versed regarding music law and the inner-workings – but I find it hard to believe Lana Del Rey wanted to rewrite Creep for her song, Get Free. I am not sure how the case will play out but one suspects it will not work out well for the American songwriter. She will learn a lesson from this but I fear the implications will go wider – many artists will reduce their ambitions or go to every artist they think might sue them (to get written consent). Legalities are important but there is a big difference between plagiarising a song wholesale and some chord similarities. Rather than drag things through the courts; a more reasoned and fair-minded approach would be better for everyone? A forty-percent cut (for Radiohead) seems like a good deal for Radiohead, considering – Lana Del Rey has not used any of their lyrics or anything other than melody and chord similarities. Whatever the cure/resolve is regarding plagiarism/similarities; I wonder whether cases like Radiohead vs. Lana Del Rey will extend across all music and we will see other lawsuits being brought. Will lawyers start looking at independent acts and dissecting all their music?! I am sad Lana Del Rey has been accused and Radiohead – or their lawyers, at least – are filing a lawsuit. Whatever your views on this latest plagiarism case; it is clear it sends a very harsh lesson…

PHOTO CREDIT: Unsplash

TO the rest of the music world.

FEATURE: David Bowie at Seventy-One: Music, Genius and Legacy: The Ultimate David Bowie Playlist

FEATURE:

 

David Bowie at Seventy-One

IN THIS PHOTO: The cover of David Bowie's album, Aladdin Sane/PHOTO CREDIT: Brian Duffy 

Music, Genius and Legacy: The Ultimate David Bowie Playlist

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TOMORROW is a rare day where…

PHOTO CREDIT: Gavid Evans/Sotheby's Press Office

we neither celebrate or commemorate David Bowie. He died on 10th January, 2016 and, as we know; celebrated his sixty-ninth birthday two days before. None of us expected that devastating news to come through a couple of years ago. It began a year that became synonymous with high-profile musicians' deaths and tragedy. We did not know Bowie was even sick - so his death arrived like a thunderbolt out of the blue! That said; we have had time to take the news in and, as we go forward, look at all the artists inspired by the great man. One wonders what could have arrived had Bowie lived and continued to make music. His final album, Blackstar (2016), arrived shortly before his death and was a devastating thing. One of his most adventurous, bold and astonishing albums from Bowie – the fact he recorded a lot of the material as he was dying, and released something THAT good, blew people away. It is sad to think about Blackstar because of the quality – and what could have followed such a momentous record! Many are following in Bowie’s footsteps and the potency and magic of his music will never die. Although nobody will equal the brilliance of David Bowie; I have been thinking about his extensive back-catalogue and how it changed the face of music. To celebrate the seventy-first birthday of the Ziggy Stardust creator; an extensive and career-spanning playlist that collects together all the music pioneer’s….

PHOTO CREDIT: Terry O'Neill/Getty Image

GREATEST moments

INTERVIEW: Hollie Haines

INTERVIEW:

Hollie Haines

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THIS year has gotten off to a flyer in regards…

the talent coming through. Hollie Haines has been performing for a while but it seems 2018 will be a very pivotal and successful one for her! I ask the London-based songwriter the E.P., The Walls I Built (released last May), and how she feels about it, looking back. She tells me more about a conceptual album she is releasing this year;  her attachment and bond with Cambridge and Leeds – and some new artists she is backing for success.

Haines discusses her tastes and the artists she grew up on; whether she has gigs coming up; how important London is in terms of her sound/direction; the plans she has worked out for this year – what advice she would give any new songwriter of the moment.

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Hi, Hollie. How are you? How has your week been? How was Christmas?

Hey! I’m great, thanks. This week has been so nice - getting back to work after a lovely Christmas. I’m heading to New York at the end of the week (which I can’t wait for).

For those new to your work; can you introduce yourself, please?

I’m Hollie; a lyric-obsessed folkie with some Rock and Country influences. I can’t really pin it down to one genre - but I like to refer to it as music for people who like a cry to music. Emotional lyrics are my favourite thing to write...

I am very honest in my writing.

The five-track E.P., The Walls I Built, was released last May. What compelled its creation and how do you feel about it looking back?

The Walls I Built was about me releasing a collection of songs that were, at the time, the ones I was proudest of. The E.P. goes through a range of styles and I created the sounds and brought the songs to life with my band - which was a really special process to me. It felt like something I wanted to make to mark where I was at that point in my life and career (at twenty-one-years-old). I’m really proud of the E.P. and all the music on it and it definitely helped me find my footing in music and learn a lot more about the recording and releasing process.

But, looking forward; I want to create a more sonically-cohesive album with stronger themes and more input on the production from my side.

There have been a lot of positive comments and reviews of the E.P. Is it humbling seeing your music connect with people?

It’s great!

I overthink and worry a lot about my music and normally have to be subdued by my band; so it’s good to have that reiterated to me by outside people. It’s really touching to hear people say such lovely things about work I’ve put so much of myself into.

I know you are planning a seven-track concept album. Can you reveal the concept and the themes you explore?

A few months ago, I found myself at a tough point in my life. I had just graduated and was about to move to London and felt like I was going through a slight loss of self (and I needed to get re-inspired).

The idea of putting down my experiences of love and loss in an album-form really interested me - and I started to build the idea of creating the album that I would have loved to be able to turn to every time I had lost someone or something.

Was it quite a brave and hard decision recording a concept album – as they are usually quite challenging and not always well-received by the press?

This is the most excited and passionate I’ve ever felt about my music - and I’ve never wanted to work so hard at something! I know there are going to be challenges (I face) but I would rather feel excited and happy about my music and face the fears head-on - than create something I don’t have the same passion in...

I’m willing to take the risk!

I remember the moment music came into my life. Do you remember the first song/artist that entered your life? Who were the musicians you grew up on?

My dad loves music and all types of music; so I grew up on what he was listening to: Richard Thompson, Kirsty MacColl and Foo Fighters have stuck with me from that. My brother also loved Country music; so I got into that pretty early, too - and loved Taylor Swift from her Country-era.

You are based in London but have spent time in Cambridge and Leeds. Why did you decide to come down to London?

I came to the end of my music degree in Leeds and felt like I needed a change. My brother lives in London so I decided to just take the plunge and move in with him (and see how it went). It’s the best choice I could have made. I absolutely love being in such a big city and I’ve met some great people since moving.

I still visit Leeds a lot for gigs and recording - so it feels like I’ve got the best of both.

How important are the people and the city regarding your work and sound?

When I first moved, I had hardly any friends in the city and knew no musicians - which I found really hard. Once I started playing gigs and going to events I met some new people - which helped me settle in and inspired me to work harder and create more.

IN THIS PHOTO: Tamzene/PHOTO CREDIT: Tamzene

Who are the new artists you recommend we check out?

One of my favourite parts of going to Leeds College of Music was the amazing musicians I was surrounded by and watched grow. An amazing artist called Tamzene sung backing vocals on The Walls I Built. She writes such beautiful love songs.

My fellow folkie when I was in Leeds, Lauren Rycroft, is also a fantastic writer...such a great performer.

IN THIS PHOTO: Lauren Rycroft/PHOTO CREDIT: Pear & Bear Photography

If you had the chance to select the three albums that mean the most to you – which would they be and why?

Father John Misty – Pure Comedy

Marika Hackman – I’m Not Your Man

Both of these I listened to as I finished my degree and moved to London. It kept me creative and inspired when it felt quite difficult to be. They’re both fantastic musicians and incredibly clever lyricists.

Taylor Swift – Speak Now

I’ve always loved Taylor Swift and am such a fan of her evolution into Pop music - but this album sticks with me. It has no co-writes on it. Each track paints such a vivid picture of the story it tells. I love it.

Is there any advice you would give to fellow artists coming through right now?

Work hard…but also take your time. Putting in the hours on something you're passionate about is really important.

Can we see you perform anywhere soon? What gigs do you have coming up?

I’m playing at The Finsbury on the 15th January. I’ll be announcing some more shows in London and Leeds very soon.

Your live sets see you quip and share stories with the audience. Is it freeing being that open? Is it important to make that connection with them?

I’m quite an open person really - and my lyrics are so honest, already. I don’t feel like it’s sharing much more than I already am by telling the stories behind the songs. But, also, it is an important part of music to me - knowing that the people listening can relate or connect with the songs.

2018 is here. What do you have planned in terms of goals and ambitions? How did you see in the New Year?

I actually made a list of ten resolutions for 2018 (for the first time). Releasing the album this year is my biggest goal at the moment but I also want to collaborate as much as possible. I’m also planning to listen to an album I haven’t heard every week as well as take a trip to The Netherlands, alone, to do some writing.

I saw in the New Year with old friends from school. I wore a suit which I’ve been trying to be brave enough to do for ages…so it was a good start to the year!

Finally, and for being a good sport; you can name a song and I’ll play it here (not one of yours as I’ll do that).

The Big Moon – Cupid            

I’ve been obsessed with this song since summer - and the line “Time to turn and run from romance/I’m backing out” is one of my favourite lyrics from 2017.

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Follow Hollie Haines

Official:

https://www.holliehaines.com/

Facebook:

https://www.facebook.com/holliehainessongs/

SoundCloud:

https://soundcloud.com/hollie-haines

Twitter:

https://twitter.com/holliehaines

Spotify:

https://open.spotify.com/artist/3TmWI5f479FgFtRzEcs6DA

YouTube:

https://www.youtube.com/user/holliesongs

FEATURE: Banquo: Where Music Could Go When We Remove the Boundaries

FEATURE:

 

Banquo

ALL PHOTOS (unless credited otherwise): Unsplash 

Where Music Could Go When We Remove the Boundaries

________

I’LL admit from the off…

this is a bit of a vanity-piece (sorry!). I am going to put names and sounds together that would not usually share the same room, mind. I have been thinking about albums and what I would do were I provided limited (translation: affordable but ambitious) resources and permission. This is not a chance for me to open the toy-box and indulge myself: I wonder whether the reason we have not seen any biblically-good albums arrive in the past decade-or-so is (because) it is getting harder to indulge the imagination. Look at the progressive and paradigm-shifting records of the past – such as Sgt. Pepper’s Lonely Hearts Club Band – and the way the studio was pushed to its limits. Those classic, endlessly fascinating albums have remained in the history books because of the quality and talented expended. One cannot claim the all-time-greatest records claim that position because of any tricky, pampering or trickery. I feel it is becoming harder and harder to break boundaries and ignite discovery because so much ground has already been covered. Consider music in the same vein as scientific discovery. Those world-changing finds and epiphanies occurred because nobody thought of them. That is axiomatic - but there was less pressure and fewer competing minds back then. The same could be said of the earliest musical breakthroughs. Whilst you could never claim The Beatles succeeded and changed music because they started out in the 1960s – and there was more ground to explore and room to manoeuvre.

Now, in 2018; we have seen all the genres unfurl and music has become packed and suffocated. Whilst there is never going to be anything as vital or shape-shifting as Punk, Grunge or Psychedelia: I feel there are ways modern music can expand minds and blow minds. I am not saying I can do that – as I do not write music and have not released material – but the developments will not come in the form of unexplored genres. I feel one reason music cannot leap forward is due to legalities, written consent and a lack of boldness. There are artists who throw everything into the mix and have the talent to hang it all together: most albums work within normal confines and do not break moulds. Maybe it is a matter of cost and concision; others are less willing to take commercial risks and depart from the normal. Music is primed for one of those albums that throws the dice against the wall, takes it trousers down and runs around the room with its todger out! Maybe the idea of a no-holds-barred album would be a psychic wank-storm that could be a huge commercial flop. The best albums of the past (however many) years have had monumental moments but there are few that take music in new directions and change the game.

