FEATURE: A Lament for the Crate-Diggin': The Decline of Sampling in Popular Music

FEATURE:

 

 

A Lament for the Crate-Diggin'

PHOTO CREDIT: Unsplash 

The Decline of Sampling in Popular Music

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I have written about sampling before…

PHOTO CREDIT: Unsplash 

and how some of my favourite artists splice myriad sounds and diverse elements together to create something wonderful. I will end this piece will some sample-featuring songs but the first artists that come to my mind are The Avalanches, Beastie Boys; DJ Shadow and Public Enemy. The former, especially, on their Since I Left You album laboured through countless recorded and created an all-samples record. I can only imagine how difficult and time-consuming it is ensuring the samples hang together and are interesting. The fact the Australian band took sixteen years to give us a follow-up album (Wildflower in 2016) shows how much work is required. I love their debut and get giddy when hearing these rare and unusual sounds come together. It is fun and exciting getting to sort through crates and your recording collection but there is immense technicality, experimentation and trial needed lacing all these (disparate) songs together and trying to create something that flows and resonates. It may seem like a dream expedition on paper but, once the vinyl is out; how long does it take before you get from the inception to the final product?!

IMAGE CREDIT: Getty Images

Like a lot of artists who use sampling in their work; we are not hearing mega-tunes and very familiar sounds. A lot of the time, they will mine older records or rare cuts to get something unique and fresh. Beastie Boys and Public Enemy used sampling to heighten their gritty and pulsating music. If Beastie Boys fused various samples with their humorous raps; Public Enemy were more political and used other songs to help deliver their potent messages. DJ Shadow, on the other hand, is a more traditional D.J. and takes influence from different areas of music. There is so much to investigate and drool over when it comes to the variations in sampling and how different genres approach things. Look at Hip-Hop sampling and compare that to artists who work in other genres. It is a fascinating blend and culture that seems to be diminishing and becoming far too conservative! From the 1980s through to the current time, we can definitely hear a shift in regards the prolificacy of sampling in music and how that is affecting the larger culture. 

Listen to an album like Entroducing….. and that 1996 debut features moody, slow tracks with more upbeat jams – taking from DJ Shadow’s early Hip-Hop influences. That album was produced over two years: other artists have taken longer and it is a real labour of love. The fact the Beastie Boys hit their sampling peak on their sophomore album, Paul’s Boutique (1989) shows that some artists can nail their best work very quickly. The Avalanches and DJ Shadow did it on their debuts and got huge critical acclaim: Beastie Boys didn’t fare as well and a lot of the album’s credit came retrospectively. Everyone from Sugarhill Gang and The Beatles were sampled on Paul’s Boutique; Entroducing….. features inclusions from The Heath Brothers and Jeremy Storch. It is interesting to see the differences between those albums. DJ Shadow has fewer samples on his album and uses his D.J. and production skills to create original threads and integrate samples. Beastie Boys use original vocals and lyrics but employ samples to add humour, light and new energy to their music. Sampling is not a new thing, I know. Ever since the birth of Hip-Hop in the 1980s; artists have taken from vinyl and the streets to unleash these kaleidoscopic and vivid songs full of sounds – from traffic noise and conversation to the streets – and vibrancy. I am a big fan of Beck and De La Soul. They use samples in different ways but, one will agree, their work is stronger for it.

I love sampling because it is a way of bringing older sounds and unheard-of beats to the people. I listen to a song from the Beastie Boys or The Avalanches and I not only get something new and giddy but I can disrobe the packed song and compartmentalise the samples. I then get to trawl vinyl myself and look where those sounds originated from. It is wonderful to be able to connect in such a way with artists and songs you might not have otherwise have experienced. I also love how dizzying a song can be with samples! Most tracks are predictable in their structure and what we can expect. Listen to a song and, before you know it, there is a political speech, classic Soul cut or familiar sound coming in and you are livened and taken aback. For an artist, there is that bittersweet experience of digging through crates and splicing music together.

PHOTO CREDIT: Unsplash

It can be infuriating narrowing things down and it takes a lot of discipline, patience and intuition. The good thing is you have access to a world of music and, as such, can dive right in and get to work. Perhaps the biggest talking point regarding sampling is its legality and expense. It is complex regards sampling because there are strict copyright laws and it can be expensive getting clearance for various songs. Some artists want to protect their music and will not give permission; others will charge a lot of want royalties from it. There are programmes and software where you can get free samples and use them but, in terms of bigger songs, it is more complicated.

I was reading exerts from a Science Friday show where host Ira Flatow was speaking about sampling and copyright with guests. The excerpts I am going to quote involve Max, a caller; Prof. Kembrew McLeod (co-author of Creative License: The Law and Culture of Digital Sampling (2011) and Dean Garfield (President and CEO, Information Technology Council, Washington, D.C.). These parts of the conversation stood out:

“FLATOW: All these free, use them as much as you want little riffs on there, little samples. But why can't I get something, you know, from some of these popular tunes that are going to be sampled any way the kids want to do it? Why can't we find a way to put those up on iTunes or add little bits of it, somehow, in a system there?

Prof. McLEOD: The short answer...

Mr. GARFIELD: In part, it is artistic integrity. It's the reason you now have The Beatles on iTunes where previously you didn't. You know, they made the determination, at some point, that it was appropriate. And before then, they thought it wasn't. And so, as the person who spent the time developing the work, you should, I believe, have some control over how that work is used”.

A caller rang in and added their voice to the mix:

“MAX: But I just want to say that I think a lot of creativity gets stifled. I mean, you can look at, basically, the golden age of sampling during the '90s for hip hop, and you just saw so much unique sounds coming out. And I - that's when I started deejaying. I've been doing it for 15 years. You can check me out at soundcloud.com/dj-eclipse.

“…But it's basically, you know, stifling a lot of the creativity because a lot of the people who get these samples and play them - a lot of people rediscover music from past genres by listening to these samples.

And, you know, I think those corporations that are holding those copyrights hostage are missing out on a huge marketing opportunity, basically, because they're not going to - these people are now getting into these electric genres where people aren't able to listen to snippets and soundbites of old music where they're going to say, hey, where did that come from?

Where did RZA get that sample from? Where did it RJD2(ph) get that sample from? And then rediscover past genres of music and buy those albums, because I know I did, through just sampling and through just being interested in the music and trying to research and find out how these sounds are put together. And I think that's one of the most lost aspects from the golden age of sampling that we have today, what you can call, I don't know, the Timberlanization(ph) of hip hop where...”

It is an interesting interview/show that talks about two different sides to sampling. On the one hand, there are artists and creators who are happy for others to use their work as evolution and getting the music to new audiences. They will get credit and, at the same time, others get to experience music not being played on the radio or readily accessible on streaming sites...

There is the other school of thought that argues, in a time when YouTube and Spotify make it easy to access any track out there; people can steal what they want and there are infringement issues. Rather than open up channels and make it a free-for-all; there are strict laws and rules that mean permission needs to be sought or too much financial compromise happens. I wonder whether past legal cases have made artists and labels scared their work is going to be copied and used without permission. Most modern artists are happy to give credit but I wonder whether labels are asking for too much money or being too unrealisable regarding credit and percentage. Certainty, artists like Beastie Boys would have had a hard time getting clearance and permission but the fact we are hearing fewer albums like Paul’s Boutique these days makes me wonder whether it is impossible to sample at all. Modern artists like SZA and Kendrick Lamar bring samples into their work but it is not as free range and expansive as the classic records of the 1980s and 1990s. There are people like me who would love to make a sample-heavy record that took from various genres and time periods – would that ever be legally and financially viable?!

Before I come to my arguments; I want to bring in this piece that looks at the most-sampled songs ever. As of 2016, The Winstons’ Amen, Brother has been sampled over two-thousand times. It seems some songs are not only being sampled easily but set up challenges for other artists – the same sample being used in different environments and settings:

“There’s one song that’s been sampled far more than any other, according to one measure. The website WhoSampled.com, whose audience obsessively tracks what’s sampled, says that a 1960s track called “Amen, Brother” by The Winstons is the most-sampled track in history, and it’s not particularly close. By its count, more than 2,000 songs have sampled a particular drum beat from “Amen, Brother” that’s now known as the Amen Break. As you play the clip below, you can hearThe Winstons’ drummer, G.C. Coleman, play the kick drums, snare drums and cymbals in a funky four-bar pattern.

PHOTO CREDIT: Unsplash

"MCs looking for an edge had to dig even deeper into the archives of rock, funk and Motown records that supplied their beats. Flores, who MC’d with Bambaataa, said that Bambaataa had found the track “Amen, Brother” on the B-side of a once-popular 1969 soul record by The Winstons, and kept it in his secret stash. (Attempts to reach Bambaataa, who has recently been accused of having committed sexual abuse in the 1980s, through his lawyer were unsuccessful.) The whole song was eminently danceable, but the party really got going during that six-second drum break a minute and a half into the track. Flores said Bambaataa would slow the break down — going from a 45 rpm to 33⅓ rpm — and play it again and again as B-Boys (or “break boys”) tore it up on the dance floor.

By the early 1990s, the Amen Break wasn’t just being used by acts such as Rob Base and Heavy D, it had become one of the foundational beats of an entirely new electronic dance music genre: jungle. Jungle artists often sped up the break, sliced it up into individual drum hits, rearranged it, and played it for minutes at a time while layering techno, reggae and a melting pot of other sounds on top of it”.

Mark Ronson, when interviewed back in 2014, was asked about sampling and today’s market. These quotes are taken from Part 1 of the TED Radio Hour episode, What Is Original?

 “Though the tools associated with sampling have changed over time — yesterday's used-vinyl crate diggers have become today's digital foragers, yanking their source material straight from YouTube — its power to shape culture has not. In his TED talk, Ronson offers a case in point by charting the 30-year journey of one of the most sampled songs of all time: Slick Rick and Doug E. Fresh's 1984 hit "La Di Da Di," a bare-bones rap and beatbox duet, which has been borrowed by everyone from The Notorious B.I.G. to Miley Cyrus to Spoon.

Do you think we live a post-sampling era?

You know, we used to go to record stores or record fairs to find these rare breaks. I see young producers today, kids who are 19, 20; they stay up all night just sampling straight from YouTube. I think things like YouTube kind of have made a lot of today's younger generation think thatthe "Well, everything kind of just belongs to us, right?" Because it kind of does: Music has been free for a long time now, for better or for worse.

In some ways, the culture of today is really just about taking whatever you feel like and making it your own. Which is dangerous — there are troubled lines there — because at the end of the day, credit needs to go to the people that created the stuff in the first place. But it does make for some incredible, exciting art. And it does mean that some little kid sitting in his basement in Ohio with a laptop can be making some of the most interesting music around”.

There are articles like this...and this that ensure you legally take samples and are not crossing any lines. Reading this article and one gets a view of the history of sampling and how it has evolved. It looks at copyright laws and how, now, there are libraries with samples available. It is great having access to free samples and sounds but what happens if you want to sample a Beatles track or something from Amy Winehouse; throw in an interview from Kurt Cobain or have some Funkadelic in there?! Is it a case of contacting their estate/management and asking politely?! I feel they would say ‘no’ and it would be very tricky to make that happen. They may say it is okay but only if a large percentage of a song’s profits were given to them. The fact streaming services and YouTube mean a lot of artists are giving their music away means people cannot afford to pay labels. I understand that need to protect a song and ensure it is not endlessly shared and illegally accessed. As many artists have been saying; sampling is a great way of carrying the torch and using a song in a different way - pushing music to new generations. If you are confused regarding sampling clearance and costs then articles like this might assist. It is worth doing research and not giving up completely. Many artists feel it will be financially ruinous using all the samples they want but there are compromises and ways to use samples.

IN THIS IMAGE: The album cover for Erik B. & Rakim's 1987 masterpiece, Paid in Full/PHOTO CREDIT: Getty Images

Out of all of this, I wonder whether a more affordable and fair compromise/contract can come into place that ensures original tracks are protected and not illegally distributed but allows an artist, for a small fee, the chance to use it in their song. I wonder whether we will hear any big album that uses a lot of samples and whether a lack of progression in some genres – like Pop and Hip-Hop – is because there are such rigid laws regarding sampling. I would love to make an album that uses samples and mixes it together with sounds and library effects. It may not be on the same level as something from The Avalanches but I wonder whether artists are being frustrated because they cannot get clearance or permission.

I worry a lot of older music is being lost and getting duty because pioneers are unable to use them in their work. I said how I discovered older records because I heard them sampled by the likes of the Beastie Boys. That culture has vanished – or shrunk down at the very least – and that is a sad thing to see. Labels are red-hot regarding illegal use and big court cases are scaring musicians off. If something rational and sensible can be discussed between artists and labels then I think we could see an explosion and evolution that vastly benefits modern music – this will lead to future innovation and breakthroughs.  Modern music has plenty of treasure and promise but, for my money, you cannot beat a vinyl record…

FULL of great samples!