IMAGE CREDIT: Getty Images

I am not saying I could do that but I wonder what could happen if fewer obstacles were in place; if artists tried something truly experimental and profound. Some of my favourite albums – 3 Feet High and Rising; Paul’s Boutique and Since I Left You – have dug through crates of vinyl and spliced samples together to create something transformative. Whether it is a samples-only creation like The Avalanches’ Since I Left You or a Hip-Hop-cum-samples delight like Beastie Boys’ Paul’s Boutique – these are albums that have gained massive critical acclaim and been a labour of love. That might not sound appealing and, as I type this, realise the time it took to get clearance (regarding the samples) was back-breaking. Even though it was tricky getting clearance; it would be impossible to do that today. There are records that use samples but nothing to the extent of the best albums from the 1980s (2000 in the case of The Avalanches). If I were to suggest an album, and advise how to create something music-altering; it would be loosening the laws regarding copyright – or make it easier to forge an agreement between a song’s creator and those looking to use it on their record. Albums that employ samples, whilst injecting original voice, have stayed in my mind longest. Look at the greatest records from the 1960s-present and you have experimentation and social relevance at the heart.

There are flights-of-fancy and genre-splicing adventures; odd twists and fantastic little asides. To my mind, aside from Kendrick Lamar and Radiohead (In Rainbows (2007) and 2016's A Moon Shaped Pool) there have been few modern albums that have truly moved me – physically, emotionally and spiritually. My mind always goes back to music created before 2000 (most of it from the 1990s; lots of stuff from The Beatles; a healthy smattering of the 1980s’ gold). Maybe that is nostalgia and the comfort of childhood memories – music soundtracked important moments then; that was the last time I felt truly safe – but I feel there were fewer restrictions and greater mobility back then. Perhaps artists are not attacking and vocalising the tensions and fears we all face (some are but most aren’t) or music might be too busy to proffer and uncover albums that reach into the stratosphere. In my mind, the ‘perfect’ album would be a combination of my all-time-favourites and the best from the past couple of decades. If there were no boundaries and I could make any album I wanted (it would not be expensive!); it would unite the albums many of the artists I feature mark as their favourites; samples a-plenty (keeping it cost-effecting); some unique narration and a general concept.

I feel the modern world, and all its brutal scars, is the most compelling and divisive thing available to the musician. The political strife, terrorism and inequalities; the controversies, problems and anger that are circulating around the world are in all our hearts and seconds from being shot from the lips. It is hard for the average person to make sense of their fears and have their voice heard: musicians are in that privileged position where they can get their fears and thoughts out. My pitched album, Banquo, would be a state-of-the-world concept but have room for love and romance. Before certain songs, and during some others, there would be narration and spoken words from certain high-profile figures. Mavis Staples, and that whiskey-soaked, incredible voice, would be the perfect ‘Muse’ – the lead and guiding voice that acted as conscious/God/nature. She would appear in a singing capacity on one or two numbers but, mainly, she would narrate and provide clarity and exposition. In terms of other narration; I would have Charlie Brooker and Aisling Bea. The former would act as a commentator and spectator; a news reporter and observer who provides wit, sardonic cut and observations. There would be comedic input but, unlike Mavis Staples; Brooker would take a more political stance – against the voice of Staples; looking at religion, the environment and love.

IN THIS PHOTO: Mavis Staples/PHOTO CREDIT: Getty Images

Aisling Bea compels me for a number of reasons. Her voice is engaging, alluring and full of life. She would, in a sort of different-concept A Grand Don’t Come for Free, act as the voice of a love interest and heroine. Bea is a witty, acerbic and deeply intelligent talent who has huge dramatic and comedic pull – utilising her abilities and vocal nuances would add a lot to the album. I mention The Streets’ finest album because it is a concept album that succeeds and addresses modern life. Banquo’s narrative arc would address how the world is unfolding and what is occurring: environmental damage and political tyranny; terrorism and religious division; huge conflicts and issues in our country; controversies arising in the entrainment issue – with plenty to tip the balance. There would be moments of love and sexual allure; domestic dramas and realities (a northern version of A Grand Don’t Come for Free mixed with embers of modern Grime) with quirkier, fantasy moments. I have mentioned a few of the popular names I want to throw in – some great new and older musicians adding their voice; great musicians adding their voices to certain songs – but it would be the sampling/breadth of sounds incorporated that makes the difference! The same way Paul’s Boutique sourced from various decades/artists; Banquo would take from mega-big artists (The Beatles, Kate Bush; Steely Dan, Joni Mitchell and Stevie Wonder among them); obscure rhymes and spoken samples (from T.V. and film).

IN THIS PHOTO: Aisling Bea/PHOTO CREDIT: Jillie Bushell Associates/Getty Images

The opening song would address the world and introduce what is to come; what the concept is and how things will progress. It would end in a battle between differences forces and influences – warring leaders and the environment; conflict and the growing plight of mental illness. It would be one of those trippy, head-fuc* endings that leaves the listener stunned and gasping (hopefully).  It is, in a way, a similar narrative/progression as A Grand Don’t Come for Free but mix domestic/local observations with those worldwide concerns and issues. Samples would range from jam-packed (the closing number and a few others) to a well-chosen selection here and there; going through all genres and sounds from the 1940s to now (with some Classical and Blues thrown in). I have a great fondness for the 1980s (an underrated decade!) and would use, if I could, samples from Madonna, Talking Heads and Yes; Pixies, Tears for Fears and The Smiths. The 1990s would get a good look-in and would the classic acts from the 1960s and 1970s. A few titles are already in mind – The Oxford Coma; The Last of the Great Northern Lovers; Kintsugi and Antifreeze in Summer – and I have names (other than Staples, Brooker and Bea) that would be perfect. There would be no central bands/artist (like De La Soul or Beastie Boys) complimenting the samples and mixing their voice into the mix.

Musicians, new and established, would provide the vocals/instruments and, although there is no central gravity and voice; the collaborations and blend of voices would give the album a more unified and interesting vibe. Stories and songs would range from small-time love/flirtations to mass destruction; political, socially-aware protest and fired political statements. It all sounds like a rather expensive and time-consuming project to put together. Throw into the fray the fact I want to do something original and pioneering regarding promotion, release and recording…and it all sounds like it could run away. In terms of the promotion/release surprise; I am thinking something similar to Radiohead’s pay-as-you-like dynamic concerning In Rainbows – only something different and unexpected. In terms of format; there would be different options and, the same way King Gizzard & The Lizard Wizard allowed people to copy and distribute one of their albums as they liked – I would want to do something as bold and inventive. Banquo would be available on all physical formats but even the way one listens to it would be unique. It may sound too complex and, yes, borderline-pretentious but it would not be. Everything would be worked out to ensure it was affordable, possible and not too ambitious. The work needed to pull it all together would be a slog but that is what needs to be done: plan an album that goes beyond the conventional and inspires other.

Getting clearance for samples would be the biggest challenge. Finding a way of bargaining with musicians – so I could use their material, ensure they are compensated and they had some say – is key but I feel it would be possible. The album would involve different collaborations and artists adding their voices from all over the world – recording in a variety of locations (from their home to odd locales and studios) – and record music in different formats (mono and stereo; bending sound and the way music is heard). It is a big ask but I feel modern music needs something that takes gambles whilst keeping its themes relevant and important. Nothing commercial and ordinary would arrive. That said; the record would not alienate anyone but, instead, appeal to as many people as possible. Of course; given the album’s allusion to Banquo; there would be elements of Macbeth and comparable story-strands. So much ground will be covered in the album – sexual identity and gender-equality; animal rights and race – and the musical spectrum would be bright and variegated. It might be a risky gamble but, as I consider pitching it on PledgeMusic/Kickstarter; I am excited by the possibility and what could come from it. I have a lot of ambitions regarding music I want to achieve: some might take a few months; others might take a few more years. Getting people together, celebrated figures and musicians, into a single project (double-album) would be a dream of mine. 2018 is a year to embrace the daring and take a chance so, with that in mind I shall…

GET to work!

FEATURE: Lead Us Not into Temptation… Why the Heart Needs to Rule the Head in 2018

FEATURE:

 

Lead Us Not into Temptation…

PHOTO CREDIT: Unsplash

Why the Heart Needs to Rule the Head in 2018

________

THE next few pieces I am writing will…

PHOTO CREDIT: Unsplash

look at music careers, the way the industry has changed; how music can change and evolve – and why it is important to throw everything into an album. For now, fairly briefly, I want to look at the predictions that have been laid out and why a more intelligent and brave approach to music needs to take place. That might sound insulting, and vague, but it is aimed at the mainstream and the artists that are promising good things; why the themes they sing about (sex, love and struggles) need to come from a deeper and more spiritual place. Before I move onto the final instalment of my 2018-sounds-related pieces; I want to break off and tell a story. We all have regrets, I guess. One of the biggest ones in my life was back in school; back when I was fourteen and was truly popular. My sex-life is not exactly great – don’t need to put the neon sign up to tell you the truth behind those words! – but, when I was riding high in high-school; I was asked out. In fact...that was, actually, the last time I was actually asked out. The girl, Charlotte, was maybe too shy to come forward – I forget her surname but she asked me out via a friend of hers. I was popular back then because I was sporty. I ran cross-country and was athletic; played on the football team – whilst managing to cancel that all out by being a massive nerd!

PHOTO CREDIT: Unsplash

A poet, academic and general outsider – it someone got my name out there, at least. I did not reject that offer of a date because of arrogance and the fact I could do better. The fact is…I don’t know why I turned her down. She was extremely beautiful and has a great, northern voice; she was popular and would have been perfect. She is probably married and happy now; so I doubt she wracks her brain: I have kept it in my head all these years. It actually affects my every move and I wonder whether things would be different if I had said ‘yes’ to her. Maybe life would take me in a different direction and be worse: perhaps I would be further along and where I actually want to be. That might sound like a random detour but if I were to write a love song; I would take from that time and write from the deepest part of my heart. I know there are speculations mainstream music might strengthen and change the tide. The reason I am focusing on this type of music – for the last time in a while – is because that is where most of the attention is paid. It has been a while since mainstream artists, when talking about love, have really impressed me...

IN THIS PHOTO: Cailin Russo/PHOTO CREDIT: Getty Images/Artist

The last artist I got excited about, in that position, was Lorde. Again; I shall try and limit mentions of her for a little while: here is an artist who is very young but able to project issues around relationships in a very mature and different way. I am not suggesting there needs to be a moratorium on all artists who present love and heartbreak in a very lifeless way. I am excited most by female artists coming through and what they can do. I am looking at the artists who have the potential to do something intelligent and soulful; compared to those who might aim for the mainstream dollar. Cailin Russo has appeared in a couple of Justin Bieber videos and is being tipped for great things. September Rose is a song that is personal and fresh but does not suffer the same fate as other mainstream artists might face. Stars like Nadine Coyle, Pixie Lott and Rita Ora are tackling relationships without much distinction and depth. They have writers and producers backing them and are aiming towards the side of the market that wants something urgent and uncomplicated. That temptation and need to embrace something easy is one of the greatest fears I have this year. Certain polls have tipped acts like Billie Eilish and Sigrid to succeed.

IN THIS PHOTO: Nadine Coyle/PHOTO CREDIT: Getty Images/Artist

They are great, young artists that have a sense of self and control. Maybe that is the split we are seeing. Those independent-minded musicians who write their own material (or have a bigger say) who write about relationships with wider emotion and a more compelling edge; those who still go for the trashy and simplistic (and have a legion of others working with them). Throw in the likes of Jessie J to the latter; Jessie Ware to the former; big-name artists like Justin Bieber can go with Jessie J, too. My biggest music-based wish is there is a rearrangement of ideals and order so those compelling young artists replace the established order whose music is rather shallow and populist. It may sound like I am picking on the girls but the fact is, I am being rather positive and complimentary.  The one thing that unites all musicians is personal relationships. That is the commodity and spirit everyone has any puts into their music. The point I am trying to make is moving music from the generic and salacious to personal and inspiring. If artists are going to stick with love/relationships as a majority share; one would hope they inject some new angles and ideas into the pot. I have mentioned some mainstream-lite artists who are less concerned with soul and compelling; they are in it to get quick streaming figures and meaningless popularity.

IN THIS PHOTO: Pixie Lott/PHOTO CREDIT: Getty Images/Artist

Whilst the likes of Pixie Lott, Nadine Coyle and, say, Rihanna provide something aimed more at young audiences who prefer hot beats and polished production over nuance and quality – there are those in a position of power who go a lot further and expend more effort. I know I just mentioned Rihanna in a post celebrating great black artists: I know she has a commercial appeal and is inspiring a lot of people. Lana Del Rey has a huge fanbase but takes subjects of love and desire in a more sensual and cinematic direction. She is someone who has been accused of lacking any real identity and memorability - but you cannot accuse her music of lacking personality. She reminds me of the blue-eyed Soul singers of old; those songs that have romance and shiver but brought you into a unique universe. Maybe there is something fashionable about liking a certain artist. If they seem cool and sexy; they have an edge or a can craft a hook-filled song – is that something you should be focusing on?! Young audiences, in a lot of ways, are still being fed cheap and sterile music because that is what (marketing people and labels) think they demand. Music, in a way, is a form of education. Love, relationships and coping with rejection are subjects people need to know about – it does not matter how old you are.

PHOTO CREDIT: Unsplash

Maybe young listeners are more naïve and having their eyes opened to something new: older listeners are looking for direction and fresh insight. You cannot say music aimed at younger listeners (teens and those discovering music for the first time) is innocent and censored – given the sexualised videos and explicit suggestions. What worries me most is how hollow and shallow a lot of popular music is. Some might say I can walk away and it is not aimed at me. That is true but, as a journalist, I am looking out at the mainstream and hoping it takes responsibility. I am pleased hotly-tipped names like Sigrid and Billie Eilish are getting their dues. They are mature and multi-talented artists who have had their hearts broken but are not willing to cheapen what they do to appeal to the ultra-commercial. It is tempting, if you have lust and passion, to put the purity and openness of those emotions into song. If you are heartbroken and vengeful; that can lead to some rather spiked and direct words. These emotions go through everyone but, for songwriters, there is more relevance and potential. If your fans are, say, ten or eleven - does that mean you have to write something banal or easy-to-remember? You are instantly giving them little credit and assuming they do not want to be moved. Penning those aimless, generic lines might get you up the charts and on certain radio stations – we have seen it too often and, surely, this kind of music will not endure years from now?!

IN THIS PHOTO: Sigrid/PHOTO CREDIT: Getty Images/Artist

I will look at boy-made music in a bit but two artists I have followed for a while, and am excited about this year, are FiFi Rong and Lola Coca. Both are London-based and have colour and passion on their side. FiFi Rong mixes Electronica and hybrid movements; strange textures and epic compositions with that inimitable, striking voice. She has a sense of the beguiling and unusual but, at the heart, deals with personal issues and how love moves her. Lola Coca, by contrast, has a less emotive and intense approach. She uses humour and cheek; some keen wit and an impressive amount of confidence to give the finger to guys that take her for granted. Both these artists have been recording for a while and are unwilling to compromise in order to get a fast passage to the mainstream. I wonder whether mainstream megastars like Ed Sheeran are leading artists down a bad road. He is not the only one whose songs of love and not exactly the work of philosophical genius. I know it is more complex than a binary argument: those artists who put their soul and keener intellect into love; those who are too commercial and scared to try anything with any real depth. Perhaps I am being harsh on artists, in general. They are all in the business for good reasons - and want to move people.

IN THIS PHOTO: FiFi Rong/PHOTO CREDIT: Jamike Latif

What I hope is the new breed of Pop/mainstream artists has the ammunition to compel change. Love and romance are subjects I have attacked in the past – too common when it comes to the music we here. I have made peace with that side of my brain and come to accept there is a definite place and purpose for love songs. If done right, they can inspire people and open minds: if they are lazy and personality-free; it leaves a sour place. I disagree with the notion certain Pop acts have their place because there is a demand out there. There is only that demand because this is the type of act/sound the mainstream has proffered. The fact a band of new artists, male and female, look set to bring something different to music. That is heartening to hear but I worry they might have to wait longer for glory because of the success and place the less-reliable and pioneering hold. Attach whatever word you want to love - but it is a powerful thing and, if done right, can change a person’s life. I have told a story concerning a regretful time; a lot of musicians have (these kinds of tales) in them and, if shared with their audience, it can give them guidance and comfort. There are those who go for the cheap and tasty – songs easy to write that will get them commercially laid – but those who go further and think bigger represent music’s finest and…

PHOTO CREDIT: Unsplash

BRILLIANT best.

FEATURE: Colour-Blind: How Race Is Still an Issue in Music – and Why Black Artists Are Producing Some of the Best Music Around

FEATURE:

 

Colour-Blind

IN THIS PHOTO: JONES/PHOTO CREDIT: Josh Shinner  

How Race Is Still an Issue in Music – and Why Black Artists Are Producing Some of the Best Music Around

________

THIS is another topic I have been compelled…

IN THIS PHOTO: The faces that make up the longlist for BBC's Sound of 2018/PHOTO CREDIT: Getty Images

to revisit and explore. There are few black faces on BBC’s annual longlist - of artists to watch for - this year. There were more last year but, this year, there is an embrace of modern Pop - and less of a reliance on genres such as Hip-Hop, Rap and Grime. Last year was a productive and exciting one for young black artists in Britain. A spotlight was provided and, when you look at the Mercury Music Prize nominations, there were some fantastic black artists on the list. Sampha won it but Loyle Carner was nestling near the higher ranks – almost sneaking it from Sampha. The Grammy Awards have shifted so the main categories have more minority artists than ever. This not only extends to race but music – Hip-Hop and Rap taking over from Pop and commercial sounds. Many bemoaned the lack of Lorde, Taylor Swift and Rock acts: those with common sense recognised the evolution and recognition of great new artists like SZA and pioneers like Kendrick Lamar. New artists like Princess Nokia and Cardi B are coming on strong; Chance the Rapper, Frank Ocean and Beyoncé have created some of the best albums in the past couple of years. In fact; the last four years, I would say, have been defined by terrific black music.

IN THIS PHOTO: SZA/PHOTO CREDIT: SSENSE

I will come to an album that is back in my mind – I consider the best of 2014 – but I feel Kendrick Lamar created the best album of 2015 (To Pimp a Butterfly); Beyoncé in 2016 (Lemonade); many feel Kendrick Lamar’s DAMN. was the best of last year – others feel records from SZA, JAY-Z; Kelela and Tyler, the Creator were deserving. Throw in British efforts from Sampha and Stormzy; U.S. greats like Thundercat, too. Solange created a year-defining album in 2016 (A Seat at the Table) and this year look set to put a great focus on black artists. I worry, mind you, that there is still a racial bias when it comes to music. Maybe it is not as evident as sexualisation and sexism but it is very much there. Overlooked tracks from Rhiannon Giddens deserved more acclaim but, largely, there was good coverage of black music. Although I have listed some great black albums from the past few years; I am still seeing fewer black faces at festivals and being proffered. There are plenty of geniuses in music but, regardless of talent; there is that leer and lure towards white artists, still. I have mentioned the BBC’s longslist of artists to look out for this year. I am glad good Pop is taking focus but there is that issue of racial-genre bias.

IN THIS PHOTO: The cover to Tyler, the Creator's album, Flower Boy/PHOTO CREDIT: Getty Images

Many were excited last year when Grime and Hip-Hop got more attention. The thing is: there are fantastic black artists throughout music. We have mainstream queens like Rihanna and Beyoncé; all genres have great black artists and that is not translating into focus and attention. My headline photo is of JONES: a young British artist who has the promise to make some big strides this year. I put a spotlight on RAYE a while ago; highlighted Eva Lazarus yesterday – have made a special place in my heart for Leon Bridges. Bridges is a stunning Soul voice and someone who puts me in mind of Stevie Wonder and Marvin Gaye. I have expounded the virtues of Michael Kiwanuka and the hot underground of Grime. Whilst there are genres with a larger proportion of black artists – Grime, Hip-Hop and Rap – it is the lack of exposure to black artists in other genres that is troubling. The longlists of ones to watch this year is Pop-orientated but there are so many great black artists in popular music. Why, then, are there so many white faces on display?! Jazz, a maligned and underrated genre, has produced stunning music the past few years. Kamasi Washington’s Harmony of Difference is a staggering odyssey and immersive work that should get more exposure. The fact it did not get the push and oxygen it deserves is not a racial thing: it is the fact Jazz is ignored and seen as too experimental and boring.

IN THIS PHOTO: RAYE/PHOTO CREDIT: Getty Images

I have grown a bit tired of the way certain genres have been marginalised – where there is so much great music that warrants more. The mainstream has some great black artists playing but there is still that dominance of white bodies. Festival headliners, in this country at least, ten not to be black. You might have artists lower down the bill but it has been a while since I’ve seen a mainstream festival give props to a black act. Beyoncé took to Glastonbury a while ago – she will play this year’s Coachella festival and, let’s hope, she plays Glastonbury when it returns next year. There are other festivals that will host black acts but how many will headline?! One can flip the argument and say the general population (in this country) is about eight or nine-percent. That would mean music would not have to boast a higher proportion of black faces, no? You look at the festival acts and those proffered for good things – can you say eight percent of them are black? Talent and music do not follow arbitrary rules and should be based on talent. If there were few black artists in music then you could say it is fair mostly white acts are being promoted. I have provided a long list of black artists doing incredible things. A Mercury win from Sampha is a positive sign – even if there were few other black faces alongside him – and the Grammy rundown is shifting away from a white mainstream to the engineers of musical progression and true originality.

IN THIS PHOTO: Sampha/PHOTO CREDIT: Getty Images

One way of recognising the brilliance of black music is to get out of the perception the charts and mainstream is indicative of what quality looks like – and what the public wants. Music should be equal and, with sexism an issue in entertainment; should we really continue down the same lines when it comes to race?! I am not saying we cheapen the issue but playing only black music and reversing what is happening in the industry. We should not put black artists-only headliners in festivals and not offer constructive solutions. I am concerned we associate black artists with certain genres. Folk and Rock have few black artists but, again, why does it have to be that way?! Maybe this goes back to history and tastes – black artists connecting with their roots and music of their peers – but I think there is an institutionalised homogenisation and compartmentalisation. I am seeing great Rock bands led by black artists and those with a more acoustic-minded nature. If they feel they will not be taken seriously if they go into white-heavy genres; that means they will stick to genres that are traditionally more accepting of black artists. Even the genres with a greater number of black artists – Hip-Hop, Rap and Grime – goes through waves and movements. There is a consistent celebration of Pop, Alternative and other mainstream sounds.