FEATURE: Patience, Poker and Snap: The Art of Music Photography

FEATURE:

 

 

Patience, Poker and Snap

IN THIS PHOTO: Hayley Williams captured in 2017/PHOTO CREDIT: Heather Hawke

The Art of Music Photography

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THE biggest problem I have with new musicians…

IN THIS PHOTO: Madonnatron photoed during the Green Door Store's seventh birthday celebrations earlier this year/PHOTO CREDIT: TLBrooker Imagery

is the rankle regarding photos – or a distinct lack thereof. My interviews and reviews are always full of great shots that give a visual edge to things. The reason I require about six or seven images, high-resolution, from each artist is that visuals are vital when making an eye-catching and interesting piece. If I had a long interview with one photo and a block of text; not only would it look dry and like an academic text – people would grow a bit weary. Photos keep you hooked and, more importantly, show different sides to an artist mere words cannot convey. It may sound like a whorey old cliché but a picture really can paint a thousand words (here is a useful guide regarding photography regarding beginners). A photo – maybe there are some swear words in there – can say so much more. Artists always come back to me and ask the question: Why do you need so many images?! The reason I love images and want to make my pages as rich as possible is to give them a professional look but show what great work is being done by music photographers right now. I have included shots from Heather Hawke, Georgia Penny and Thomas Brooker (among others) to show how each photographer has their own style and personality. I love seeing music photography because, in a digital age, it is more important than ever.

IN THIS PHOTO: Taking Back Sunday during a set at this year's Slam Dunk Festival/PHOTO CREDIT: Georgia Penny Photo

Maybe a certain vintage look and authenticity have been lost: so many snappers use the best cameras and want to get the clearest possible images. Although getting into photography is not that cheap – there is the camera and accessories to go with it – getting a basic kit together and going to as many gigs as possible is a great experience. Bands and artists always want to be captured and feel great when they see a photo of them in the music press. For me, photography in music is as vital as a video. Things are so digital and faceless at the moment – photos give music a sense of soul and colour that is lacking from streaming. We are all too busy flicking through playlists and not really looking up. Without a physical product (a vinyl or C.D.) and only the sound available, it can be hard to understand what a song/artist is about. Photos give you that important visual representation and bring new sides out. Of course, it can be a bit costly for new artists to hand over the cash when it comes to snaps. I often get people saying they cannot afford a photoshoot because they are new and do not have much money. I emphasise but would argue that even a top photographer is not going to charge mega-bucks for a single shoot – when you can get seven or eight good images to share with the press and on social media.

IN THIS PHOTO: Florence + the Machine in Lake Tahoe this year/PHOTO CREDIT: Lillie Eiger

Even if it is a bit of a cost it is all part of the marketing campaign and an investment that will pay for itself. Few things annoy me more than bands and artists with very few good images – Metal bands are especially guilty! – or a few crappy phone pictures they have put. I am not saying every artist needs to have an arsenal of professional and great images but there is something very pleasing viewing a portfolio when you have an option to choose photos that express a range of moods and moments. A great music photography can get an artist to come out of themselves or reveal something mysterious (if doing a portrait). In the live setting, they can capture that single moment members of the audience might have missed (especially with people filming gigs on their phones!). It is almost like watching wildlife: you are waiting for that defining shot that drops the jaw and cannot be easily replicated. Those who feel photography is an easy quality that we can all do now – on our phones – need their head checked. It is much more than selecting the right camera and being ‘in the right place at the right time’. The best music photos have a concept or design.

IN THIS PHOTO: IDLES/PHOTO CREDIT: Pooneh Ghana for DIY

Look at the image of IDLES above. It is a shot that shows them in all their game, gooey and goofy glory – a banquet of colours, bare flesh and intriguing interplay. Pooneh Ghana is an excellent photographer and someone I have been following for a while. It is a different discipline snapping from an audience or stage as opposed to a studio or on-location. The latter involves more concept, design and wardrobe. It is a subtler and more delicate procedure where you have the time to set a shot up but do not want to make it look fake and boring. The live shot is that instant and quick reaction where you need to get a great photo and be in the right position. I know music photographers take multiple images a gig but it is still about being in the moment and having the right equipment. Maybe the photographer is in that special place that captures a perfect angle; they are part of the crowd (moshing or dancing) or pick the right song that defines a gig. There is so much to consider, emotionally, physically and technically before you even take that shot. The greatest music photos ever can go down in history and be seen as works as art. We see rare photos of big artists and can learn more from a single image as we can an album or interview.

I will go on to look at music photography and how to get into it but, before then, I want to bring in a couple of articles. This piece, written in 2016, spotlighted Kana (Kana Waiwaiku) who uses a single moment and atmosphere to bring something unique and special from an artist. His shots vary between portraits and live shots but seem to convey so much emotion and texture. I shall quote from the piece that unearths valuable advice and insight from those looking to get into the industry:

“Music photography is a heavily saturated industry. With many emerging photographers happy to shoot for free to have their name associated with musicians, it has become very difficult to make a living by specializing in music. But there are a few pioneers who have risen amongst this heightened competition; this is the story of renowned music photographer Kana Waiwaiku.

The 31 year old Londoner, Kana, has swam against the tide his entire life both personally and professionally. He describes trying to establish himself whilst being true to his personal vision as an uphill struggle. But with great dedication to his craft, Kana's brand of music photography has gained many admirers. Yet the biggest compliment I can give is that you can identify his work without needing to look at the credits.

 PHOTO CREDIT: Kana

“…As a young, black, British man growing up in London, Kana’s early experimentation in photography is full of elegant anecdotes that he describes as love letter to the craft. My favorite one was of his run-in with the police when out taking long exposures in a dark London park.

I got stopped by the police once because they had thought I’d nicked all this camera gear. I’d tried to convince them I was taking 30 second exposures, but they were having none of it.

It’s this reality in his personal experiences that I feel comes across in his work, yet he never shies away from how difficult an industry it was to crack whilst trying to stay true to the spirit of his work. Even his first few times spent in the photo pit at gigs he was shooting film, then taking his work into the dark room to physically mark his expression in post”.

This piece, written for DIY Musician interviewed photographer Jason Gardner back in 2010. A few sage and interesting questions were asked that could be of help to budding photographers and musicians alike:

“Which advice would you give someone when selecting a photographer?

The first thing to do is look at the work. Look at the photos they choose to display on their site. You want to see a couple things, and if you can determine it from the photos, great. If not, that’s fine too. Do they specialize in outdoor/exotic locations, or is it all studio? That’s the big thing with music and photographers in general and speaks to what kind of work you want to produce for yourself too. Maybe I’m stating the obvious, but the outdoor work tends to be a little bit more visually interesting than just a blank wall. It tends to be less artificially lit. Studios inside could be five lights, and this could just be one light. Part of that is a little soul searching as to what kind of vibe you think you and your band mates would react to more. Some bands love to go into the studio with six lights because they feel like rock stars. And some have had so much of that they want to go to a random corner in remote Brooklyn where no one knows them and they can run around naked.

IN THIS PHOTO: Surfbort/PHOTO CREDIT: Sacha Lecca 

I am awful at being photographed because I never know what to do with my face or my eyes. Can you advise someone on how to take better photos? Is there something to being a good subject?

That’s a good question. Part of it is in the pre-visualization/collaboration. It’s talking about what image you want to portray. I shot this guy recently, who is starting a punk music label. He never smiles, and we knew that was happening. He was scowling and fist clenching. That’s kind of an extreme. It depends on the image you want to portray. You don’t want to be too smiley/goofy when the desired result is a somewhat serious photo. What I like to do is provide musicians with a whole different bunch of looks. Let’s say we’re doing five locations and three wardrobes. All the sub-categories within those. Some they are looking at the camera, some they are looking away, some they are looking at each other. Some they are with their instruments, and some without. Some are more contemplative, and some aren’t.

I don’t think musicians need to put a lot of pressure on themselves to be a good subject. I think part of that is the photographer’s burden/job. But part of it is keeping your mind and heart open to the photographer’s suggestions. A portrait is like a conversation, and not just a one-way conversation. A one-way conversation would be the subject saying, “This is what I have to say, and it’s here.” A two-way conversation would be the photographer judiciously and subtly art directing them and moving them here, to and fro or adjusting the group dynamic.

IN THIS PHOTO: Rhiannon Giddens (2018)/PHOTO CREDIT: Claire Harbage/NPR

If you can’t afford a photographer, are there some simple things you can advise people about their photographs? When you look at a crappy, amateurish photo, are there a handful of things you can steer people away from doing?

One thing I would say would be regarding your wardrobe. Unless your persona onstage is to wear crazy costumes or you are like KISS with full-on makeup, I would say for musicians it depends, but the photo should be about you and not what you’re wearing. What you’re wearing should not call the attention away from your face, instrument, facial expressions, mohawk, whatever. I’d say wearing plaids and polka dots and major patterns is more distracting than solid colored clothes. Of course someone like Eugene from Gogol Bordello would be a different story, because he is all about that kind of craziness”.

I have titled this article as such because I believe music photographer is a game of patience and cunning; you need a poker face and be able to, in a sense, bluff the intuition to just endlessly shoot and hope something sticks. You also need a certain amount of dare and risk when you are taking that shot. Is there a formula and set chemistry to getting that perfect/rare photo?! This article, written by photographer Sacha Lecca, shed some light:

“I’ve never been happy just shooting the first three songs at a concert, stuck in a pit with 20 other photographers all trying to get the same thing.

Traditional live shots can feel dated quickly. The challenge is to find a unique moment that will endure.

PHOTO CREDIT: Unsplash 

Rather than give an overall representation of the concert, the best music photographers will capture one sliver of stillness amid the madness – little details away from the stage, among the crowd.

I’m just as interested in seeing the opening act if they’re unknown to me. They’ll often play separate shows elsewhere in the city, leading me to other bands and other venues.

Letting those connections grow makes me excited to shoot as much as I can. Sometimes you never know what’s going to happen”.

Is it just a case, especially when taking live shots, for a photographer to simply rock up and start snapping? Sarah Arnold, for SmugMug, provides some useful tips for those who are new and not sure how to approach artists. She looks at the art of concert photography and raises some interesting points:

“Don’t be shy.

 The majority of the concerts I’ve shot, I’ve walked straight up to the band and asked them directly, “Would you mind if I take photos?” 99% of the time, they are excited a photographer is interested and have absolutely no problem saying yes. You have to be a bit of reporter when trying to track down the band. I usually find where they’re located backstage or wait until they are on stage setting up and simply approach them. In many cases, I’ve ended up becoming friends with the band members and am given stage passes as well as put on the guest list for future shows… 

Don’t get flashy, kid.

Whether it’s natural spot lighting or a colorful light show, concerts have unique lighting systems. Usually the stage lighting used produces a much more natural capture, while flash can distract the musicians during their performance and can interfere with the experience for those involved.

IN THIS PHOTO: Dua Lipa/PHOTO CREDIT: Heather Hawke

Location.

Moving around is key. You want to get entire venue shots showing the band and the concert attendees from behind, as well as those awesome detail shots taken from the front of the stage. The bigger the band, the more likely the front of the stage will be crowded and difficult to navigate. Staying in one place is easier, but you’ll miss some great shots”.

That might sound like a breathless and whistle-stop tour of music photography but I hope there is advice in there and useful guides – in addition to an explanation as to why photography is crucial in music and what a great photo can do. Those who turn their noses up and think that anyone can go into photography is half-right. Anyone, literally, can become a music photographer but your amateur capturing shots on their phone are not in the same league as the professional. I am yet to see a convincing argument for allowing people to use phones at gigs: I am yet to find a convincing argument that makes music photography irrelevant. Images are crucial and, at a time when competition is fierce and artists are struggling, having great photos is essential. Recently, I interviewed Delroy Matty about his experiences and asked him this question:

“One of my biggest gripes is artists without good photos. Do you think great music relies on striking visuals? How many words, in fact, can a picture/photo say?!

Photos and visuals are so, so important as it helps people to recognise you, the artist or the brand. Look. If there was a shelf with two rows of Coca-Cola; one row had the Coca-Cola branding on the can and the other row was still Coca-Cola but had nothing on the can; what one would you pick up? It would be the one with the visual because you know what to expect inside the can but both rows were Coca-Cola but the one with the better image looked more appealing. So, yes, image and visuals very important”.

Articles like this one offer some useful advice for those starting in the business. Have a read – but this closing point really stands out:

“I find this last point to be the most important one. You don´t have to pretend to be someone else. Be authentic, be real and people will appreciate you for who you are and your work. It´s good to have a look at what other photographers are up to and it´s great to seek some inspiration from them. But you have to find your own way. I believe that everyone has her/his own voice. Find it and you will be able to communicate your vision to others”.

Authenticity is important if you want to be a music photographer: creating your own style and dynamic will stand out to artists looking for photographers and means you are not lazily copying others. I will pop in a video as a guide how to become a music photographer but, before I go, make sure you keep a track of guides and articles that will give you a useful leg-up and push. I have included a selection of music photographs that show brilliant instinct, emotion and skill. Anyone who claims music photography is dead or irrelevant needs to have a look at the great work out there. Look at music websites like The Line of Best Fit and DIY; take a look at The Guardian and NME - stuffed with epic and perfect shots that ingrain themselves in the mind. There is an army of upcoming music photographers who are at the gigs getting that best representation of an artist; they are calling the shots in studios and bringing new life to bands; they are braving the bad weather, keen to capture a unique moment. They are the (largely) uncredited army doing sterling and incredible work that now, more than ever, certainly…

IN THIS PHOTO: Jimmy Eat World during a set at this year's Slam Dunk Festival/PHOTO CREDIT: Georgia Penny Photo

DESERVE your respect.