IN THIS PHOTO: Rihanna/PHOTO CREDIT: FentyBeauty.com

Rihanna, in 2015, spoke with the The New York Times - and was asked whether race is still a problem in music.

“I have to bear in mind that people are judging you because you’re packaged a certain way – they’ve been programmed to think a black man in a hoodie means grab your purse a little tighter,” said Rihanna. “For me, it comes down to smaller issues, scenarios in which people can assume something of me without knowing me, just by my packaging”.

Nicki Minaj questioned the voting criteria of MTV and whether there is a favouring of white artists. If white artists writhe around in videos and get loads of streams; they get lots of hits and nominations. She, as a black artist, has fewer nominations and is overlooked:

“Hey guys @MTV thank you for my nominations. Did Feeling Myself miss the deadline or…?,’ she tweeted, before adding: ‘If I was a different “kind” of artist, Anaconda would be nominated for best choreo and vid of the year as well…If your video celebrates women with very slim bodies, you will be nominated for vid of the year”.

Some have argued so-called ‘racism’ is a result of less-nefarious factors such as nepotism and cultural shifts. It is clear politics and the way black people are seen in society has an impact on musicians. Everyone from Solange and Chance, the Rapper have spoken out against isolation and the way those in the White House are ignorant of the plight and necessity of black recording artists. Whilst you can quibble over whether there is inherent racism or sheer ignorance – one cannot argue at the strength and power of black music.

IN THIS PHOTO: Solange/PHOTO CREDIT: Getty Images

I alluded to an album/artist who has come back into my consciousness. I have looked at artists like Beyoncé and Kendrick Lamar and how they are changing music. They can, in many ways, thank D’Angelo. He is one of those artists most of us will not recognise my name – his music will strike a chord when we hear it. Many black artists got into music because of seminal records like Voodoo. To me, it is 2014’s Black Messiah that really connects. That album arrived and blew critics away. The experimentation, confidence and audacity that ran throughout took everyone by surprise. The album connects with me because of its richness and depths. It explores genres like Hip-Hop and Rock; it moves into Jazz and takes in Soul and R&B. The lyrics look at political turmoil and the struggle of the black population; social deprivation and personal frustration. There were songs about love but it was those fired-up mandates that really impressed. Listen to the album and realise what a wonderful thing it is. Look back through music and everyone from Stevie Wonder and Aretha Franklin have investigated social struggle and the realities of black lives – and fusing that with more traditional subjects of love. Michael Jackson, Marvin Gaye and the legends of Soul; the incredible Disco artists and R&B pioneers; some of my favourites like En Vogue, Aaliyah and Lauryn Hill; Neneh Cherry and A Tribe Called Quest; Public Enemy and N.W.A. All of these artists have made staggering contributions to the music world. What stands out is the motivation to address issues overlooked by many white artists.

IN THIS PHOTO: D'Angelo/PHOTO CREDIT: Getty Images

We are at a time when the political machination of Trump and May are causing division; where there is clear inequality and hatred circulating and festooning the lungs. It is not only the black population put-down and ignored. There are deprived and struggling people in all sectors of society. From the mentally ill to the homeless; the poor and those without a voice – music has its role and the power to raise change. I worry whether the new Pop movement has come at a time when we need to promote social change and engineer productive solution. In order for the end of division and the majority coming together; we need to embrace the minority artists who have the authority and passion to make a change. I worry few people are having conversations about race. You cannot write everything off by saying it is nepotism and decades-old problems revolving around ego. If things have not changed since the 1950s and 1960s in regards the make-up and dynamics of the mainstream – how can we claim there is not racism? Maybe it is not overt and profane but there is a severe sense of apathy and unwillingness to bend. Ironically; movements and real change do not happen overnight. We know there are fewer black artists put into the fore; the festivals are not housing them; we still assume there are ‘black genres’ rather than black artists – so many over issues around commercialism, awards and publicity. 2018 is here and, in addition to tackling sexism and addressing wrong; we need to consider areas around race. It should not have to fall to major black artists to highlight the disparity and discrepancies around. The world needs leading and anger articulated and, rather than proffer those artists who can bond the people and properly vocalise what issues are present – we are focusing on artists who do not have the ability to bond the people and shine a light. That is a shame because, in one of the tensest times of modern times; we need these pioneering and strong artists…

IN THIS PHOTO: Leon Bridges/PHOTO CREDIT: Getty Images

TO guide us forward.

FEATURE: Instrumental, Elemental: Are We Still Buying Musical Instruments?

FEATURE:

 

Instrumental, Elemental

ALL PHOTOS: Unsplash

Are We Still Buying Musical Instruments?

________

YOU can claim the history of music has seen shifts…

and new leaders come through. Tastes have changed and the music world has evolved. Last year; I wrote a couple of similar pieces that looked at acoustic music and whether it is relevant. Another investigated Rock and whether that is dying. I am not saying modern music is defined by a lack of instrumentation but it seems fewer young people are picking up instruments. You can debate the local markets and whether, in some regions, the traditional music store is surviving. It is a debate and point that is contentious but one I feel obliged to pull up. Near where I live; there is a music school and there are a couple of music shops. Dig deeper into London and you have some closures but, it seems, there is still a taste for proper, live music. We hear stories of the industry in decline but, when it comes to the D.N.A. of the music; you cannot replace the true spirit and blood of the sound with electronics. I am pleased artists are using laptops and technology but I fear some are taking an easy route. The reality of mastering an instrument concerns time and patience. I have tried picking up a guitar and, aside from a few lessons, I found my interest wane. I wanted to get into the music business but could not get to grips with the guitar.

I was taught fingering and chords; structure and songs – some simple performances to get the confidence up. That didn’t work. I moved to piano and the same thing happened. I am writing a piece about Classical music and how there needs to be more of it in modern sounds. There is compartmentalisation still and I worry artists are taking the easy route. It is hard to get a true impression of the music industry and whether modern electronics will take over from conventional methods. Electronic downloads, we heard, have overtaken C.D.s. Other sources look at the glory of the C.D. and how physical music still holds a place in the heart. Vinyl has been struggling in the past but has faced an upturn. Sales are increasing and it seems the people are not willing to let electronic-made music dominate. In fact; I am a little rash and vague with regards the battle between older and new. My point concerns the relationship between musical formats and how the C.D. boom, when Dire Straits’ Brothers in Arms arrived in the 1980s, occurred. Big, musically-rich albums encourage artists and fans to pick up instruments. The Grunge bands of the late-1980s and early-1990s compelled a million diehard garage-based bands to emulate their heroes. Punk compelled angry musicians to articulate their passion and misunderstood minds through music. Every great wave and movement motivates certain symmetry...

As times have progressed; the more guitar-based formats have been replaced. There are great guitar bands around but most of the mainstream is disconnected. Past heroes such as Oasis and Nirvana got youngsters involved in music-making and picking instruments up. Now, with genres like Pop starting to take more of a slice; it is harder getting a clear view as to whether instruments are still playing an important role. I have mentioned laptops and, with there being little money in it for new musicians; many are producing sounds through technology - forgoing the costs of the studio and the time it takes to make a song. Laptops and new software can mimic instruments and we are seeing a lot of new music that provides the sounds of instruments without one actually being played. Whilst there is enough evidence to suggest modern music places less prominence on instruments; I feel all is not lost. There are some great new bands in the underground that have kept true and are unwilling to fully embrace technology. When they come to fruition; their music will inspire the next generation coming through. Two years ago; The Guardian highlighted a music shop that was doing sterling business. There are others that continue to see sales grow but there is the assumption the decline of the high-street music shop means artists are not picking instruments up.

The biggest shift we have seen, to coincide with the electronic boom, is the shift from the visible shop to the online store. The average musician/member of the public cannot necessarily afford a guitar or drum kit. It takes a lot of saving and the cost of lessons means the price of learning an instrument runs into thousands. People are seeing the way Pop is taking over the how artists who play instruments are getting less exposure than those who rely on others – making their music through technology and producers. There are music classes and lessons but there is a shift towards bigger facilities and colleges. When I was in school, all those years ago, we had music on the syllabus. It was a mandatory part of primary education and, by the time you got to high-school; it was an option available – one that many took. Now, there are fewer primary schools offering music courses and it is not ingrained into the national curriculum. Sure, there are colleges and music schools available to those at a certain point in life – are we ignoring the importance of exposing students to music at a young age? That affects the desire to pursue music but, against the bad statistics is a chance for positivity. Although schools’ music programmes and record shops are less visible than before; we are still seeing instruments bought and played.

Online sales and have increased and, as a companion to the vinyl revival and survival of the C.D.; people are not abandoning music at its pure base. If people are still being instruments and taking them up; does this mean that desire is being translated into music? One of the problems with the decline of record stores – and those that sell instruments – is the competition from online sources. It is more cost-effective buying online but the cost of lessons and the dedication needed is putting many people off. Maybe the questions I posed in the headline should have compared the cost of buying instruments and whether it is affordable. I know there has been a loss of shops and educational programmes but, alas, we are still buying instruments. Figures suggest that side of music is in decline but, in fact, the business has shifted to the Internet. One of my biggest fears does not revolve around sales and the move towards electronically-produced sounds. I am concerned the structure of modern music means a lot of the people picking up instruments will struggle to transition into the business. Popular instruments like guitars and drums are reserved to certain genres. If Pop – with its electronics, machine-made beats and way of working – is riding high; Hip-Hop and Rap are creating ground (less instrument-based; more to do with flow and vocals) then I wonder whether new musicians will have the patience to stick with it.

There are Garage, Punk and Rock bands getting acclaim in the underground. Mainstream artists like Wolf Alice and IDLES are proving how powerful and potent instruments are – and why you cannot get the same magic and emotion from a laptop/electronics. I am all for revolution and change but I do not want the music I was raised on to be a part of the past. Changes will come and there will be a swing back to genres like Rock and Alternative. Until that happens, I fear music-making will be largely electronic. Many new musicians are playing piano and guitar but still leaning heavily on their laptops and trickery. The main point of this article is to highlight how enriching and beneficial playing an instrument is. It might be as simple as learning the acoustic guitar or picking up a violin. At first, if you do not have a band, it might seem a solitary pursuit. In time, when you bond with that instrument; you build a social circle and can join with others. It teaches you a lot about yourself and provides unique expression and perception. You can create language with music and explore what is possible. I do not feel instruments will be replaced by the machine but I am fearful the cost will put people off; the popular scene is not equipped to foster and nurture those who want to play (whether they are in a band or a soloist) and they will struggle to transition as fast as they’d hoped – and lose that passion down the line. I think statistics proffering the decline or instruments are false and misleading.

There is a desire and demand out there but the way we are buying has shifted. Schools are reducing their music programmes but there are options open elsewhere – many of these are paid courses at schools and universities. It is money, making a big impression: laptops might be more affordable and machine-created songs more economical than a traditional, instrumental number. We are still buying instruments and playing them but there has been a slight downshift. The problem is not sales: costs are putting off ambitious creations and the mainstream is not rife with bands playing guitars and drums; there are not many Classical elements in popular music; other genres (more reliant on instruments) are not as popular. I am confident the young and older will take to instruments but many take an instrument up because they see a shop on the street – compelled to go in and explore. They are taught about music at school and, if these elements dwindle; what does the future of music look like? We can never get rid of bands and music that does not need a laptop to make it come to life. My main recommendation is to revert back to the past and reignite the strong music curriculums people like me grew up on. Put more money into the kitty and inject some more cash into the high street – so music stores can survive and breed. Making playing more affordable is important. I love electronic-based music and the way technology has taken a stand. Older sound sticks in my mind because of the physicality and nuance of instruments played. The only way we can get people interested in music and taking to instruments is ensuring bands and lesser-heard genres are back into the forefront. It seems, when it comes to the prosperous future of music we must…

REMEMBER the reason music has come this far.

TRACK REVIEW: Natalie Shay - This Feeling

TRACK REVIEW:

 

Natalie Shay

This Feeling

9.3/10

 This Feeling is available via:

https://soundcloud.com/natalieshay/this-feeling-natalie-shay

GENRE:

Indie

ORIGIN:

London, U.K.

RELEASE DATE:

19th January, 2018

_________

I am determined to get this year kicked off…

PHOTO CREDIT: @elsiematilda

with some great female artists on these pages. That is not a measure of reverse-sexism or a need to cater needlessly. I am excited by the variation of talent around and, when it comes to excitement, passion and quality – it is the female artists who are sticking in my head. I will talk about Natalie Shay and her latest track very soon but, right now, I wanted to explore a few subjects. I will return to a couple of topics I investigated last year: artists with a mix of classical training and music school education; young female artists and growing up in a pulsing city. I will look at artists who defy convention and expectation; musicians who get to share the stage with bigger artists (another theme that has been on here); grasping opportunities and the results that come from a confident and electric performance; talking about love and desire in a very fresh way – why 2018 will be a very successful one for Shay. I am excited seeing her release music because, looking back, she has had a very productive and successful career. Still a teen; many would forgive her for taking an easy route and performing music that did not stretch the mind too much. It is interesting, as I will explore later today, whether new artists/music-curious are picking up instruments and really interested in music. I have heard reports the traditional music shop is in decline. Some might report sales increase but I wonder whether the Internet is taking over? By that, I mean people are either buying instruments online or finding software that replicates them. There seems to be a drive away from the old-fashioned method of going to a shop, playing instruments in-store and buying them. I fear music, in many ways, will become more insular and turn to electronics (and instruments that can be replicated electronically). I mention it because, if we want to encourage the best new musicians to come through; one would feel the visibility of music shops should be a high priority. It might be a hard problem to fix but I know there are those who prefer the older ways; bond with music’s traditions and are not willing to recklessly forgo everything older for the brand-new. Natalie Shay is someone who could easily cling to the electronic revolution and have her music processed and machine-made. That is not the case: her songs employ as many live instruments as possible; get the room buzzing with a collection of musicians.

That brings me, rather un-neatly – I shall continue with my subject soon… - to the musicians of the past who should be cherished and remembered. I was writing a piece about Steely Dan yesterday – and their debut album, Can’t Buy a Thrill – and vacillated at the musicianship rife throughout. The sumptuousness and incredible physicality of the record blew me away. There are artists today who project the same ambitions and affinity to players (as Steely Dan) but, as I get more involved with popular music – I wonder whether it is too expensive, time-consuming and difficult? Natalie Shay is someone, one suspects, grew up in a household when some serious vinyl was being played; some legendary artists filled her young ears – mixing that alongside the more commercial Pop artists of the day. That is the same as me and I can always tell, deep down, when an artist has been brought up ‘right’. That leads me, again, un-neatly, to the theme of education. Shay was taught the guitar as young as five and, whether motivated by visions of heroic musicians or urged by her parents to foster a gift – she bonded with music as a child and was determined to make that her career. It is always wondrous seeing someone so young, with a precocious talent, have that clarity and determination. It is the envy of many (myself included) when things are crystallised. I am always fearful of artists who go to music schools and want to follow in the footsteps of Adele and Ed Sheeran. I have nothing against these artists – in terms of their place in the industry – but I worry they (fans) are chasing money and want to be commercial. One of the problems with those artists is they are reduced to figures and honours. It is all about Spotify figures, records and chart sales: nothing is spoken about the training, work-rate and music itself. Those who go to music schools to cultivate their talent and actually learn music are the ones I support most – and have a wariness to the percentage who want that commercial success and get a lot of cash in the pocket. When I say the BRIT School on her C.V. I took a step back and wondered: was her attendance motivated by a need to follow the likes of Jessie J, Adele and the like?! I do not mean to put them down but I consider their talents limited when you look at some of the other artists out there. They (BRIT School alumni) have a more mainstream edge that lacks real depth. Luckily, considering her classical training, you get an artist who, I suspect admires those artists, but does not sound like them.

Instead, with Natalie Shay, you have someone who has taken from the facility and learned all she could. Rather than copy them and aim for that chart-ready sound: what you get is an artist who aims for absolute quality but has one ear for the demands of the mainstream. I have hopes, unlike some of the graduates from the BRIT School; she will push against rigid commercialism and easy sounds; go beyond the obvious and appeal to a broader, more appraling demographic. Shay has learned a lot – and continues to do so – and would have gained insight and training from some fantastic tutors. The most effective way to build a solid and promising career, I feel, is to have that majority desire for instruments and unschooled objectivity and supplement that with a music school. That way, you get the best of both worlds but, when it comes to it, are driven by a desire to inspire and change music – rather than own Spotify and rake in streaming records! Natalie Shay is already making dents in the music landscape and, at nineteen, is facing the pressures impressively. The BRIT School teaches artists to adapt to the social responsibilities of music and stand on their own two feet; to go into the world with that knowledge and passion stoked. Shay has learned a lot and, with the schooling she has under her belt, is based in a wonderful city. It can be hard adopting the London life and living with the constant pressure and rush. Whilst it can be hard to deal with the rush of people and the sheer volume of the place: the amount of venues and musicians playing means there is always something to do; always somewhere to play. With the BRIT School coda and ethics ringing in her ears; Shay has bonded with artists in London and taking advantage of the opportunities put before her. Among the venues she has already played there is The Roundhouse; Ronnie Scott’s Jazz Club and Brooklyn Bowl.

There are a lot of stunning venues in the capital but few artists get to play them. The competition is high but, with Natalie Shay’s talent and desire hot; she has won awards – The Guardian’s Music Award and Best Undiscovered Talent (London Music Award) – and gained acclaim. Whilst I have stated I am not adverse to what the likes of Ed Sheeran; I always worry when artists/P.R. companies put his name alongside someone like Natalie Shay. They are entitled to – as she is entitled to like him – but there are so few comparisons between the artists. Aside from the inevitable, and slightly depressive, mention of iTunes chart success (never a mark of true credibility and depth); the teenage musician has her own path and is distinct from the likes of Sheeran – I really wish artists/organisations would stop mentioning his name as a mark of quality/what music is! I shall not rant about Sheeran and what he stands for but, if you look at how he came into music; he started at humble lows. He busked and struggled for gigs and, when thinking of Shay; she has not exactly had everything handed to her on a plate. The effort she has expended, and the gigs she has performed, means the rewards have come. There is no plangent strumming and bland Pop songs with Natalie Shay: she is a colourful and eclectic artist who appeals to people like me - those who grew up with the best music and rebel against the worst traits of the mainstream. Natalie Shay prides herself on the live instrumentation and authenticity of her music. I feel London has played a part in that. The urgency of the city, and the great live music one sees daily, has got into her bloodstream and affected her. I shall move on but, with London before her, the young songwriter has embraced the challenges and obstacles. There is so much about Natalie Shay that defies my perceptions of what a modern Indie/Pop artist is all about.

I have mentioned how, with that BRIT School education, she might be a generic chart act who will not stay in the mind years from now. There are few modern artists who have the potency to create nuance and durability. One could look at a young and beautiful female artist and feel, in terms of sound, they will be another lightweight artist who aims for the chart positions – refuting anything challenging and taking risks in the industry. Natalie Shay has subverted perceptions of what a young songwriter now is all about. That early affinity with music has given her a hunger for success and credibility. The individuality of Shay means she does not remind you of other artists; there is not that feeling she is in things for fame and money; the mind bonds with a real musician who has gained the ear of some of the music world’s biggest names. Whatever you attribute it down to; you cannot deny the hard work and endless graft of Shay has got her where she is today. The quality on display comes from the lessons learned in the live environment; the artists she was raised on; the teaching she has received – and the artists she has shared the stage with. Soul II Soul, JP Cooper and Glen Matlock are a few of the names Natalie Shay has shared a stage with. Those are some varied and extraordinary names, for sure! Not only has Natalie Shay shared the stage with big names; she has been inspired by the work of Sundara Karma – and had music produced by Pete Dowsett (The Vaccines). I have a sense of regret and pain big artists get to gig alongside legendary artists. I often feel they have only earned that right because they are successful and popular – rather than good and worthy. Natalie Shay has earned her honours because of the way she attacks music and the authenticity she puts into every note.

I worry when certain artists go into music with a limited soundscape. Their lyrics are all about love but each line has a cliché, generic feel. There is no real excuse for taking a lazy and limited approach to music. There are too many dead-headed writers who witlessly write about relationships and provide nothing more than plaintive guitars and bland production. This year, as we are seeing, there is a prediction: the Pop market will replace the more sterile and commercial sounds with something a bit more expansive, rich and original. There are tipped artists who will come through and splice genres into a more colourless pot; break conventions and shake things up. Natalie Shay has taken opportunities and has the great live reputation. People have bonded with her and come to her shows to be moved and affected. I am keen to promote those great live performers who put the audience in the palm of their hand and do something exceptional. That is the case with Natalie Shay. She has been playing for a few years now but, as new material comes out, it seems to strengthen her performance skills. There is a close relationship between the live performance and studio recording. Shay has learned a lot from gigs and put that into her new material. Likewise; when she has a song out in the ether; the demand goes up and that confidence boost produces more gigs – and that experience compels and improves the next release. I mentioned how Shay prides instruments and a live-sounding and making her music as real and tangible as possible. Another reason she has accrued a great reputation is the way she approaches love and common themes. She does not, on This Feeling, employ tropes and stereotypes. The song is about the passionate desire one has for someone – we can all relate to that feeling. It would be hard, therefore, to project a song that spoke to the individual. That overriding and inescapable passion is unique to everyone; it is a complicated set of emotions with that one core: to get what you crave and keep it safe.

PHOTO CREDIT: Grace Benita Photography

I will come to the song in a minute but, looking at the layers and sides of Natalie Shay; it would be easy to predict and put her in a box. I have mentioned how some get the impression (some people) look at a young female artist and consider them ingénue, attractive and shallow – not able to offer any real quality and remembrance. Those are not my feelings but one does see a lot of that in music. It is an attitude that needs to change. Whether you feel all female artists with a certain look/sound are going to sound the same; not produce the same energy and strike as the men – there is sexism still present and it is something we need to eradicate. Natalie Shay’s raw vocals have soulfulness to them and manage to balance bigger artists like Adele with more credible acts like Amy Winehouse. The punchy drums and gritty guitars have electricity and body; the songs are superbly produced and the songwriting is consistently strong. This Feeling is a song that, days after its release, has gained a lot of praise and love. It is the strongest offering from the songwriter and will lead to more material. This year will see her build her foundations and gain huge applause. I am excited by what is to come because Natalie Shay is an artist that does not fit into conventional holes. She can balance the needs of the mainstream/commercial outlets but has the personality and underground-hero vibe that will appeal to those who prefer their artists less mainstream and more authentic. That ability to reach all the people is what will see her grow and reach new heights this year.