INTERVIEW: RAIGN

INTERVIEW:

ALL PHOTOS OF RAIGN: Miranda McDonald 

RAIGN

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I have been given the chance to chat with RAIGN…

about her new track, Out of Time, and what its story is. She discusses moving from the U.K. to L.A. and what the scene is like in Los Angeles right now; what themes and ideas inspired her album, SIGN, and what she hopes to achieve before the end of this year.

RAIGN shares her favourite memories from music and what sort of sounds she grew up around; which three albums are most important to her; how vital and special it is being up on the stage – she ends the interview by selecting a great live performance.

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

Incredible. So fun, positive and exciting, thank you. You?

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

Hello. My name is RAIGN - but you can call me Rachel (smiles). 

Out of Time is your new single. Can you talk about its origins and how it came together?

Out of Time was the first song Robbie and I wrote together - and the start of a magic collaboration. It started off as us writing an Indie-Rock song for fun, because we both loved bands in that genre, but became a doorway to the more uplifting, guitar-infused sound I wanted to explore on my album. 

It is from the L.P., SIGN. What sort of themes and ideas inspired the music?

Yes! It’s track-one, actually! SIGN is really a life’s work coming together. Some of the songs started their journey five years ago and have kind of guided me through. Musically, it's a blend of orchestral, darkly-dreamy and cinematic elements mixed with my favorite euphoric synths and half-time back beats and, since the guitar was my gateway instrument to songwriting, we’ve infused my Rock and Blues roots in there too. Lyrically, I often disengage my brain and write from a subconscious place and, sometimes, what comes out actually has multiple meanings that even I have to work out.

There’s a lot of soul-searching, looking for answers or love; a journey into the unknown and coming out the other end with the euphoria you feel when you’ve found what you were looking for; found the higher perspective and gotten a much-needed sign on the road (all very deep) –but, occasionally, there’s a bit of carefree fun because life shouldn’t always be serious!

You have collaborated with a few producers and musicians on the record. How did you select the people you worked with?

My publishers and other managers and creatives I know often suggest new collaborations - the industry is supportive in that way. Sometimes, I step out of my comfort zone and work with new people but I love to work with the same handful of people and really craft something over time. I wanted to be really hands-on with the production on this record, being a musician myself, so we did this the old-fashioned way whenever we could; recording musicians live in a studio. All the strings and guitars on this record are real, not programmed, and it makes such a difference. 

Is it pretty cool being based in L.A.? What is the music scene like there right now?!

L.A. is an amazing city. It’s a paradisiacal enigma full of magical opportunities but it also has its trials and I’ve seen many people come and go. I often miss London and my family and there have been times when I've wanted to go home but, every time I do, L.A. pulls me back and I’m so grateful for that. The music scene here is super-fun, very eclectic. I LOVE that you can go to the same venue to hear a rapper one night and an Indie-Rock band the next but I still have a special place in my heart for the grit and purity of the London music scene.

Do you recall when you got into music? Which artists did you grow up around?

Well. It started with my mother singing opera arias and my father playing Rhythm ‘n’ Blues, Big Band and Soul when I was very young - and so I first learned to play the violin and then the clarinet. Then, the '80s kicked in; I woke up to Wham! and Michael Jackson and sang and danced my way through the '90s listening to Pop music and '90s House.

Then, I got into the band scene and found Psychedelic-Rock, Pink Floyd; The Beatles, Eric Clapton; Bob Dylan, Oasis; No Doubt and local bands on the London scene. Let’s not skip past my short stab at mixing Drum ‘n’ Bass and U.K. Garage on vinyl decks and learning about grooves and tempos - “Enough, enough is enough already...”

But, in the end, it was Amy Winehouse’s record that got me to pick up a guitar and write my first real song and I spent the next few years playing in bars in London; sometimes making up songs on the spot. Music and singing have been at the center of my life, literally, my whole life but it didn't occur to me that I could make it my career until my mid-20s.

What do you hope to achieve by the end of 2018?

Well. I truly hope the fans enjoy the new album and that the energy, passion and soul-searching that went into this record radiates in a positive and inspiring way; an escape of sorts. Because that’s what music has done for me through the years: it’s kind of saved me at times and that’s what I want to give back. If, by some magic, we can defy the system and get some of this music on the radio that would be a huge blessing. 

Have you got a favourite memory from your time in music so far – the one that sticks in the mind?

I have two standout memories - getting the call that Bob Dylan had listened to and approved of my version of Knockin’ on Heaven’s Door was magic and sitting in my old Vauxhall Corsa in London two winters ago (which I still have rusting away at my mum’s house in London) and hearing my vocals played on the Annie Mac chart show on BBC Radio 1. That was an amazing moment for me as a Brit.

Which three albums mean the most to you would you say (and why)? 

Pink Floyd - Dark Side of the Moon

That record rocked my world. It’s poetic, cosmic; abstract and incomparable thirty years later.

Michael Jackson - Bad

The first album I ever owned and played repeatedly in my bedroom until the cassette wiped clean. 

Amy Winehouse - Back to Black

Amy’s talent, authenticity and voice are incomparable. She sang about her deepest, darkest feelings with a sense of humor and soul and I love that. 

If you could support any musician alive today, and choose your own rider, what would that entail?

I would love to support a brooding stadium Rock band like Nine Inch Nails or even Bob Dylan - It would be a totally incredible dream come true to do a duet together of Knockin’ on Heaven’s Door!

My rider would be very un-Rock 'n’ Roll and very food-orientated. I’m always hungry after I perform. Well, I’m just always hungry…

How important is it being on stage and playing? Is it possible to describe the emotions you feel when connecting with fans in the audience?!

Being on stage is the moment you live for; the opportunity to really feel what the music you’ve shared is giving the audience - because they send it all right back to you. It’s love. Before you sing a ballad, there is a split second when you can literally feel the silence and anticipation radiating through the room like you’re all floating in the crystalline darkness of outer-space together and, when the verse starts, it’s as if the sun comes up and warms the room. That feeling right there never gets old. Driving all night with a sweaty band in a small bus does though. Haha. 

What advice would you give to new artists coming through?

Forget logic: take intuitive steps. Be 100% authentic, be prepared to work really, REALLY hard; be patient, don’t be afraid to hustle; remember, if you are really meant to do this, the universe will help you in ways you cannot fathom - you only need that one moment to change everything but, when it comes, you must be prepared. Keep learning, keep training; keep networking - even if it’s not in your nature – and, most importantly, always put the MUSIC first. NOTHING can happen without the music (smiles).

Are there any new artists you recommend we check out?

I’ve been hibernating to make this record and try to stay as authentic as possible so I’m really out of touch with new music - but I'm trawling the music blogs as we speak!

Do you get much time to chill away from music? How do you unwind?

There is so much other work that happens around making and releasing music that sometimes, for me, writing a new song is my chill time. But, other than that, I love to walk my dog, go for a good meal with friends; binge-watch T.V. shows. But, my fave hobby is making clothes: I have a whole sewing studio in my garage now. I love clothes!

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

YES. Please play Amy Winehouse - Take the Box (live at the BBC)

____________

Follow RAIGN

 Official:

https://www.iamraign.com/

Twitter:

https://twitter.com/iamraign

Facebook:

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INTERVIEW: RAYLO

INTERVIEW:

RAYLO

___________

THE guys of RAYLO…

have been speaking with me about their latest track, So Gone, and what it was like shooting the music video. I ask what we can expect from the E.P. of the same name; they discuss London as a base and their views on the British Rap scene – I ask which artists inspire them.

The guys each choose an album that means a lot to them; whether there are going to be any tour dates soon; what they would say to artists coming through – RAYLO recommend some rising artists we need to get behind.

____________

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

Busy, busy, busy!

For those new to your music; can you introduce yourselves, please?

Hey. We are Reece, Teni; G & Bobz. Collectively known as RAYLO.

How did RAYLO get together? When did you start making music?

Our paths crossed two years ago at The Boom Room Studios in Ladbroke Grove, working on a very strange project. There was some mad serendipity going on that day. Haha. We’ve all been making music for years.

So Gone is your new track. What is the inspiration behind the song? What was it like shooting the video?

The inspiration for So Gone was sparked by the beauty of a journey towards success. Taking elements from our surroundings wherever we go; understanding steps we had to take to get to the level we are at now.

Shooting the video was a great creative experience. Sourcing locations and working on how we wanted it to look wasn’t easy but the product is priceless. We wanted people to see London in its real unique way with an array of short snappy composition shots - and convey the grittiness of our home. It was hard work putting the video together but the sense of achievement was overwhelming.

It is taken from the E.P. of the same name. I believe you produced it as a band. Are there particular themes that inspired the music? What was it like putting it together?

The music is inspired by everything around us; urban artists from both sides of the pond (Skepta, Bryson Tiller; The Weeknd, Kanye West...) but also great cinematic writers like Jóhann Jóhannson, Zimmer and JXL and inspiration from our own individual stories and journeys. We put emphasis on sound and feeling.

What do you think of the current Rap scene in the U.K.? Is it as healthy and strong as the U.S. would you say?!

I like the rap scene in the U.K. Artists have taken it to a new level. I believe we can be as big as the U.S. provided we keep pushing and showing the world what we have. 

How important is London as a base and fountain of inspiration?

London is such a melting pot of cultures, ideas and creativity. It’s still one of the hearts of music in the world. So yeah it’s a huge part of our sound.

Which artists are you all inspired by? Did you grow up around a lot of different sounds?

We’re Inspired by so many artists but, to name a few: N.E.R.D, Miguel; Calvin Harris, Frank Ocean; Travis Scott, James Blake; Drake, Gnarls Barkley; Tame Impala, Kendrick Lamar; Kano, Craig David; then everything from Michael Jackson to Deadmau5 to UB40 to Chase & Status…we’re inspired by many styles of music in different ways.

Do you think there will be touring dates? Can we catch you play?

Course! I feel we have a lot to offer when performing live and will be performing our E.P. as much as we can, so keep your eyes peeled.

If you each had to select an album that means the most to you; which would they be and why?

Reece: Plan B - The Defamation of Strickland Banks

It’s the best body of work ever.

Teni: N.E.R.D - Seeing Sounds

It changed my creative outlook.

Bobz: Inception: Music from the Motion Picture - Hans Zimmer

He makes everything sound epic

G: System of a Down – Toxicity

Such an awesome team-up for me, with Rick Rubin producing. Sick album.

Have you each got a favourite memory from your time in music – the one that sticks in the mind?

R: Headlining the Big Freshers Icebreaker U.K. tour last year. It was an amazing experience playing to crowds like that!

G: Recording B.B. King, back when I was working at Olympic Studios was a pretty magical session!

T: Laying down my first track at sixteen…it  was a banger.

B: Kicking a ball around in Studio One at Olympic Studios with G.

If you could support any musician alive today, and choose your own rider, what would that entail?

Supporting N.E.R.D and SNES Super Mario Kart rider. Maybe a cheeky Brandy and Pussy (the drink!) on the side.

What advice would you give to artists coming through?

Just really master your craft and learn to do everything to push your music as far as possible.

IN THIS PHOTO: Spooky Black

Are there any new artists you recommend we check out?

R: I love Spooky Black. He’s sick

T: Oh…and RAYLO. RAYLO!

Do you get much time to chill away from music? How do you unwind?

T & B: Going to the gym or playing Xbox.

R: I’m obsessed with photography and make a lot of visual art.

G: It’s rare that I’m not in the studio or D.J.ing but, aside from that, tennis, gym or good old-fashioned partying.

Finally, and for being good sports; you can each choose a song and I’ll play it here (not any of your music - I will do that).

B: Respect - Aretha Franklin

(Just to pay tribute to the legend - and that track makes anyone feel good)

R: Maria Maria – Santana (ft. The Product G&B)

G: Gett Off - Prince

T: Ghostface Killah (ft. Raekwon, Cappadonna) - Daytona 500

Thank you!

____________

Follow RAYLO

 Official:

http://www.raylomusic.com/

Twitter:

https://twitter.com/Raylomusic

Facebook:

https://www.facebook.com/raylomusic/

Instagram:

https://www.instagram.com/raylomusic/

YouTube:

https://www.youtube.com/channel/UCg2dMAINgssWqtmDT7leR1w

SoundCloud:

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FEATURE: Aaliyah: One in a Million: Remembering a Rare Star

FEATURE:

 

 

Aaliyah: One in a Million

IN THIS PHOTO: Aaliyah/PHOTO CREDIT: Eric Johnson

Remembering a Rare Star

__________

YESTERDAY saw a lot of tributes paid…

PHOTO CREDIT: Sal Idriss/Redferns

to Aaliyah and everything she gave to music. She died on 25th August, 2001 aged twenty-two (she was born on 16th January, 1979) after a twin-engine Cessna 402B she was on crashed shortly after takeoff killing everyone on board. Aaliyah and her entourage were keen to depart back to the U.S. after wrapping up the video shoot for her single, Rock the Boat. The plane was overloaded and should not have taken off - a tragic and horrendous loss the music industry is still feeling. Rock the Boat is a cut from her third and final album – Aaliyah gained a huge amount of acclaim and an extra weight of sadness following her death. I was just about to leave for university and heard the news come through. I bought Aaliyah’s eponymous album – it was released on 7th July, 2001 – and I remember following the songs and being blown away by it! I had followed female R&B singers since the 1990s and was a big fan of girl groups like TLC and Destiny’s Child. I had grown up around powerhouse singers like Whitney Houston and Aretha Franklin but there was something unique and spectacular about Aaliyah. Since her debut – Age Ain’t Nothing but a Number – in 1994; this rare and very special creature was being taken to heart and producing some of the most beautiful music around. The breathy vocals and restrained performances had power and passion but there was so much seductiveness and beauty.

It is an album that sounds incredible and, whilst her best was still ahead, she was fifteen at the time and the fact an album of that confidence was out in the world blew people away! We only had to wait until 1996 before her second album, One in a Million, was released and, yet again, it was a step forward. Still a teenager; this was a young woman making her way through music and releasing big singles like If Your Girl Only Knew and One in a Million. I still listen to these songs today and look around at the modern scene. Although Aaliyah's fashion changed from a typical teenage look to something more grown-up and varied; the seeds were planted from the start and that authoritative sense of being and confidence was there. I have heard nothing like Aaliyah since her debut album in 1994 and, at a time when there are few stars and genuine personalities; Aaliyah is a star that still burns and continues to guide artists. The leap from her debut to One in a Million took me by surprise and confirmed my love for Aaliyah. I was entranced, fascinated and utterly shocked (in a good way).

ALL OTHER PHOTOS/IMAGES (unless credited otherwise): Getty Images

I was thirteen when One in a Million came out and could not quite believe someone slightly older than me was so commanding and confident. She has writers and producers around her – including Missy Elliott and Timbaland – but everything that came out of the speaker was her. There was no need for too much polish and hiding behind samples/sounds: this woman knew how to hold and control music; weave it and captivate anyone listening. The 1990s was a busy and extraordinary decade for music but no artist got into my heart quite like Aaliyah. I listen to her music a lot and discover new revelations and secrets every time I spin - a rare and impressive feat indeed! In this article, written in 2016, Rolling Stone looked back at Aaliyah’s start and how she managed to make such an impact right from the off:

“It is one of the greatest moments in modern soul history: The first few seconds when Aaliyah Haughton, then only a 15-year-old newcomer, opens her cover of the Isley Brothers’ “At Your Best (You Are Love)” with a few seconds of a cappella brilliance. “Let me know … let me know,” she sings with grace, before offering a wordless cry with incandescent softness”.

“…Back in 1994, Aaliyah’s career-defining interpretation topped out at Number Six on the Billboard Hot 100, but that was due to radio programmers and BET’s Video Soul spinning R. Kelly’s “Gangsta Child” remix, which relied on a bass-heavy G-funk beat and an alternate vocal from Aaliyah that’s more restrained than the version on her debut, Age Ain’t Nothin’ But a Number. But from its release, the LP version drew a cult following, first through constant airplay on the late night mix shows that still populate black radio; and then through samples and homages like Drake’s “Unforgettable” and Frank Ocean’s rendition for his recent “visual album” Endless”.

Listen to songs like Throw Your Hands Up (from Age Ain’t Nothing but a Number) and you can see how she inspired artists today. Whilst her best work was, as I said, to come; you could hear that intense talent and magic come from the music. Aaliyah, at an early stage, was a mysterious figure who would not lust after the camera – look at the cover for Age Ain’t Nothing but a Number where she is wearing sunglasses – and that sense of disguise has been adopted by artists like The Weeknd. One in a Million saw the glasses remain and, whilst there was a bit of restraint from the artist in a visual sense; listen to the music and it is expressive, powerful and intoxicating. Her voice would range from soft and inviting to hardcore and on top; she would switch between a soft and sensitive soul to someone who could step into the spotlight and own it! With her first hit, Back & Forth, she not only created an instant hit and unique piece but brought the black teenage voice to the fore.

A lot of the artists at the time – even contemporaries like En Vogue – were dressed more sexily and seductively. Aaliyah sported shades and baggy jeans; a tough and typical teenage look that was inspiring artists and allowing other teenagers to identify. They had a role model out there who did not need to flaunt or compromise to get noticed. Critics took a while to warm and appreciate the star. She was battling with big bands and, in 1994, we were seeing some of the greatest albums ever being laid down. By 1996, she was getting more airplay and acclaim but her big success, sadly, would arrive after her death in 2001. There was a gap between her second and third albums – five years... – and that built speculation and sense of expectation. The appeal increased and this teasing and engaging artist got people talking. Rolling Stone, in the article I just quoted, made some good points when talking about her legacy. A couple of points really caught my ears:

“She made Timbaland and Missy Elliott official
Every R&B fan alive and kicking in 1996 remembers when they first heard Ginuwine’s “Pony.” Its odd interplay of vocal percussion, whistles, and a sludgy yet swinging beat sounded like nothing we had heard before. Timbaland’s (who made the track along with the late songwriter Static Major) stylistic quirks could have been dismissed as a novelty, or gimmick with a short shelf life. (See Rich Harrison’s fusion of go-go and brassy hip-hop, which quickly lost steam after a few classic singles like Beyoncé’s “Crazy in Love.”) But when Timbaland and Missy Elliott brought the same kitchen-sink aesthetic to Aaliyah’s “If Your Girl Only Knew,” which appeared just weeks after “Pony,” we realized that their revolution was here to stay.

Aaliyah (Babygirl) I can only imagine how great you would be today winning oscars😉& creating sick music & still setting fashion trends! Your mom & brother @RAD_6 & your fans been holding it down 4 u❤️you will always be A One in A Million🙌🏾 sleep peacefully angel Babygirl🙏🏾 pic.twitter.com/daHhoIs8k5

— Missy Elliott (@MissyElliott) August 25, 2018

Her voice is unlike anyone else’s
Many R&B singers have tried to duplicate Aaliyah’s pillowy falsetto and sharp mid-range, from Ciara and Amerie to Teyana Taylor. She could do deep gospel runs, too – check her deep-hued inflections on the Age Ain’t Nothin’ But a Number track “Street Thing.” But she’s rightly remembered as one of the most influential singers of the modern R&B era”.

The piece went on to speculate where Aaliyah’s career would have gone if she had survived. She would have been in her late-thirties and I wonder how she would fit into a market where the likes of Cardi B and Nicki Minaj are fixtures. I will talk about her eponymous album and its influence but, even from the start, the songs popped and stood out. I can listen to tracks like Back & Forth and Street Thing (from her debut) and they sound so fresh and unusual. There is nobody in the scene today that has that mixture of talents and vocal blends. At a time where there are few teenage stars and newcomers; albums like Age Ain’t Nothing but a Number and One in a Million should be studied and followed. One in a Million showcased a more mature blend and saw Aaliyah grow in confidence. It was award-nominated and sold very well; critics were impressed by her artistry and abilities but, again, something was missing.

There were a lot of unfair reviews and negative comparisons to other artists. Whilst fans were responding and great reviews were coming in; there were many who did not see all of her wonder and what she stood for! Not only was Aaliyah a role model for black girls and fellow songwriters but she was creating something that fitted into the mainstream but was distinctly her own. Five years after her sophomore album, and with Stephen Garrett as the lead writer – replacing Missy Elliott and Timbaland –, there was a tougher and sassier sound. Listen to the squelchy electronics of More Than a Woman and the tense beats. Although there was only a five-year gap between her second and third albums; it seems like so much more than time affected her new direction. Much more boldness and intuition were coming into her voice; a woman who was aiming high and wanted to take her music to the next level. Those critics who dismissed her back in 1994 were earing their words in 2001. You could not escape the sense we were seeing a young woman coming into her own and aiming for the heavens. From the very start of Aaliyah; you know you are witnessing a spectacular album and one of the finest decelerations of the decade.

ART CREDIT: McFlyy

It is a tight and strutting funk that sees Aaliyah step out and nail it! More confident as a vocalist than ever before; one can hear shades of Aaliyah in Beyoncé’s later career. It is true that, in 2001, she was already shaping the future of Pop and R&B. We Need a Resolution features Timbaland and is a fantastic start to the album; Rock the Boat looks back at her earlier work and provides a more soothing and sweet cut; Loose Rap and Extra Smooth are indelible smashes that, again, show new sides to Aaliyah. AllMusic, when reviewing the album in 2012, summed it up perfectly:

“Where such peers as Macy Gray and Jill Scott work too hard to establish their ties with classic soul, Aaliyah revels in the present, turning out a pan-cultural array of sounds, styles, and emotions. This sound is entirely unfamiliar -- part of the pleasure is how contemporary it sounds -- but she sounds just as comfortable within the sonicscapes of Timbaland as Missy Misdemeanor Elliott and, possibly, less self-conscious. Aaliyah never oversings, never oversells the songs -- this comes on easy and sultry, and there's a lot of substance here, in terms of the songwriting and the songs themselves. Urban albums rarely come any better than this, and there haven't been many records better than this in 2001, period”.

By 2001; Aaliyah had a growing film career and was building her name. She could have sold out and created an album that was commercial and lacked any progression but, instead, she provided her most ambitious yet accessible record. It completed her transformation from a sensitive teenage artist to a sensual and fascinating woman. Aaliyah did not see the sweetness and vulnerability of her debut disappear completely – her third album was a chance to unite all her phases and expressions into one record! Whereas her previous two albums showed a little distance between star and collaborators; now, she was engaging with them and using them in a more noticeable and direct way. She was blossoming into a genuine artist who was having her say – some had accused her of being controlled by the studio before (not a shock considering her age and lack of complete critical backing!).

By 2001, contemporary R&B hit a new peak and the popularity of Neo-Soul increased. In a period when these genres were influencing more than Pop; Aaliyah’s self-titled album spoke volumes and pointed at a bright and exciting future – one that was cut tragically short. Despite the tragic plane crash that took her life, you can hear artists such as The xx and Beyoncé take guidance from her – especially that final album. Aaliyah inspired in so many ways: it was not only her music and creative growth that compelled and resonated. This Billboard article from 2014 explored her subtlety and textures and how, quite a few years after her death, so many upcoming songwriters were learning from her:

"The new generation pulls inspiration from Aaliyah, despite not growing up with her, because she was authentic," says 43-year-old Missy Elliott, who co-wrote many of Aaliyah’s songs. "Her music couldn’t be placed in a category."

Rather than the powerful pipes R&B is known for, Aaliyah’s vocals were intimate and low-key. "Coming from a church background, if you can’t hit high notes and runs, some say you can’t sing," says Streeter. "She made me feel OK about not screaming over every track."

 "We owe our chill vibe to her," says Tinashe, 21. "People were used to artists belting things out. She brought a new vocal styling that wasn’t represented in R&B. Not everything has to be so uptempo”.

I am always sad when we have to write about a musician posthumously – looking back on what they created rather than what they will go on to achieve. The thing with Aaliyah is you can hear her D.N.A. and voice in the guise of modern artists. With only three albums, she managed to transform music and, with Aaliyah, here is an album that is being spoken about as one of the finest of the decade (the '00s). Missy Elliott came out and paid tribute to Aaliyah; marking her death and saying how much she has done for music and what she would be doing were she alive today – it is scary to think what she would bring to music and how she could push it forward. I have fond memories of her music; hearing Aaliyah for the first time was a semi-religious experience. From the sweet and street-wise cuts from her first couple of albums to the mature and bold artist who presented a masterpiece in 2001; we reflect and remember a woman who is shaping and affecting music seventeen years after her death. I used one of her album (and song) titles, One in a Million, as the title for this piece. Some might see it as lazy wordplay but, for those who know her and what her music means, there are no other words we could use! In a music world where there are copycats and bland artists, it is true the astonishing Aaliyah was…

ONE in a million.

FEATURE: The Detail’s in the Devil: Have We Seen the Best of the Reading and Leeds Festivals?

FEATURE:

 

 

The Detail’s in the Devil

IN THIS PHOTO: A shot from this year's Leeds Festival/PHOTO CREDIT: @matteachus 

Have We Seen the Best of the Reading and Leeds Festivals?

__________

THE brilliant festivals at Reading and Leeds…

IN THIS IMAGE: An early line-up poster for the Reading and Leeds Festivals (there have been alterations since)/IMAGE CREDIT: Getty Images

have seen some magnificent line-ups through the years. I will mention a few years that have gone down in history but I wonder, as the festivals diversify and widen, whether we will see the Devil’s favourite music making a return. I love the fact Hip-Hop and Pop can find a place at Reading and Leeds but I wonder whether it is in the true spirit of the festivals. There are festivals for Pop and Hip-Hop artists and, whilst it is important to be as all-inclusive as possible; are there any huge Rock festivals that bring explosions and the best bands tearing the place up?! Maybe there are some smaller festivals making headway but we really do not have any big festivals that promote and showcase awesome, kicking bands. Think about the last couple of Glastonbury line-ups and this year’s Reading and Leeds Festivals. I think it is grand Dua Lipa has played the main stage and is getting props – her eponymous album charted well and got some big reviews. It is important, at any festival, to diversify and open up the line-up, especially when it comes to gender and race. Having a less blokey and white line-up in any situation is always good. I do not object to more genres splicing alongside the best Rock acts around but, when looking at this year’s line-up and the best artist high up the bill is Kendrick Lamar – a U.S. Hip-Hop artist who can bring plenty of passion and fire to any gig.