This Feeling does not start the way you’d expect! Rather than a very Pop-minded strum or a calm breeze; the song teases and beckons you in. There are faint chords and electricity suggested. One gets the hint a storm is on its way but not exactly sure when. The percussion and guitars unite and there is a race afoot. The beats stiffen and then pound; the guitars ramble and climb. Although the hero is not by her side; he is with her and taking her a long way. Mathematical equations and terminology is used to describe a relationship/imminent bond that is going through some trials. Maybe the lovers have been together for a while but it seems they are apart now. The heroine’s voice is pumped and passionate as she keeps time with the composition. The song has blood-rush strength and swagger that manages to employ some mainstream strands (big production and anthemic appeal) but the lyrics and vocals go a lot further. The wording is original and bold; you get a sense of a mercurial mind who approaches love in a different and fresh way. The entire composition is a huge and epic thing. There are light and spacey notes that melt inside the stringent beats and swelling guitars. You are compelled to move alongside the music and get involved with the sheer physicality of it. Buoyed by the passionate flames that burn through; the chorus sticks in the mind. It is about the feeling of love and hot desire and how it remains strong. Things are more complex than that. You can put love in the cold or go through challenging times but that overarching sense of desire and love comes out. I listen to the song and feel it is a lot more personal than it is commercial. The first-half of the song makes its mark and gets the feet and arms moving. You are bonded to the electricity and energy of the composition – you also start to imagine where the song came from.

I know we all go through love and pining but there is something special about This Feeling. Shay explores the gambles of love and how it can be unpredictable. She urges the boy to take a chance on her and ignore the usual pitfalls. It is hard to explicitly understand where she comes from – as each experience is different – but the determination and force one gets from the vocals hooks you in. There is never a moment when the song comes down and descends into dreary territory. Many might say that endless pressure and sound is a desire to get to stadiums and into the charts. Maybe that is true of some artists but Natalie Shay is a musician who places credibility and inspiration above commercial demands. You get sucked into the wonder and sheer vitality of the music; it is singalong and anthem-promising but has that quality and nuance. You want to listen to it after the first spin and know it will not evade the memory. Anyone who cynically feels the big chorus and edgings towards Pop means it is aimed at a certain market. This Feeling is not a song for the traditional Pop market. The dominance of Indie/Alternative sounds mean it goes much further and will appeal to those who have their ear attuned to the more credible side of the dial. By the final notes of the song; you still have the chorus ringing in the ears and have the vocals resounding in the heart. It is a solid and impressive song from an artist who has made improvements and steps – whilst retaining her sound and personality. It is going to be wonderful seeing how she grows and where her music goes from here.

I am confident Natalie Shay will grow as a performer and gain huge success in 2018. She has already gained a lot of ground and shared the stage with some big names. The BRIT School education has prepared her for life in music; the ability to cope with the pressure and some useful networking skills. The teaching she has gained, too, has collaborated with her childhood passion and knowledge. The skilled musician could have taken an easy approach to lyrics. Rather than pander to the needs of the mainstream charts; she has followed a personal path and done things her own way. In a year when the unique and pioneering artists will take a stand: it is a perfect time for Shay to come through and clean up. This Feeling is a song that sets out her stall and shows what a talent she is. I know there will be more gigs and, the better local reputation she gains; the more demanding venues from other parts of the country will be. I would love to see her tour widely and bring her music to other parts of the nation. London gets a lot of credit and focus but there is a rich music scene throughout the U.K. Plenty of people would leap at the opportunity to see her play near them and get that first-hand, close-up experience. She is still young but, in the past year or so, has managed to stick in the heart and make an impact. It is hard to say how far she can go but you only need to listen to This Feeling and you know 2018 will be a very strong and successful one for Shay. Make an effort to get involved with her music and dig deep into her catalogue. It is still early days for Natalie Shay but the development and material I have heard suggests she is here for the long-run. Each song has its own vibe but all the material is defined by quality, personality and depth. I have mentioned that word (‘depth’) a lot but I do so with good reason. There are few songwriters that manage to create songs that stay in the mind and compel you to keep coming back. Natalie Shay is one such musician and someone who has a lot more to say. This Feeling might take some time to embed in certain people’s brains but, give it enough time and you will…

FALL in love with it.

_______

Follow Natalie Shay

Official:

http://www.natalieshay.co.uk/

Facebook:

https://www.facebook.com/NatalieShayMusic/

Instagram:

https://www.instagram.com/natalieshaymusic/

Twitter:

https://twitter.com/natalieshay_

SoundCloud:

https://soundcloud.com/natalieshay

YouTube:

https://www.youtube.com/user/NatalieShayMusic

Spotify:

https://open.spotify.com/artist/6pDapjUwN36LXMdYk0WKuQ?autoplay=true

FEATURE: Vinyl Corner: Steely Dan – Can’t Buy a Thrill

FEATURE:

 

Vinyl Corner

PHOTO/IMAGE CREDITS (unless stated otherwise): Getty Images

Steely Dan – Can’t Buy a Thrill

________

IT has been a while since I ventured into…

IN THIS PHOTO: Steely Dan, 1972: (L-R): Jeff 'Skunk' Baxter, Walter Becker; David Palmer, Denny Dia; Donald Fagen and Jim Hodder/PHOTO CREDIT: Michael Ochs Archives

the dusty nostalgia of Vinyl Corner. The last album, I think, I featured in this spot (last year) was Joni Mitchell’s Blue. The reason for this feature is to highlight albums, I feel, are best heard on a record player. There are a few that have that potential: coming to life when you drop the needle and take them back to their true home. There was another reason I wanted to include Steely Dan’s debut, Can’t Buy a Thrill – two, in fact. The first concerns the timing: the fact the record was released forty-five years ago (last November, in fact). I forgot to feature the record back in November so that is a good reason to focus on it now. The other reason is the fact Walter Becker is no longer with us. The co-founder (alongside Donald Fagen) died suddenly last year and shocked the music world. Although there will be, sadly, no new Steely Dan albums anymore – we can rejoice and preserve the memories and wonderful songs. I go back and forth when it comes to the issue of the ‘best Steely Dan album’. I have been leaning towards Pretzel Logic (their third) because it is, to me, the moment the band became a duo. By that; I mean the sound was cemented and all the experimentation of the first two albums was crystallised into a coherent whole (on Pretzel Logic).

PHOTO CREDIT: Chris Walter/WireImage

I have been leaning back towards Can’t Buy a Thrill because, as I look at the where Steely Dan came from; one is amazed at the confidence and quality that was evident right from the off! My favourite song of Steely Dan’s is my favourite of all-time, ever: Deacon Blues. That song is the jewel of Aja (their penultimate album before they took a long hiatus) and sees Becker and Fagen in full-fat, all-in-the-pot mode. The sumptuous horns and incredible percussion; the luscious backing vocals and the musicianship that makes it a work of genius – it never gets boring and does everything that music should do. The Gary Katz-produced debut was recorded at Los Angeles’ The Village Recorder and, even in 1972, was seen as a luxury. Most big bands have the option to record in esteemed surroundings and pull in as many musicians as possible. That box of toys meant, conversely, it was a challenge and breeze for the ambitious duo. Fagen and Becker were not, strictly, the only members of Steely Dan at that point. They wrote the songs and created the drive but other singers/musicians were present from the off. One of the biggest issues of the album was the numerous bodies! The biggest criticisms levied at the album – very few in total – was the lack of leadership and some ill-advised inclusions.

David Palmer, the soulful, blue-eyed voice you hear on Dirty Work and Brooklyn (Owes the Charmer Under Me) – that was something critics jumped on. The as-yet-solidified band were trying out singers and, in an attempt to fit into the mainstream, perhaps; hiring a popular, conventional singer seemed like a way to get the singles out to the masses quickly. The problem with created spectacular music from the very start meant many could see a distinct sound coming through; a unique personality that was to define future albums. Palmer’s oversung, impassioned performances seemed jarring against the looser, more sardonic performances of Donald Fagen. That said; Dirty Work is seen as one of the best Steely Dan songs ever. Closer Turn That Heartbeat Over Again sees Palmer co-lead with Fagen and Becker – the blend of three voices makes it a more pleasing brew; without the distinct and unaccompanied sound of Palmer alone. If one feels non-Fagen vocals are a bad thing; they might try and explain the brilliant Midnite Cruiser. Some claim the vocal from Jim Hodder – the band’s drummer sadly drowned a few years after the album was released – was not very Steely-esque and did not fit into the ethos. Others protest against the chorus: dropped from nowhere and not as intelligent and complex as other songs on the album. I refuse all assumptions completely. The song is a blissful anthem and, unlike Palmer’s over-earnest and soulful croon; there is enough beard and whiskey in Hodder’s voice to make it stand out and impress. It is the enriching, soul-lifting chorus that, to me, seems to define what Can’t Buy a Thrill is all about: songs that get into the head and remain there for years (decades, even!).

IN THIS PHOTO: The band during a recording session for Can't Buy a Thrill

Originally released in a two-channel stereo format; there was a four-channel quadraphonic mix, too. There are differences between the two mixes but, whatever version you have; it is the sonics and audio richness that makes the music inspire and endure. The lyrics and vocals are sublime and consistently impressive but it is the complete package that makes the album such a scary-good debut – all the players and elements fusing to create a Californian symphonic. A lot of the popularity and renewed interest in Steely Dan’s debut revolves around the sheer accessibility of the record. Its music shifts from Mambo and Soft-Rock to Swing and Rock. It is a fantastic spectrum and freewheelin’ record that manages to have a simple breeze and studious countenance all within the same moment. The lyrics are sardonic, cryptic and humorous; the vocals are varied and nuanced; the music takes you somewhere special and safe. Maybe, in a good and bad way, the album’s cover defines what is contained within. Steely Dan went to create some near-iconic sleeves – Pretzel Logic and Aja spring to mind – but many mauled the debut’s cover because it was messy and crude; childish and garish. In fact; it is the colours, images and tripped-out sensations one discovers that creates intrigue and showcase the tropical flavours of the record. On a song-by-song basis, there are few stronger Steely Dan albums. Can’t Buy a Thrill might not have the coherence and faultless nature of Pretzel Logic; the authority, richness and sheer audacity of Aja; the hidden treasures and layers of Katy Lied – it is, however, their most addicting and record player-perfect creation.

It is a vinyl you hear from beginning to end; immersed in the obvious highs (Dirty Work, Reelin’ in the Years and Do It Again) and underrated gems (Midnite Cruiser, Kings and Change of the Guard). The ten-track L.P. is rife with discovery and brilliance. Do It Again and Dirty Work are the perfect opening one-two. The latter, despite criticisms of Palmer’s vocal, has that swirling organ and amazing chorus. The chorus, in fact, seems to define the album. Every one gets into the brain - but each is different. Do It Again is a sharper, Fagen-sung chorus that contrasts from the semi-operatic qualities of Palmer. That contrast, in lesser albums, would seem like a weakness and lack of focus. Here, in the hands of accomplished musicians; they are natural companions and, in a sense, embodiments of different personalities and lovers (the sharp-tongued and romantic; the soulful and sensitive against the wise and cragged elder). After the two big hits come two corking underdogs: Kings and Midnite Cruiser. The latter, I have talked about; the former is a historical song – almost cliché when it comes to debuts by Californian Jazz bands! – that sees the power-shift from King Richard to King John. The patrons and subjects raise their pitchers and glasses; the scene is set and, with a rousing chorus; it is a song that departs from the love-and-lies predictable and offers something truly different. Only a Fool Would Say That pairs Fagen and Palmer but gives the bigger role to the former. It is one of those Steely Dan songs that could have been taken from their latter, more assured records. On their first outing, it sounds completely alien and alarming – how, like all the other songs, it sounds so confident and free from nerves.