.@KingsOfLeon headlining our Friday night in Leeds! 💛 #RandL18 pic.twitter.com/AekuKTr0TC

— Reading & Leeds Fest (@OfficialRandL) August 24, 2018

It is not his inclusion I object to. Look at the so-called ‘big’ and ‘great’ names working alongside him: Fall Out Boy, Kings of Leon and Panic! At the Disco. Not only are those bands past their best but they do not have the songs, clout and reputation to inject credibility. Old hands like Muse are still kicking about and, apart from them, where are the traditional Rock artists who used to define the festivals? I like the fact there is a broadening of tastes and sounds but you still need to have that core of Rock/Alternative acts – where do those who love that kind of sound go to?! There are plenty of bigger, hard acts that could headline and enthral Reading and Leeds but there is still that problem where festivals are booking older, weaker acts based on past glories and their back catalogue – popular once but no longer cool and relevant! I agree it is rather fruitless comparing music of the past vs. today and living back then. Maybe there is a deterioration in terms of quality but you can argue music is much more diverse and eclectic now. I am glad acts like Post Malone have made the cut this year but I worry about the headliners and the fact that, in fact, festivals like Reading and Leeds are becoming safer and less exciting. It is great to see people’s minds opened to new music and a wide spectrum but how many will go away from this year’s event with a head full of memories?!

IMAGE CREDIT: Getty Images

More and more, it is down to smaller festivals like Camden Rocks to provide the sort of music that gets people bouncing, singing and thrilled. Now, less than one-third of festival headliners are Rock bands. We are embracing different genres but I think the decline speaks about the state of Rock and whether festival headliners are interesting in this day and age. This article highlights some of the Rock acts playing at this year’s event. Shame, Starcrawler; The Sherlocks and Shed Seven have pitched up and there is an argument that Reading and Leeds is aimed more at a younger audience in a streaming age – where you have a wider range of sounds that reflect changing times and a break from the past. I can get behind the assumption and view that there are some good artists around putting fizz into Reading and Leeds and it is good there are other genres mixing into the blend. My argument comes when we look at those BIG NAMES that are top of the bill and you salivate over. Look back at 1990 when Inspiral Carpets and the Pixies were topping the bill; 1992 had PJ Harvey, Nirvana and Public Enemy playing; 1995 had Smashing Pumpkins and Neil Young play Reading; Blur and The Charlatans were playing the festivals in 1999; Beastie Boys and Garbage were big draws in 1998; Oasis and Pulp featured in 2000; Arctic Monkeys and Radiohead provided tantalisation in 2009.

IN THIS PHOTO: One of this year's Reading and Leeds artists, Dua Lipa/PHOTO CREDIT: Erik Madigan Heck for GQ

Any one of those years would have got me out of my seat and over to Reading! It was nine years since Reading saw Radiohead rule and, whilst the line-ups before 2018 were less diverse and interesting; there was a lot more excitement, theatre and memorability. I am not slamming Reading and Leeds at all because they are not the only ones culpable. Aside from Radiohead’s headline appearance at Glastonbury last year; how many recent years have been defined by truly epic and pulsating sets?! We are living through a time where there is more choice and great options than any other time in music history. You have thousands of artists emerging and it seems, for all the variation, there are few artists capable of providing a scintillating and epic headline set. I am not even talking about Rock and keeping things pure: a huge act like Beyoncé or Cardi B, to replace the older and boring acts like Fall Out Boy, would be better. I know it is not healthy looking back and thinking everything now is weaker now than back then – although there is truth in that – but I feel big festivals like Reading and Leeds are comprising quality and excitement in order to be broader and more inclusive.

.@wolfalicemusic headlining the @BBCR1 Stage tonight! 💛👊#LeedsFestival pic.twitter.com/MrSbVLAtsw

— Reading & Leeds Fest (@OfficialRandL) August 25, 2018

I welcome a wider community but I look at the poster for this year’s festival and it makes me sigh. There are few acts I would see and, considering the cost of one day there, are punters getting value for money? Fine if you want to see a line-up that reflects your Spotify playlist and tastes but why books fading and bygone acts like Kings of Leon?! They have not made anything decent in years. Fall Out Boy are distantly average and Sum 41…there must be more recent artists who are worthy of slots?! All the finest acts are lower down the bill why the headliners, aside from Kendrick Lamar, are distinctly boring. I realise music has changed since the 1990s but I am not suggesting we go back and feel anything that does not measure up to the 1992 line-up is inferior. There are many positives to be found in this year’s line-up. Upcoming artists like Wolf Alice and Dua Lipa are great bookings but look at artists high up the bill like The Kooks and The Wombats! You cannot blast those who are nostalgic and then book artists who have not recorded anything new and are being booked based on their past glories. If you want to take that approach then why not book decent and edgy artists! Don’t go for obvious bands like Foo Fighters and Muse: throw Arctic Monkeys back in there or get Chrissie Hynde ruling the stage! In order to reflect the modern times, we are doing well regarding equality – more women and minority artists – but lacking distinct quality at the top of the bills. Long gone are those titans artists that could get you sweating before you have even bought a ticket; a weekend that you will kill to attend – do you really look at this year’s Reading and Leeds Festivals and open your eyes wide. I don’t. Hooray for progression and sonic boldness but will the Devil smile and feel there is enough to keep the festival fires burning?! Based on the ‘big’ names booked for this year – and rain lashing as we speak – it seems, in many ways, a lot of the magic and passion…

 IMAGE CREDIT: Getty Images

HAS been lost.

FEATURE: We Were All Being Watched in 1984; Nobody Was Listening in 1986: Is I986 the Worst Year in Music History?!

FEATURE:

 

 

We Were All Being Watched in 1984; Nobody Was Listening in 1986

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

Is I986 the Worst Year in Music History?!

__________

THERE have been a few articles flowing…

that reflect on 1986 and how, well, none of us really liked the music! Look at the so-called ‘best-of-the-year’ lists and there are few albums from the pack we hold dear. I will come to some of the gem albums from 1986 but if you asked anyone to name a year in music that was a bit quiet, most of would probably gravitate towards the 1980s! Consider all the Pop geniuses that were around in the 1980s and they were not releasing material into the world. Michael Jackson brought Bad out in 1987; Prince did release Parade in 1986 but it would be another year before we saw the mighty Sign o’ the Times. In fact, many are being a bit cruel towards 1986. Prince’s Parade is considered masterful and Madonna released True Blue (in 1986) – another album that is seen as pretty damned good! Paul Simon unleashed the incredible Graceland and we had some other great albums in the form of The Smiths' The Queen Is Dead and Metallica’s Master of Puppets. Whilst there are iconic albums that helped elevate 1986; it is hard to make up a top-ten that you actually like! Think about years like 1991, 1994 and 1997; throw in 1967 and even 2001 and you are not struggling to name some phenomenal albums – it is hard narrowing it down to a definitive top-twenty each year!

Look at albums that did come out in 1986 and it makes for some tough reading! For every Lifes Rich Pageant (R.E.M.), Raising Hell (Run-D.M.C.) and Different Light (The Bangles) there was a slew of dodgy and 1980s-ruining efforts. Nobody can claim The Rolling Stones’ Dirty Work is anything to shout about; Billy Idol’s Whiplash Smile is pretty awful and the less said about Lionel Richie’s Dancing on the Ceiling the Better! Sure; we had Licensed to Ill from the Beastie Boys but Nick Cave and the Bad Seeds’ Kicking Against the Pricks was a bit ho-hum. Elvis Costello did please with King of America but, again, there is little to rave about. Maybe that is the standard we set in past decades: unless there are bangers galore and classic albums spewing from every artist then we deem that year a failure. Look at the past few years and are they any stronger than 1986?! Perhaps a lot of the Pop artists were resting or releasing work that the public were adapting to. That horrible feeling and view we have of the 1980s – big hair and plastic Pop – was taking more of a stand and there was an odd sense of unease and lacking purpose. The big revolutions that were to come were not even in sight; the past glories were dead or dying: 1986 marks a big of a blot in the music landscape.

PHOTO CREDIT: Unsplash

This article provides some viewpoints:

“Music really WAS extra-awful in 1986.  According to a new study of 17,000 songs, that year was a low point in creativity and a high point in boredom. Too many drum machines and overuse of synthesizers led to too many similar-sounding songs.

The study also shows that there were three big revolutions  in pop music over fifty years.

  1964: The rise of guitar-based rock bands by the Beatles populated by members who wrote and performed their own songs.

  1986: The era of endless drum machines leading to a world that sounded like Duran Duran.

 1991: Hip hop enters the pop charts in a big way”.

1986 was (apparently) so dog-turd-awful that, in 1987, Newsnight dedicated a show to investigating its music! I do not have a clip of the show but the fact a respected news show felt the lack of invention and fun in 1986’s music is a bit worrying. It was the year drum machines and compacted beats ruled music. Not even artists like Madonna and Prince, with iconic tracks, could save the rather boring and derivative sounds coming from the mainstream. What was it about 1986 that irked us and provided so few great hits?! The Independent explored the topic in 2015:

“It was the year that Madonna begged Papa Don’t Preach and Peter Gabriel dropped his Sledgehammer. Now a scientific study of pop music’s evolution has concluded that 1986 was the most repetitive year on record.

Whilst the hits of 1986 morphed into one repetitive thud, 1991 was the most revolutionary year in popular music, as rap broadened the vocabulary of pop, researchers from Queen Mary University of London and Imperial College London found.

With help from music website Last.fm and using the US Billboard Hot 100 as its source material, the scientists employed cutting edge methods including signal processing and text-mining to analyse the musical properties of songs.

Their system automatically grouped 17,000 hit songs by patterns of chord changes and tone allowing researchers to statistically identify trends with what they believe is an unprecedented degree of consistency”.

PHOTO CREDIT: Unsplash

It seems some disagree 1986 was the nadir and absolute worst. Alexis Petridis, writing in 2011, argued 1976 was far worse:

“If you haven't seen it, it's difficult to express how awful TOTP – and by extension – pop music seems to have been in 1976. Every week, something comes on that causes you to be gripped by the absolute certainty that an unequivocal nadir has been reached and that things can only get better: second-division glam-rockers Mud going disco in a desperate attempt to stave off the inevitable; Dave Lee Travis's mirthless novelty record Convoy GB. It's invariably followed by something even worse: JJ Barrie's No Charge; second-division glam rockers the Rubettes going country in a desperate attempt to stave off the inevitable; and, my personal favourite, Paul Nicholas's awe-inspiring Reggae Like It Used to Be.

This, just to clarify, features the bloke off Just Good Friends boldly announcing that in 1976 – the year of Lee "Scratch" Perry's Super Ape, the Mighty Diamonds' Right Time, Max Romeo's War Ina Babylon and Augustus Pablo's King Tubbys Meets Rockers Uptown – the only reggae worth listening to is that made by Paul Nicholas. His jaunty presentation of this controversial theory, for which he wore a bowler hat, could only have been improved had he been forced to perform in front of an audience composed entirely of angry Rastafarians”.

It is easy to poke fun of the 1980s because we feel it was a time when nothing great came out. I argue some more recent years have eclipsed 1986 in terms of boredom and unspectacular albums.  It is true, though, that 1986 was synonymous with its awful drumming sounds and something rather pale. If Paul Simon’s Graceland used percussion in new ways; Madonna was putting big choruses and career-altering songs into the ether; it appears Pop artists of the day were more concerned with something machine-fed and robotic. Songs like Miami Sound Machine’s Bad Boy and Pet Shop Boys’ album, Please, were, in some ways, defining the worst of that year. Although Pet Shop Boys did provide a good debut album, the beats and sensations of West End Girls (the single was released in 1985 but inspired a movement in 1986) became a staple for other artists – all you seemed to hear was that sort of drumming sound! This article, when looking at Now That’s What I Call Music! 1986, noted there were some missteps and, even when highlight ‘good songs’, there is a definite familiarity regarding sounds:

“Dire Straits ruined Brothers In Arms by including the awful Walk Of Life halfway through side one. Peter Gabriel’s most successful solo single came with Sledgehammer and an extremely potent video while Prince wrote Manic Monday for The Bangles who had a very bountiful ’86. On the other side of the scale, Eurythmics had their last brush with the top 10 – Thorn In My Side which originally was served up on Hits 5. Also featuring on the big dice sleeve were Paul Simon’s heavily-caned You Can Call Me Al and the Pretenders’ storming Don’t Get Me Wrong. The big pop album of 1986 was Invisible Touch; the title track is here and was the first of five singles released from the LP. Like Queen, Genesis also had their day out in Wembley [coming a year later in 1987].

"...The Queen Is Dead was my most played album of the year. During the first couple of weeks it was getting five spins a day. Mid-June was quite hot; the school holidays had kicked in. I’d get up before 6.00am and pick strawberries until lunchtime, come back and play The Smiths and then head off to play golf. Panic was another non-album single and reached #11. I remember the chart rundown as our ship sailed from Rosslare Harbour to Fishguard en route to Italy. That unforgettable school tour. This mini indie sequence also includes The Housemartins’ jangly cynicism of Happy Hour and Public Image Limited’s hot-wired Rise. And then it’s David Bowie’s magnificent Absolute Beginners. Director Julien Temple shot the music video which echoed the 1950s style of the movie.

Rock for the ages next with Robert Palmer’s driving Addicted To Love. After ABBA and before Ace Of Base, Europe came out of Sweden to reach #1 with The Final Countdown. Then there was the great hope Owen Paul; My Favourite Waste Of Time chugs along without breaking sweat. Cutting Crew’s slowburner (I Just) Died In Your Arms Tonight continue to pop up all over the place while Status Quo’s slump lasted all through the decade. Thumbs down for In The Army Now. It’s followed by Huey Lewis and The News’ monster hit Stuck On You before Mr Mister’s mournful but epic AOR of Broken Wings. This somewhat unremarkable path comes to an end with Chris De Burgh and the dreaded Lady In Red. Sing when you’re winning: it’s just like reliving American Psycho”.

The fact that article opens with the words ‘Dire Straits’ leaves me smiling – it was a rather troubling time for music. Were there some good sides to 1986, though? Tidal summed up the year in music:

“But 1986 was also about new music, and a lot of it. Huge ’80s superstars like Madonna, Prince, Bon Jovi, Genesis, Queen and Janet Jackson all released essential albums this year. Hip-hop was starting to peak above the surface above underground with newcomers like Run-D.M.C. and Beastie Boys, while alternative college radio favorites like The Smiths and R.E.M. were just about to break big.

Often mocked for its glossy synth-laced productions, the mid 1980s was not only a rich playground for various kinds of music, it left us with some truly memorable tunes, as we showcase on this playlist.

Best-Selling Album: Whitney Houston by Whitney Houston
Longest No. 1 Single: “That’s What Friends Are For” by Dionne and Friends (4 weeks)
Grammy – Album of the Year: No Jacket Required by Phil Collins
Grammy – Song of the Year: “We Are The World” by USA for Africa
Groups Formed: The Afghan Whigs, Boards of Canada, Cypress Hill, Green Day, N.W.A., No Doubt, Sebadoh, The Vaselines
Groups Disbanded: Black Flag, Dead Kennedys, Electric Light Orchestra, Men at Work, (Prince &) The Revolution, Weather Report, Wham!”.

It is clear the entire year was not an absolute bust: we had some great albums and some really fine songs. I think, aside from Paul Simon, Madonna and The Smiths; it is hard to define the year and highlight too many positives. I have tried to make a case for 1986 in a playlist below but, to be fair, there were far stronger years for music in the 1980s – 1987, in fact, was a pretty strong one! I was only two when 1986 started and I was not really aware of what was happening then. It is amazing to believe, in the space of a year, we saw such an explosion. 1987 gave us Guns N’ Roses’ Appetite for Destruction and U2’s The Joshua Tree; Prince’s Sign o’ the Times and Eric B. & Rakim’s Paid in Full! Throw in Midnight Oil’s Diesel and Dust and Fleetwood Mac’s Tango in the Night; Pixies’ Come on Pilgrim and George Michael’s Faith – changes were coming in and Hip-Hop, especially, was taking more charge. Maybe we are being a bit harsh calling 1986 the worst year for music ever. We did have some classic records – from The Smiths through to Madonna – but it seems like there was this annoying habit for artists to use the same drum programmes and spew them in every track. A tinny, anodyne and fake sound was defining a lot of music at the time: artists who were creating groundbreaking albums were being buried in a sea of synthetic beats, samey tunes and the worst side of the 1980s. Music did recover pretty quickly – 1987, as I said, was a fantastic year – and 1985 was a big one (classic albums from Kate Bush, Tears for Fears and Prefab Sprout made it pop). Maybe Pop music has moved on since then but I still feel there is little personality and fascination to be found. 1987 came along and threw more colour into the palette: maybe 2019 will see other genres come to the forefront and it will be a more memorable year! Aside from all the naffness and general awfulness that defined 1986; it is clear, as the below playlist shows, that there were a few…

 IN THIS PHOTO: Madonna in 1986

DECENT songs out that year!

FEATURE: Long Live the King! Michael Jackson at Sixty: Why His Crown Will Never Fall

FEATURE:

 

 

Long Live the King!

IN THIS PHOTO: Michael Jackson/ALL PHOTOS/IMAGES (unless stated otherwise): Getty Images/Redferns

Michael Jackson at Sixty: Why His Crown Will Never Fall

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IT is amazing to think…

IN THIS PHOTO: Jackson on tour in Rotterdam (1992)/PHOTO CREDIT: Paul Bergen/Redferns

that three music legends celebrate their sixtieth birthday this year! Michael Jackson’s, granted, comes with a tinge of sadness – given that he is no longer with us – but Madonna and Kate Bush have also turned sixty. It seems like 1958 was a vintage year for great musical births – I wonder what was in the water?! In the same way radio stations celebrated those female icons by playing their best tracks and focusing on aspects of their art; there is so much to unpack and note when you look at Michael Jackson. From the budding genius who was part of The Jackson 5 to the solo artist who rose to become the King of Pop; there was no stopping that rise and regency! I followed Michael Jackson for most of his solo career and first encountered his work shortly after Bad was released. Jackson would have turned sixty this coming Wednesday so I do wonder how far he would have gone had he lived. As I say, my first taste of his music was with 1987’s Bad. I was only four when it arrived on 31st August but have memories of those incredible songs infiltrating my young brain! Maybe it was around 1990 when I became more immersed in the album and I distinctly remember it being played around the neighbourhood.

I, with my friends, would play the cassette and pump the volume right up! My early favourites – from the record – were the title-track, Leave Me Alone and Dirty Diana. Smooth Criminal became a favourite very soon and, in fact, most of the album left a huge impression! Although Bad did not score the big reviews and celebration of 1982’s Thriller; it was a record that offered, in my view, more consistency and a new direction. It is amazing to think Jackson left a five-year gap between records but that was to ensure the sound was brilliant and, inevitably, allow some of the heat to die down following Thriller’s release. I tracked back to Thriller and Off the Wall (1979) and ingested as much as I could from those records. I will discuss the impact of those albums soon but, looking at Jackson’s career and you can see a man shifting and evolving. Early solo albums like Ben (1972) sound radically different to, say, Dangerous (1991). One reason why Michael Jackson stood in my young eyes was because of his videos on MTV and the way he broke ground. He was denied early access because he was black and, during the 1980s, that was a rarity – the station was playing white bands for the most part and that infuriated Jackson! If one connects his changing appearance with a desire to be taken more seriously – an ironic thing considering the messages on his track, Black or White – I am not sure but it is obvious Jackson broke walls and pushed music forward.

His epic videos for songs like Billie Jean and Beat It (both from Thriller) were stunning and were his statement of intent. It is amazing to think there were racial barriers on MTV and they were holding back artists like Jackson. Things (slowly) changed but one can only guess how influential Michael Jackson is regarding black artists and their ascension onto music T.V./the mainstream. It is those videos that defined what Michael Jackson meant to me. After the success of albums like Thriller and Bad; Jackson saw himself as this king and prince: a statue and monument of greatness that was ruling the Pop landscape. Although the truth was not far from that impression; as such, Jackson’s promotions became bigger and more expensive. Look at videos for Dangerous cuts Remember the Time and In the Closet and you have a man who was turning music into cinema. You can argue he was doing that as early as Thriller – the title-track, especially, renowned for its images and story. Where’s Pop’s queen, Madonna, was showing her sexuality and confidence; Jackson was turning in these mini-films that elevated his music to new heights. I have selected a definitive video list below and it charts how they became more sophisticated and high-concept.

I wonder whether we will ever see a Pop phenomenon who can do that with the music video? The visual feasts and eye-catching promotions did not get in the way of the music itself. I am not sure which Jackson album is my favourite but it would be a fight between Bad and Dangerous – quite appropriate given their titles! Bad mixes some romance and shows its muscles here and there: Dangerous is Jackson releasing his first album of the 1990s and showing a tougher, distinct sound. Maybe the production is a bit compacted and the album is over-long but you can hear a real shift in terms of themes and the effect. Dangerous is more accusatory and wracked: the growing and exposed star feeling cheated and betrayal; coping with hate and keen to change things. If songs such as Heal the World – Jackson claims this is his favourite song – were mocked for being sugar-sweet and a bit naff; one cannot argue against the intent and impact of songs like Jam and She Drives Me Wild.

Replacing Quincy Jones – more about his partnership with Jackson later – with new producers, Teddy Riley, Bill Bottrell and Bruce Swedien; you feel Jackson break free from his more innocent days and embrace a more sexual, tough and defiant star. By 1991, he was properly in the public eye and could not escape the endless press intrusion. If some critics felt Jackson sounded nervous on the album and lyrics were dogmatically pragmatic; the production not allowing proper expression and pleasing tones then the swirl of attention and airtime the album received compensated. Jackson would release two more albums before his death – HIStory: PAST, PRESENT AND FUTURE - Book 1 in 1995 and 2001’s Invincible – but nothing matched that heyday of 1979-1991.

Before tracking back to the start and looking at that partnership with Quincy Jones; we can see, even shortly after his death (in 2009), how many articles were written regarding his influence and legacy. The Atlantic, in 2010, looked at Jackson and how his status rose to the level where he was untouchable. He could be any character he wanted and created his own world. Whilst allegations of child abuse and various controversies meant he was reviled by many; time will sanitize his memory and we will focus on what made him special: that music, incredible vocal gymnastics and something truly unique. The article talked about Jackson’s videos and the ability to hold a live audience in the palm of his hand:

“Jackson, though, was something else entirely. Something new. Obviously he made great records, usually with the help of Quincy Jones. Jackson's musical influence on subsequent artists is simply unavoidable, from his immediate followers like Madonna and Bobby Brown, to later stars like Usher and Justin Timberlake.

Certainly, Jackson could also electrify a live audience. His true canvas, though, was always the video screen. Above all, he was the first great televisual entertainer. From his Jackson 5 childhood, to his adult crossover on the Motown 25th anniversary special, to the last sad tabloid fodder, Jackson lived and died for on TV. He was born in 1958, part of the first generation of Americans who never knew a world without TV. And Jackson didn't just grow up with TV. He grew up on it. Child stardom, the great blessing and curse of his life, let him to internalize the medium's conventions and see its potential in a way that no earlier performer possibly could.

 "...The result, as typified by the videos for "Thriller," "Billie Jean," and "Beat It," was more than just great art. It was a new art form. Jackson turned the low-budget, promotional clips record companies would make to promote a hit single into high art, a whole new genre that combined every form of 20th century mass media: the music video. It was cinematic, but not a movie. There were elements of live performance, but it was nothing like a concert. A seamless mix of song and dance that wasn't cheesy like Broadway, it was on TV but wildly different from anything people had ever seen on a screen”.

Rolling Stone, reacting to his death and looking at the artists he inspired, talked about the lines of Kanye West and Beyoncé – how their music took ideas from Jackson and inspired new audiences:

“Kanye West: Jackson’s influence on hip-hop may be harder to trace, but that doesn’t mean it isn’t there. Of all of hip-hop’s current stars, only West possesses Jackson’s knack for allowing a singular vision to yield huge commercial dividends. West has Jackson’s superstar drive, the consuming desire to do everything bigger and better than anyone before him, and the ability to bring a very particular vision to a mass audience. Like Jackson, West is enamored of the spectacle: the scope and grandeur of his Glow in the Dark Tour was positively Jackson-esque, and his ability to sell hip-hop — in massive quantities — to a pop crowd rivals what Jackson did for R&B.

Beyoncé: Cue up any given track on B’Day, whether the stuttering “Get Me Bodied” or the searing “Ring the Alarm,” and hear Michael Jackson’s trickle-down effect. Her contemporaries may have Jackson’s pop flair, but only Beyoncé possesses his fierceness. The spry toughness of “Survivor” and “Independent Women” are distant cousins to Jackson’s darker, meaner numbers (like “Dirty Diana” or “Give it to Me”), and Beyoncé’s gradual transformation from bright-eyed ingenue to the new First Lady of Soul rivals Jackson’s own ascent to power”’.

It is hard to say just how far and wide his influence extends. Certainty, you can hear influence in everyone from Justin Timberlake and Beyoncé to Lady Gaga; Hip-Hop artists like Childish Gambino and the new breed of Pop pretenders who want to follow Michael Jackson’s lead. We listen to the music and know what he was capable of but, as this piece shows the sheer volume of sales and awards he won is eye-watering!

“There are different numbers on the exact amount of copies that Thriller has sold both nationally and internationally. Many say it's sold 66 million, while others say it's sold over 100 million. Either way, Thriller still remains the first album to become certified 33x multi-platinum. Moreover, due; to Thriller’s success, MJ became the highest-selling recording artist up until the time of his tragic death in 2009.

In his career, Jackson was inducted into the Rock and Roll Hall Of Fame not once, but twice, with The Jackson 5 and as a solo artist. On top of that, he’s won 13 Grammys, 86 Billboard Awards, cracked 31 Guinness World Records, has stars on the Hollywood Walk Of Fame for The Jackson 5 and as a solo artist, won eight World Music Awards, won 26 American Music Awards, has been named the  "Artist of the Century" at the American Music Awards, and so much more”.