The second side is a little weaker but contains the album’s best-known song: Reelin’ in the Years is the one most highlight from Can’t Buy a Thrill. Those cutting, awesome guitar licks and funky-as-sh*t riffs are breezy and sunny as California but have the smog and danger of a New York neighbourhood. The solo was played by Elliott Randall and is often cited as one of the greatest from all of music! That is another reason Steely Dan succeeded from the off: not only relying on the two creators to produce the music. From Randall’s guitar and Hodder’s exceptional vocals/percussion; Jeff ‘Skunk’ Baxter’s guitar and Denny Dias’ guitar and sitar – all of the bodies that are crammed into the studio add their own textures and D.N.A. The remaining four songs on the record – Fire in the Hole, Brooklyn (Owes the Charmer Under Me); Change of the Guard and Turn That Heartbeat Over Again – provide rises and lows; plenty of lyrical brilliance and some of the finest music that year could handle. In a year where Exile on Main Street (The Rolling Stones), Pink Moon (Nick Drake); The Rise and Fall of Ziggy Stardust and the Spiders from Mars (David Bowie) and Harvest (Neil Young) were released…it would be hard work muscling into the crowd and getting critical attention. Not only did Can’t Buy a Thrill get reviews and attention: many saw the potential that would flourish in future albums; knowing, full-well, Walter Becker and Donald Fagen were onto something!

IN THIS PHOTO: Original album advertising art

There are faults and little knocks here and there – the cover-art and some of the Palmer vocals; the fact the first side is much stronger than the second; the lack of Jazz experimentation and interludes (too many different genres and commercial elements) – but they are excusable for a debut album. They, on their own, do not weight the album down or provide any disappointing visions. Their name might have derived from a dildo from a William S. Burroughs novel but there was nothing crude and sexual about the album. The hard work, quality and maturity come through from the first notes. Each song sounds free and unhindered but, at the same time, the result of perfectionist-pursuit and long nights honing and tinkering. It is a fantastically detailed album that interweaves and delves; it takes you by the arm and gets you to connect with music in a new way. For a debut album from an untested musical force; Can’t Buy a Thrill could have been a big failure and pretentious mess. The result was a record that has stayed in the collective mindset for over forty-five years and started the career of the mighty Steely Dan. I would suggest anyone who has an interest in music, texture and musicianship investigate Can’t Buy a Thrill - and, if you can afford, buy it on vinyl. Place it down, let the needle drop and close the eyes - and let every note wash over you. It would be forgivable to suggest an album like Can’t Buy a Thrill would lose some of its charm and potency so many years from its creation. If anything; the Steely Dan debut has grown stronger…

WITH each passing year.

FEATURE: Spotlight: Eva Lazarus

FEATURE:

 

Spotlight

PHOTO CREDIT: Domas Zinkevicius 

Eva Lazarus

________

LAST year was a productive and successful one…

IMAGE CREDIT: Daniel Córdoba García

for the multi-talented songwriter, Eva Lazarus. My first exposure to the Bristol musician was her track, Bad News. That song looked at the tough times when the lovers were split; the fact the heroine is a bit of trouble but, when they are together, they can be really good (for one another). The song has that laid-back vibe and a mix of Reggae and Soul. Garage, Bass and Pop fuse and infect the music: the lyrics and vocals weave together and create something stunningly vibrant. The chilled-out bliss and tranquil-chill contrasts against the fierce undertones and strident beats. The concoctions get into the head and blood; the song stays in the mind and leaves a sweet taste on the tongue. That track compelled me to get more involved with Eva Lazarus and, through this year, I have been following her developments. Amsterdam was released late last year and features a hook-up with Mungo’s Hi Fi. Other moments from the young songwriter – Live My Life and Bad Gyal – see the heroine shift and shape. The voice remains in the realms of Reggae, Drums and Bass and Soul; able to go from classic sounds to a more urban, retro versions. Backed by urgent production, racing compositions and solid support; the young songwriter retained her personality and core but stretched her talents into new areas. It is amazing to see, over the course of a few songs, the way she can mutate and inspire.

The songs, especially last years, show how far she has come. Eva Lazarus is a name who is getting into the minds of some rather big sources. She has the backing of national radio and media but, as we head through 2018; it seems this will be her year to strike. There is more material coming and, following a successful E.P. campaign; it appears she will be busy and in full attack-mode. I am compelled to see what comes and whether the songs she has already recorded make its way through. Amsterdam and Bad News have similar undertones but are different songs. Each has that devilish grin and sense of the bad girl coming good; wanting to be better and not having any stress in her life. Amsterdam’s sweet-leaf swagger puts me in mind of a smoky and acrid room with no cares and some cool Reggae playing on the stereo – even if the singer had a different idea for the song. Eva Lazarus shows she can work with other producers/talent and people are responding to that! The big-voiced, big-haired talent is an M.C./songwriter who spans genres from Hip-Hop and Jungle to Soul. There is no escaping the fact eyes will turn her way and, with it, hearts will melt.

Having played Glastonbury and BoomTown; performing to record crowds and smashed the local scene – we have an E.P., collaborations with Sam Binga and Zed Bias coming; more airplay and exposure to go with it all. The backing crew, ‘The Afronaughts’, remind me, in a way, of Bob Marley – a modern-day Wailers, perhaps. Instead, we have a very modern-focused musician who wants to get the people dancing and take away the cares. That is a rare thing to find in music. You get some artists who have that agenda but for most; one feels there is a more success/money-driven motive. I have been looking around at the artists who can change things this year; add their own mark and provide music something magical. Eva Lazarus has the soulfulness of Amy Winehouse and the modern Reggae chops of Damien Marley; the flair of the strongest Rock band – the sexiness of the most impassioned Jazz singer. That rich musical heritage, understanding and upbringing stirs in the pot and fires an insatiable, heady smoke that filtrates and dominates. I urge everyone to get involved with her social media and take a look at how far she has come. I have concentrated on her recent work but the music of Eva Lazarus extends beyond that. The Bristol favourite has played around the country and, with her team behind her, has the potential to embark on worldwide gigs.

The stunning confidence and ability to step into any lyrical or musical territory is a talent most musicians would kill for. The themes look at the ups and downs of love; the good-girl-gone-bad and cheating boys; the need to kick-back and indulge once in a while. Above all is the need to embrace love and focus on the positives. Even when Eva Lazarus is looking at scarred relationships and the perils of fidelity; there is an abiding hopefulness and energy. I am pumped to see what the E.P. contains and, as we go deeper into 2018; how many dates will Eva Lazarus get? She will play Bristol but one feels a U.S. tour would be in order. The sort of music she is throwing out has a huge potential and I can imagine American audiences would eat it up. Whatever her plans is; do not bet against the Bad News creator riding high with the best and brightest of 2018. These are exciting and great times for her. I have seen her develop and grow in stature; get those great reviews and spins from D.J.s. The hard work ethic of Eva Lazarus means she played big festivals and smaller venues alike. Tongues are wagging and there is a feeling of expectation in the air. A lot of songwriters might not be able to live up to the hype. When it comes to Eva Lazarus; she will see those rising hopes and meet them with…

PHOTO CREDIT: Amanda Thomas Photography 

MUSIC that takes the breath away.

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Follow Eva Lazarus

PHOTO CREDIT: @abigalatiaphotos 

Official:

http://www.evalazarus.com/

Facebook:

https://www.facebook.com/Eva-Lazarus-117339965031307/

Twitter:

https://twitter.com/EvaLazarus

SoundCloud:

https://soundcloud.com/evalazarus

Spotify:

https://open.spotify.com/artist/68eE2HHE6By6hOsOcsArcp

YouTube:

https://www.youtube.com/user/evalazarus

FEATURE: ABBA: Super Troupers: An Exhibition That Demonstrates the Importance of a Genius Group

FEATURE:

 

ABBA: Super Troupers

PHOTO CREDIT: Michael Ochs Archives/Getty Images 

An Exhibition That Demonstrates the Importance of a Genius Group

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IF you take an Internet trip…

ALL PHOTO CREDITS (unless stated otherwise): Getty Images 

and head over to the website of the Southbank Centre - you will find a bit about ABBA. In fact; it is more than a mere ‘bit. It is a full-on passion-exhibit that, as they say, takes you on an immersive and deep road into the back-catalogue and legacy of one of the biggest bands ever. The Swedish foursome of Agnetha Fältskog, Björn Ulvaeus; Benny Andersson and Anni-Frid Lyngstad, in the 1970s, created some of the finest music the world has ever seen. I wanted to write about the exhibit for a couple of reasons. For one; it is a must-see presentation that brings you into a unique world of ABBA. The landscape and mini-universe of Sweden’s best-loved export is narrated by Jarvis Cocker. It is only natural the legendary Pulp frontman should narrate the inner-workings and magic of the band. Many might turn their noses at that assumption but it is well-founded. His voice is a blend of emotions and contrasts; it is something you are gripped by and immerse yourself in. His alluring tones are perfect to take us into the world of ABBA. Make you sure head to the Southbank Centre because it is one of the must-visit events/exhibits of the winter. I am going to get up there because there are more and more music-based ‘galaxies’ forming that provide a deeper and more interactive way of connecting.

It is not only a collection of songs being played as one wanders around. The My Name Is Prince exhibition at the O2 is another case of a musician’s work being treated with respect and passion. Although Prince is not with us; memorabilia and rare artefact were presented to the public back in October. Among the exhibits on show is the orange-cloud guitar that was played at his 2007 Super Bowl halftime performance; Third Eye glasses from 2014; The Raspberry Beret cloud-suit from 1985 – and so much more! ABBA’s layout is a bit different: the Prince exhibit is more traditional in terms of a museum-style layout and, I don’t think, has narration. ABBA are still around – its members, anyway – so many will ask why go to the effort to celebrate a group that have not performed together for years?! That is a good question but, as Pop music starts to come into the ascendancy this year, more eyes are looking back. Pop has been somewhat generic and streamlined the past few years. So many exciting young artists are emerging and, with that, splicing genres and sounds. It will be a bolder scene and one (one hopes) defined by quality songwriting – as opposed to the commercial themes and plastic production. Who knows what will happen but the point is Pop is starting to come back into a credible realm. Many are taking from ABBA and, decades down the line; they are borrowing aspects from the Swedish group.

IN THIS PHOTO: Prince/PHOTO CREDIT: Dave Hogan/Getty Images

The Southbank Centre’s page (on the exhibit) talks about a very special year in the group’s rise:

“In 1974 ABBA catapulted into British consciousness as they won the Eurovision Song Contest at The Dome, Brighton. The Swedish pop group would go on to become a household name across the world, and later this month we celebrate their impact and their legacy with our immersive exhibition ABBA Super Troupers.