We say the same thing with all musical icons: they have given so much to music but, no matter how hard you look, you will find nobody else like them. If fellow icons like Madonna spoke about feminism, sexuality and caught the public imagination with changing fashions; Jackson looked at race, the environment and pushed the limits of what a music video could be. That is a simplified view of his genius but he definitely had his passion and concerns; ensuring every album was different and each conveyed important messages. Those vocal tics and effects – much-parodied but never matched – became his own and was like a language. The sheer range of his voice and the emotional spectrum has not been equalled in music. Maybe Prince matched him vocally but there is something about Michael Jackson’s aura and personality that put him in a league of his own. The complexities of the man include bad – relationship splits and allegations; his changing appearance and eccentricity – and good – him breaking racial barriers and becoming the voice of a generation. Jackson has recently been represented in a series of portraits and paintings (On the Wall) at the National Portrait Gallery and there are rumours his posthumous material did not feature him on lead vocals. It seems, nine years after his death, Jackson is never far from the news!

There are great biographies and books you should get to read up on Michael Jackson and some interesting documentaries. I have included a few in the form of hyperlinks (look at selected words and phrases) and Jackson’s sixtieth birthday is a great excuse to study the great man and how he came into music. I have included some of his best interviews in a collection above so I hope, by the end of this piece, you have all the information you need regarding Michael Jackson. We often look at Michael Jackson’s career in the context of the work he did with producer Quincy Jones. Jones’ reputation and input helped shape Jackson’s work and bring new light from it. The two worked together on Off the Wall and it was a travesty the record did not scoop every Grammy it was up for! Jackson wanted to separate himself from the work he did with The Jackson 5 and wanted a different-sounding record. Jones’ new approach and the drafting of Heatwave’s keyboardist Rod Temperton – who wrote three songs – gave Jacko a funkier, tauter sound that fused R&B, Disco and Pop. Temperton tracks such as Off the Wall and Rock with You sit alongside Jackson offerings such as Don’t Stop ‘Til You Get Enough and Working Day and Night. The album established Jackson as a genuine star and showed he could step away from his brothers’ band and thrive as a solo artist. It is the Thriller-Bad period that many see as his watermark.

This article, written in November 2012, looks at Thriller and how Jackson changed the game:

 “On this date, 30 years ago, Jackson released Thriller, and with it, changed the landscape of contemporary pop music. Before Thriller, established rock guitarists did not collaborate with soul, R’n’B and disco singers. Before Thriller, black artists were very rarely featured on MTV.

The album came three years after Jackson’s first non-Motown solo record, Off the Wall – itself a smash hit which had sold more than eight million copies. Released when Jackson was 20, Off the Wall had been seen as a departure from his brothers and his childhood stardom. Many were sceptical that he could survive without Motown but Off the Wall had proved them wrong and it was assumed that Jackson had reached his peak. Jackson, on the other hand, knew that he was only just getting started. Off the Wall had been a decent disco record, but Thriller was set to span genres and break both boundaries and records.

Jackson and his producer Quincy Jones approached the project with enormous ambition. They wanted to make an album that would appeal to fans of all genres and prove so important that the press that would normally give a black man little coverage would be forced to pay attention to him. To give the record true rock credibility, Jackson and Jones drafted in Eddie Van Halen to play a solo on Beat It.

 “…Compared to the enormous success of Thriller, Bad did not sell as well and only won two Grammies. But with time it has found its place in history. Both Bad and Thriller can easily be named as Jackson’s finest album, depending on who you ask. That said, it could be argued that Bad is the stronger album simply because it doesn’t contain the utterly dire Paul McCartney duet, The Girl is Mine.

The legacy of both albums, along with Jackson's individual dancing style, voice, and inclusive approach to different genres is well-documented. Love them or hate them, even brand new artists such as Justin Bieber cite him as an influence. With the countless bizarre stories now associated with the artist, it's all too easy to forget just how innovative, talented and groundbreaking the work of Michael Jackson was, and still is today”.

Although Bad (1987) received a lot of love; we often associate Jackson’s best moments with 1982’s Thriller:

 “Jackson was at the top of his musical prowess on “Thriller,” with these songs inhabiting whole worlds and traversing multiple sonic terrains without pausing for even a moment. Through a combination of music video presence and radio reliability, the record became a resounding critical and commercial success-thanks also in no small part to Jackson’s meticulous musical vision and a mainstream music atmosphere that was ready to embrace the next big phenomenon. Though he really never left the spotlight, it was on this record that he produced some of his greatest and most innovative compositions, resulting in the creation and continuation of his mythic pop stature that would exist long after he passed away.

 “…It was through this legend that Jackson became a lightning rod for both fans and detractors. And so his musical history continues to go-there are those who tout his music as being some of the best ever recorded and those who see only the controversy and less-than-favorable conditions under which he was often scrutinized. But setting aside his storied personal life and focusing solely on his music, you see just how imaginative he was when it came to his songs. These are fully formed lengths of pop wonder and inclusive melodic narratives. There was no one else who even came close to creating this kind of expansive pop music, and after “Thriller” was released, no one even bothered to question his authority on the matter”.

There are events being held to celebrate Michael Jackson’s sixtieth and BBC Radio 2 will be heavily featuring his music – choosing the sixty best tracks. I have merely scratched the surface regarding Michael Jackson and there is a lot more to be said regarding the King of Pop. I am sure I will put other pieces up but, right now, I wanted to wish him an (early) happy birthday. On Wednesday, make sure you get involved with everything Jackson-related and revisit his impressive catalogue. From the mesmeric videos and best-selling albums to his images and legacy; there is no denying the fact nobody can succeed…

THE King of Pop!

INTERVIEW: Zjál

INTERVIEW:

PHOTO CREDIT: Ryan Postas 

Zjál

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I have been speaking with Zjál…

about her upcoming E.P., Home. That is dropping very soon and, in the coming weeks, its title-track will be unveiled. The Australian-raised artist talks about themes that inspired the E.P. and how she got into music; which albums are important to her and why she idolises artists such as Michael Jackson.

I ask what advice she would give to artists coming through and whether she has a favourite musical memory; what she hopes to achieve by the end of the year; if she gets time to chill away from music – she selects a great song to end the interview with.

____________

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

Hi, guys! My week has been amazing, thank you! I just recently had a single release party in my hometown of Adelaide, Australia. It was such a special night finally being able to share everything I've been working on with my family and friends who have been there from the get-go. It's all very real now. I’m preparing for the release of my first single, Home, next month and I couldn't be more excited.

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

I'm an R&B singer/songwriter of Middle Eastern descent, born and raised in Australia. My name, Zjál, is actually an Arabic word which describes the ancient Lebanese art of poetry slam. I love to be lyrically meaningful in what I do because I appreciate anything of substance and love to contribute a sort of ‘essence’ in my music. Everything I write is close to my heart or born out of experience or something I’ve witnessed.

I have been building this dream for years working under my previous name ‘Yasmine Amari’ but recently underwent a rebranding and a rebirth discovering my voice and realizing my current sound. My musical style, which has emerged in the last few years, is something I’m really proud to share. Music is about connection, for me, and I hope it reaches people on a deeper level.

Home is your debut E.P. What sort of themes inspired the songs? Do you have a standout cut from the E.P.?

My standout track would be my first single, Home. There is something about it that just hits the right spot, not only for me but with everyone who has heard it thus far. There is a variation of themes throughout my E.P.: I love to mix it up and have a bit of everything. There are some soulful tracks on the ‘love’ theme. Then, I have some more upbeat Hip-Hop feels which showcase my sassy side and attitude.

There are also some more cheeky and fun vibes. I've honestly been through a range of emotions in the last few years which I’ve incorporated into this E.P. All the smiles, tears; struggles, victories in discovering my worth, falling in love; moving from place to place and finding my purpose. It’s the first time allowing myself to be this transparent and bravely expose my sensuality. This is only the beginning.

I get the impression poetry and Hip-Hop’s use of language, in addition to Pop and Soul, is important to you. Would that be a fair assumption?

Yes: that is a perfect assumption. I admire the art of poetry and I respect Rap just as equally when used in the form of poetry and storytelling as it originated. I appreciate learning and connecting through music and lyrics. I'm more likely to be listening to music with meaning because I’m someone who yearns for depth. I’m an old soul and feel as though, if something isn’t stimulating me emotionally, then it’s not really for me. I believe life is about sharing and using art as a form of elevation. I am someone who longs for authenticity and honesty so when I need to express myself or want to feel connected I’ll most likely pump some music and let my pen move freely. 

You were born in Australia but spend a lot of time in London. What compelled the move to the U.K.?!

My heart is the boss of me…I do what she tells me.

I was at a point in my life where I was in transition, I felt stagnant; I felt suffocated. I had to let go of everything which was no longer serving me and needed to just be free for a while. I wanted to take a risk. I had always felt a connection to the U.K. since I was a child so my heart led the way and I followed it.

To me, it just felt like a new beginning; somewhere I felt like I could build my new foundation, so I decided to stay. I’m a traveller by nature. I love immersing myself in new cultures, new places/experiences and I feel travelling goes hand in hand with my creativity. It brings out a passionate side of me and inspires my music and writing. Looking back now, moving to another country on my own was a bold move, but I am extremely proud of it. 

Which artists compelled you growing up? What sort of music were you raised on?

I was raised on mostly Rock music growing up so I have a great appreciation for it. My parents listened to a lot of '80s American and Australian rock which has rubbed off on me in ways but, when I first saw Michael Jackson, I was utterly mesmerized. He pretty much took over my speakers from the moment I heard him sing. Then it wasn’t until around high-school that my love for R&B and Hip-Hop emerged - Lauryn Hill, Tupac and Erykah Badu. I love being open to all styles of music as long as it reaches me on some level. 

Do you recall when you got into music? Was there a time or moment when you knew you had to chase it?

To be honest, I can't seem to recall a single moment where it just hit me because I’ve always been so innately drawn to music. Every time I lose focus, I return to the understanding that I can’t see myself doing anything else. It’s strange…it wasn’t until I joined the school choir, when I was about seven or eight, and we sung Heal the World by M.J. that I became the instigator of dance performances and singing groups with my friends. I'd organize performances in assembly for no reason at all and my teachers would just allow it! 

As a child, I was always singing and dancing but then, as I got older, I became really shy and introverted. There was a phase where I wouldn’t sing in front of anyone by myself…then, it was in high-school that I worked through the shyness and became a lead singer in the school band. When I realised people’s positive reactions to me singing, I was shocked into confidence and that’s when I started feeling as though I could actually build a career out of this and I have not stopped since. 

Which three albums mean the most to you would you say (and why)? 

This is one of the hardest questions ever! It always changes but, for right now...

Lauryn Hill - Miseducation of Lauryn Hill

It would definitely be one of them. Lyrically, she expresses EVERYTHING that I’ve always wanted to say. It’s the closest lyrically to what I express in my poetry. 

Tupac - Greatest Hits

I mean…this was on-repeat throughout my life. He’s such a special truthful and authentic soul; I connect with him on so many levels. 

Michael Jackson - Thriller

Of course! Choosing one M.J. album is torture - because I’m in love with every single one.

What do you hope to achieve by the end of 2018?

I hope to continue to build a loyal following and reach people across the globe. I'm really looking forward to promoting my E.P. and furthering my career. I hope my music is received well. I’d also love to be travelling and performing.

Have you got a favourite memory from your time in music so far – the one that sticks in the mind?

My favorite memory so far would be being nominated for an Australian Independent Music Award in Sydney a few years ago. I knew that was just the beginning of amazing things to come. Being one of two women in the Urban category was an unforgettable moment! Walking the red carpet that day brought a sense of pride, especially being an independent artist. I'm focused on making many more memories like that and much bigger. 

If you could support any musician alive today, who would you choose?

The legendary, beautiful and powerful Janet Jackson. She is someone who has maintained the longevity any artist would dream of. No limitations, brave heart and soul. I love her.

How important is it being on stage and playing? Is it possible to describe the emotions you feel when connecting with fans in the audience?

Live music is healing. I believe it’s one of the most important things as an artist. For me, it's all about a vibe and connection. When I get onstage, it unleashes parts of myself which I would usually keep reserved. It’s my ‘high’ since I don’t drink or take any mind-altering substances. For me, being on stage and expressing myself authentically is my freedom...my euphoria.

I get overwhelmed with gratitude for being able to live my dream and have people appreciate it…but it is also the place where I feel I’m completely in control. That is priceless. 

What advice would you give to new artists coming through?

Don’t ever feel like you need to be more than who you actually are to be unique. Everyone seems to try so hard to stand out but when you are authentic in who you are all you have to do is show up.

Always trust your own intuition above all! Never allow anyone to tell you how things have to be done: always listen to your instincts. If it doesn’t feel right, it’s not. Allow time to build a solid foundation. Define your purpose. For me, this is not about fast fame, it’s about longevity. Trends aren't necessarily always healthy, so always do what you believe is right regardless of what everyone else is doing and don’t compare yourself to anyone. Ever. And know how amazing you are.

IN THIS PHOTO: Russ/PHOTO CREDIT: Instagram

Are there any new artists you recommend we check out?

These guys have been grinding for a while but, at the moment, I'm bumping: Russ, Gallant; Raury. Oh, and I love Sabrina Claudio. Loving their lyrics and they are all really unique and genuine.

IN THIS PHOTO: Sabrina Claudio

Do you get much time to chill away from music? How do you unwind?

I make sure to get enough ‘me time’ because, if I’m not good, nothing else will be either. I can turn into a savage otherwise! I do a lot of winding down. Things that might not seem ‘fun’ to many people but are necessary for my wellbeing. Meditation and alone time is a necessity for me; after all the energy, adrenaline and excitement of traveling performing and meeting people...my favorite thing to do is be alone. I lavishly indulge in anything which makes me feel relaxed and balanced: good food, long baths; candles, incense.