ABBA were a breath of fresh air to a 1970s Britain mired in a financial crisis epitomised by strike action, the three-day working week, and the effects of The Troubles. To help get a picture of the year in which the Swedish group arrived in Britain, or indeed to relive it all over again, take a look at our timeline”.

That description pretty much sums up why the group have endured and are celebrated – and why their potency and appeal has never faded. You can look at the timeline on the website and see how their songs fitted with the changing times. To me; their arrival was the European wave of colour and Pop that added something dynamic and fun to the rather strained and grey sky. It is interesting looking back and the industrial strife, political tensions and uncertainty. The same can be said today: we are living in a time when everyone is nervous and not sure how things will work out.

I feel ABBA are not part of the 1970s in the same way other acts are. We have had genres like Glam and Disco; Grunge and the New Romantics. Some of those sounds have survived today but the original pioneers are gone; their music is not as heady and explored as once was – much has moved on and evolved since then. The same cannot be said of ABBA. Although the songwriting was done by the boys of the band – Benny and Björn – it was the complete band that made the music come to life. In fact; many could argue those sumptuous lead vocals made the music come to life. The pressures of touring and the levels of fame – complete with some inter-band issues – meant their lifespan was not as long as many would like. The always-mooted reunion rumour is never far away and it seems the appetite for revival is strong. The official ABBA website shows where it started to go wrong for the group:

“In March 1980, ABBA took their tour to Japan for what turned out to be their very last live concerts in front of a paying audience. The rest of the year was devoted to the recording of ABBA’s next album, Super Trouper, containing classic hits like ‘The Winner Takes It All’ and the title track.

In February 1981 the final blow was dealt to ABBA’s happy-couples image of the 1970s, when Benny and Frida announced their divorce. This still didn’t stop the foursome from working together. At the end of the year, ABBA’s eighth album, The Visitors, was released, with ‘One Of Us’ as its biggest hit single…

…Through the course of 1982 the energy was gradually running out of the group, as Björn and Benny set their sights on writing the musical Chess and Agnetha and Frida were reviving their solo careers. The only ABBA LP release this year was a compilation double album of their hit singles, entitled The Singles – The First Ten Years, including two new songs. Although the single ‘The Day Before You Came’ was one of the group’s most accomplished recordings it failed to become a worldwide hit on the scale they had been used to. At the end of 1982, ABBA decided to take a break. If they wanted to, they reasoned, they could always get back together after a few years.

More than three decades after ABBA’s “temporary break”, there still has been no ABBA reunion. But the group’s music lives on: the 1990s saw the beginning of a major revival, with successful cover versions and high-profile movies using ABBA songs on their soundtracks attracting a great deal of attention. The compilation CD ABBA Gold, released in 1992, has sold more than 30 million copies to date. The 1993 companion album, More ABBA Gold, went on to sell 3 million copies. The box set Thank You For The Music followed in 1994, containing all the hits, selected album tracks, plus rare and previously unreleased recordings”.

That shows, A) why it was inevitable the close-knit group would fall and, B) why the public have been pining for new material and taking the group to heart. It is amazing to think they achieved so much in a short period.

ABBA shot into the public consciousness when they took Waterloo all the way to the Eurovision Song Contest in 1974. A special plaque was fitted in Brighton last year to celebrate their famous win. The affection the British public has for them, especially, is heartening and obvious. There are similarities between the Pop we produced in the 1960s and the variety ABBA brought to these shores. The Waterloo album, their third, was released in 1974 but, aside from the title-track; there was little to suggest the band would endure for this many years. It was a promising collection…but better albums were to come. Their third album (ABBA) was released in 1975 and was a marked improvement from their previous effort. Mama Mia and S.O.S., two staples of the group’s routine, were on that record: there were hardly any filler tracks and a total of seven singles were released from the album. The upgraded sound of 1976’s Arrival saw the band, as the title implies, coming onto the scene with conviction. Dancing Queen, Knowing Me, Knowing You and Money, Money, Money were on that record. They, again, are staples and showed the band were becoming more adventurous and confident. Those big hits saw people all around the world flocking to see the band. They are classics that are in everyone’s head and we all know the words for – even if we do not admit it!

The biggest drawback when confessing an appreciation of ABBA is the stigma and criticism people give. Many see them as cheesy and bland; a band that appealed to a small sect but never really produced quality. The group had to fight these criticisms from the start and were seen, by some, as over-hyped and sterile. The thing is; the band got strong and ABBA: The Album boasted Take a Chance on Me and The Name of the Game. Voulez-Vous had the title-track, I Have a Dream and Does Your Mother Know. 1980’s Super Trouper was their penultimate record and was when the strains started to show. Even though the material was up to its immense standards: tensions and the rigours of touring was having an effect. The title cut looked at the spotlights (‘Super Trouper’ is a name given to spotlights used for stadium concerts) and the glare of fame. There is the loneliness of the road and the rush of performance: all the ups and downs the band has experienced in the seven years before then. Super Trouper and The Winner Takes It All notched up another two number-ones for ABBA and 1981’s The Visitors looked at the band as isolated outsiders on the edge of dissolving. The album signalled a move from the lighter Pop of previous albums and explored the downsides and pains of splitting – more serious songs and music that dug deeper.

Isolation and regret were themes explored through the album and, for a band that were going through challenges and huge strains – the fact they produced one of their (if not the) best albums of their career was amazing. Unlike other huge bands with a short seven-eight year career (The Beatles springs to mind!) it seemed the best music was being made at the end. It led many to ask why they split and how things had gone bad. The relationships within the group and the demands of their daily lives impacted the harmony within. The Gold: Greatest Hits compilation was released in 1992 and became an instant hit. Over thirty-million copies have been sold and it showed, years after the band’s split, there was a huge appetite for their music. That collection of songs showcase an immaculate band who could pen affirmative music with immense choruses; gorgeous harmonies and some of the finest lyrics in modern Pop – far deeper and more profound than many gave them credit for! One can look at the destruction and break-ups that led to the end of ABBA -  we are here to celebrate and commemorate. The ABBA: Super Troupers exhibit is a must-visit for any fans of the band: anyone who is a newcomer to the music should go and see what made the songs shine; how the band came to be and what drove their world. It gives an insight into a once-in-a-generation group who changed music and laid down some of the finest Pop music ever. Maybe they will not back together but they have, in their short career, transformed music and inspired legions of artists. Visit the Southbank Centre and listen to the music; revel in the glamour, glory and gold that means their 1970s/1980s-produced music…

REMAINS treasured and relevant to this very day.

INTERVIEW: Joshua KYEOT

INTERVIEW:

 Joshua KYEOT

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THE stunning voice of Joshua KYEOT is the first thing…

that strikes you when you hear the sublime music. Only One was released last October and gained huge applause. I ask him about his upcoming single, Playground Sweethearts, and the inspiration behind it; the musicians he was raised on; what comes next for him – and whether there are any tour dates coming this year.

The talented songwriter discusses the importance of South London (his base) and new artists to recommend; how he spent this Christmas; the way the stage and his music interconnect; the albums that mean the most to him – he provides some great advice for new musicians.

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Hi, Joshua. How are you? How has your week been?

I’m well and I’m blessed.

For those new to your work; can you introduce yourself, please?

My name is Joshua KYEOT and I'm a singer, songwriter and entertainer. I released my debut single, Only One, last October – although; I have been performing around London for a long time now.

How was your Christmas? Did you manage to spend time with family?

Christmas was great - and that is exactly what I did. I spent it with the family, lots of babies running around; cousins, screaming and food. I got very competitive playing Articulate with the fam – trash-talk and all the good stuff.

Playground Sweethearts is your upcoming single. Can you tell us about its story and the meaning behind the song?

It is about a boy who was once too shy to express his feeling to a girl he knew when he was much younger. He met her a bit later on life and has regrets and is tired of regretting - so he is doing something about that.

Which musicians, would you say, have helped craft your sound? Who did you look up to growing up?

I've always loved the music of Stevie Wonder and Michael Jackson as well as Sisqo! My music is rooted in certain things you may not directly even hear in my music. I grew up on Hiplife, Highlife; Africa and Ghanaian music. I also took inspiration from the music my sister was listening to: Garage, R&B; Dru Hill, SWV... 

Some Hip-Hop too, definitely.

So far in your career, you have supported Izzy Bizu. Was that a cool experience? What is she like to play with?

It was truly a great experience.

To be given the chance to support a terrific artist whose journey is still very close to its beginning...and see her do what she does on stage and simply learn from her - that entire experience was great. I loved it.

Reminds you, if you aren’t sure, that you are on the right path…

South London is where you are based. How important is the area regarding your inspiration and music? Do you get inspired by the people around you?

I get inspired by the people around me; mainly because they are people with stories worth hearing about and learning...

Whether it’s the kids on their bikes being as mischievous as I was when I was their age; the dudes working over at the chippy - I am certainly inspired to learn from what I see in the people of South London.

IN THIS PHOTO: Gareth Esson/PHOTO CREDIT: Getty Images/Artist

Who are the new artists you recommend we check out?

Gareth Esson, Shakka; MUNDU, YEBBA and Rukhsana Merrise.

IN THIS PHOTO: YEBBA/PHOTO CREDIT: Getty Images

What do you think of the modern music scene? Do you feel music is in a good place right now?

I feel music is always in a good place; simply because there will always be great musicians doing what they love. The issue is finding it. The music scene tends to be difficult to love as an artist because it is usually controlled by ‘the MAN’ - but the companies like AWAL, and artists like Stormzy and Chance the Rapper, leading the charge on the Indie front…

I can’t be too upset.

If you had the chance to select the three albums that mean the most to you – which would they be and why?

Tough question; but I‘ve got it…

Michael Jackson – Bad

The first artist I truly wanted to be like. The music video for Bad was simply the coolest thing I had ever seen (and might still be)!

Sisqó - Unleash the Dragon

The first singer that I really tried to sound like and mimic. I remember there was a day when I was really upset because I thought I could never be a singer - because I didn’t sound enough like Sisqó. I listened to it over and over again.

Paramore – Riot

The first C.D. I bought all by myself with my own money with no one else chipping in. I wanted the guitars they had and to be able to scream and rock-out like Hayley Williams.

Is there any advice you would give to fellow artists coming through right now?

I would say work tirelessly and be willing to learn.

Can we see you perform anywhere soon? What gigs do you have coming up?

Few interesting things in the work: please follow me on all social media to keep in touch!

How important is it getting your music out there? Is the stage somewhere you feel alive and ‘at home’?

The stage is a place I love and can’t get enough of - but, still, it puts me on edge; at least before I start. I don’t want to talk to too many people before the show: just focus on my performance and perfecting it. I am quite particular about how I want my music to sound - and arrangements and all that - and I take preparation very seriously.

Once I’m on stage, I’m flying.

2018 is here. What do you have planned in terms of goals and ambitions? How did you see in the New Year?

Certainly. I am looking forward to releasing new music; playing more gigs, learning more and building on the momentum from all the work done in 2017.

Finally, and for being a good sport; you can name a song and I’ll play it here (not one of yours as I’ll do that).

Fantasy - Earth, Wind & Fire, please!

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 Follow Joshua KYEOT

Facebook:

https://www.facebook.com/JoshuaKYEOT/

Instagram:

https://www.instagram.com/joshuakyeot/

SoundCloud:

https://soundcloud.com/joshuakyeot

Twitter:

https://twitter.com/joshuakyeot