Sometimes, I need absolute silence and won’t even listen to music. It's crazy. I like watching films to take my mind off of life and I love immersing myself in nature. And, when I've had my time to center and reground myself, I love being with those that I love.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Thanks so much for having me, guys! Right now, I'm feeling: Killem with Kindness - Dizzy Wright

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Follow Zjál

Facebook:

https://www.facebook.com/zjalofficial/

Instagram:

https://www.instagram.com/zjalofficial/

INTERVIEW: Delroy Matty

INTERVIEW:

Delroy Matty

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IT is rare I get to chat with a photographer…

so it has been nice to chill with Delroy Matty as he talks about his career and highlights. I ask how he got started in photography and what advice he would give to those wanting to follow his footsteps; which musicians he recommends we check out – he reveals what he wants to achieve by the end of this year.

The photographer gives insight into his process and equipment he uses; what it was like hearing French Montana wanted to use one of his shots in his collection; whether Delroy Matty gets a chance to chill away from photography – I ask him how he feels British Rap and Grime are faring right now.   

____________

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

All good, thanks. Just got back from Germany; I was on tour with Chase & Status.

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

Yes. My name is Delroy; I’m a photographer, DM Official Photographer - or others will know me as ‘DMOP’ which stands for 'Delroy Matty Official Photographer'.

Many might recognise your photos of Rap artists. How did you get into music photography?

It started in around 2002 when I first bought my first Sony Handycam DCR-PC5E Mini DV Camcorder from the Loot paper. It was a paper where you could buy local, used items - it was like Gumtree. It could record and take stills. I also had an Olympus C-920 ZOOM camera, 1.3 megapixels. To put it into context, my iPhone 7 is 12.0 megapixels. I started filming and taking photos of local M.C.s rapping in my area like Wiley, Dizzee Rascal; Tinchy Stryder,  Sir Spyro etc. that have now gone on to have successful careers in music.

I had a friend, Roony ‘Risky Roads’, that also use to film around that time. In 2006, I went to college to study Photography but soon realised, after finishing college, that there was not a big demand for photographs so I went and got a job in retail. In 2014, I went back to college for two years to brush up on photography and get back up to speed…which brings me up to now. I have worked with French Montana, Post Malone; MoStack, Hardy Caprio; Sir Spyro, Adidas London; Arsenal FC, Nike Footasylum; BBC 1Xtra, Hector Bellerin of Arsenal; Not3s, DJ target; Laughta, Paigey Cakey etc.

Is there a shot or gig that defines your work would you say?

Yes. French Montana, Post Malone and Lil Uzi Vert at Wireless Festival 2018 - showing the world the best moments from an artist on and off stage.

Some claim, because of technology, music photographers are less sought-after. Would you say, in fact, the industry has a huge demand for great photographers?! How has the business changed over the past decade? 

In my opinion, I would stay the technology is what has saved photography and I say this because of technology such as Instagram (also, The Dots allows you to show the world your work). I find there is a big demand for photographers: I can only base this on my experience I’ve had. I get contacted by music artists, record labels; brands etc. every week and this reflects in my work that I post.

Rap and British Grime seem to be in the background at the moment. Do you think, given the political times and tensions abound, their voice and place in the forefront is just around the corner?!

I believe that British Rap and British Grime have now set a precedent and it has gone from strength to strength and I love seeing this. What British Rap and British Grime have done is unprecedented: we now have American artists playing British Rap and British Grime music (and working with British Rap and British Grime artists) and this is amazing and a real game-changer.

Is it expensive taking up photograpy and making a go of it?

No, it’s not expensive. You can even start out on your phone, i.e. iPhone or Smartphone. I would say learn photo composition and the rule of thirds - there are lots of videos on YouTube this will help instantly.

One of my biggest gripes is artists without good photos. Do you think great music relies on striking visuals? How many words, in fact, can a picture/photo say?!

Photos and visuals are so, so important as it helps people to recognise you, the artist or the brand. Look. If there was a shelf with two rows of Coca-Cola; one row had the Coca-Cola branding on the can and the other row was still Coca-Cola but had nothing on the can; what one would you pick up? It would be the one with the visual because you know what to expect inside the can but both rows were Coca-Cola but the one with the better image looked more appealing. So, yes, image and visuals very important.

How did it feel to see French Montana and Lil Uzi Vert add your snaps to their collection?

I was really happy to see they both liked what I’d done and it was a really nice thing for them to do. When I spoke to French Montana after the show, he said he really liked the photos and wanted to post them.

What do you hope to achieve by the end of 2018?

To inspire others that want to get into photography or become creative. 

Have you got a favourite memory from your time in music – the one that sticks in the mind?

On tour with Chase and Status in Germany and the Reebok shoot I did for them out there in Germany. They are amazing guys and have a great team.

Which three albums mean the most to you would you say (and why)?

I don’t have favourite albums: more books such as The Power of Now, The Third Circle Theory and Beyond the Lens.

What advice would you give to anyone wanting to follow in your footsteps?

Stay focused and practice, practice, practice. Don’t be afraid to work for free when starting to get content out there and, remember, people won’t pay for a service if they can’t see what you have done so good content is key.

 IN THIS PHOTO: Litty Lightz

Are there any new artists you recommend we check out?

Litty Lightz, Laughta; Vital and D Dark.

 IN THIS PHOTO: Laughta

Do you get much time to chill away from photography? How do you unwind?

I don’t get that much time chill at the moment but I like to read books and just chill with friends.

Finally, and for being a good sport; you can choose a song and I’ll play it here.

(Laughs) Surprise me...

____________

Follow Delroy Matty

 Facebook:

https://www.facebook.com/Delroy-Matty-Photography-2142102449395939/

Instagram:

https://www.instagram.com/dm_o_p/

TRACK REVIEW: DXTA - Going Home

TRACK REVIEW:

 

DXTA

PHOTOS: Ashley Walsh

Going Home

9.5/10

SINGLE ARTWORK: Alice Bradley

The track, Going Home, is available via:

https://www.youtube.com/watch?v=SA-fdg6l9UI

GENRES:

Alternative-Rock; Dream-Rock

ORIGIN:

Portsmouth, U.K.

RELEASE DATE:

16th July, 2018

_________

I get to look at slightly different subjects…

when thinking about DXTA. I have been following Dexter Krenal, whose solo project it is, and what he is putting out into the world. It has been a long road for him and he has gone through a lot but, right now, there is a lot to get excited about. Before I talk about the music and what is going on in his camp right now, I want to look at homelessness and sleeping rough; sounds that have a Punk flair and real personality to them; keeping going in the face of adversity and struggle; the world-famous Abbey Road Studios and artists whose music makes their way there; where DXTA can go from here – I will also have a quick look at artists who can change from being in a band to going solo and make things work. What strikes me about Krenal is how he has managed to come through some really bleak days and make things work out. It may seem odd to talk about homelessness in a music review but it is something I have spoken about before. I know a few musicians who are homeless and others who are sleeping rough right now. It is hard for many of us to imagine what they are going through and how hard their lives are. One might think Krenal would be thinking of anything but music when he was on the streets. The determination he had to get through the darkness and back on his feet can be heard in his sounds. Survival was key but there was always something working in the back of his mind that knew everything would be okay. In his new project, Krenal is joined by Rob Walsh on guitar, James Ford on bass and Kristian Driver on drums. It is a nice unit but one he might not have imagined would take shape. I predict big things will happen for DXTA and there will be much success coming their way. With Dexter Krenal as the lead and figurehead; it is going to be an interesting next few months.

It seems like music can provide a great platform to help the homeless and raise awareness. You only have to look at big cities like London and Manchester to see how prevalent the issue of homelessness is. I have just come back from Manchester and detected so many rough sleepers – something that is hard to see and cope with. I think the issue is getting more pronounced and things are pretty bad. Music can provide an outlet for those who are on the street. Not only is it a way of earning money but it is a source of creativity and channelling thoughts. I noticed a few homeless people in Manchester who played guitar and it seemed, to me, to provide some solace and guidance. I am simplifying things but I feel music has the power to pull us from the depths and give us some sort of direction. In the case of Krenal; he was sleeping rough in London and suffered drug and alcohol issues. He sought refuge in his hometown of Portsmouth and is was a challenging time for him. I met Krenal when he played a gig for me as part of his old band, Meat Loving Vegans. From that time until now, things have taken a turn and it might have seemed like he would not record any music again. Musicians are an important platform for raising awareness about subjects like mental-health issues and homelessness; struggles with addiction and political issues. I know Krenal has a powerful sound and, given his situation, I hope he unites with a homeless charity and helps get the word out regarding the plight of rough sleepers. He is not completely out of the woods but one hopes his worst days are behind him. In any case; it is a brighter route forward and music is keeping Krenal focused and moving ahead. I think a lot of the past experiences and torment he has faced goes into his current movements.

There is a lot of great music out there but I feel like something is missing. I mention bands like IDLES and Shame a lot because they produce great music but they have the swagger and sense of rebelliousness that you can hear in the classic Punk bands. Krenal’s previous incarnation had more spit and knuckles but DXTA has that distinct accent working away. There is no faking things with the frontman: he is an authentic bloke and does not disguise his voice to fit in with the market. If you had to compare his voice with anyone then I guess there is a bit of MGMT about it. It is a faint hint but it is there. In any case, there are few you can link him to. I feel artists lack a sense of authenticity and unique energy; we are missing bands who put the spark back into music and get into the ears. I am interested to see how Krenal’s project evolves and whether more material is coming out. I have been following Krenal, as I say, for a long time and know what he is capable of. As a stage performer, there is ample explosion and guts from the man. I love those artists who can put in a hellacious show and throw themselves into the crowd. That tactic might not work too well if you are playing at a Jazz club or in a coffee shop but for Krenal, and where he is used to playing, he vibes from the energy of the crowd. All of that intuition and physicality goes into the music. One hears plenty of heart and soul in the sounds and you feel a real bond with the singer. He is someone who has carried a lot of weight and, rather than let it bury him, channels that into incredible music. I will move on to another subject in a bit but feel it is important to keep on the topic of the music scene.

MODEL DESIGN: Alice Bradley

Look around the mainstream and there is little place for the older Punk sounds or something with classic edges. A few great Pop artists are emerging and it is good to see changing tastes but I do worry we have come too far to see a revival of the golden days. Maybe it is a class thing: the working-class musicians always struggle and not accessible to the big leagues. I am annoyed we have a situation where hungry and exceptional artists are being denied and things are set up for a particular kind of music. I long to see bands and artists who tell it like it is and win you with their ego-less persona. You get a lot of calculated discussion and songs when it comes to the mainstream. Look at what is being said and delivered right now and you have to ask how much freedom and flexibility there is. Many of us can identify with the music being put out at the moment but do you often take the time to explore the artist behind the sounds? Dexter Krenal is an intriguing figure who has an interesting story and has a bright future. There is nothing to suggest DXTA cannot be a big force in music but I ask myself how long it will take them. It seems the mainstream is less established to accommodate those with real talent and voice: you still have too many commercial artists that are winning a lot more focus than they should. I know DXTA will release more material and gig but, on sheer quality alone, I feel something good needs to happen now. You can hear that intent and know how much music means to them. With Krenal as lead and guiding voice, I feel there will be a lot of deep and interesting songs that go beyond the ordinary and love-based – a look at gritty sides of life and social observations. We can never get bored of artists who reflect reality and shine a light on what is not being said. For that reason, I feel DXTA are worthy of big love.

Not only do you get a bit of attitude and plenty of authenticity with DXTA but you have a central message that urges people to keep going strong and to hold on. Whether it is the depths of mental illness or addiction; sleeping rough or having a broken heart – Krenal is keen to show things can turn around and work out okay. It is all well and good saying things will be right but it is harder to believe. How powerful are words when they cannot transpose your situation and act as a magical fix?! I feel music holds the potential to change lives and change the world. Maybe it takes a lot of luck and community but, as we are more aware of social issues and big problems, social media acts as a great tool to unite and inspire. In the case of DXTA’s track, Going Home, there is a light at the end of the tunnel many of us can follow. Things have been tough for the lead but he is resolved to stay on a smoother course and see it through. Music is a therapy and safe drug for Krenal and an addiction that is a lot more healthy and secure than anything he has previously tried. I hope there are no relapses because, right now, he is in great form and keeping his spirits high. Listen to the latest track from DTXA and you feel a sense of the personal and revealing but there is a wider message to the people out there. Music should not solely be about sending big messages into the world but, if you have that platform, then it shouldn’t be about love and what is going on in your own life. I feel too many artists squander what music can do and do not explore bigger subjects. Maybe that is a sense of fear – commercial loss and people not responding – but so many of us are going through dark times.

Look at what is coming from DXTA right now and you hear a young man who knows the pains of isolation and fear and having to live on the streets. I can only imagine how his world fell apart and what he had to endure before finding his feet. I am not sure what the catalyst for the reckless behaviour was but, to me, it is a complex sense of events tied to a general frustration in professional and personal life. I hope there is more music to come from him that looks at his experiences and how he has managed to turn a corner. Even if those songs speak to one person and help them then it has been worthwhile and means music is doing what it should do – go beyond the speakers and connect with people. I feel too many artists are struggling to create something memorable and, in a market that is growing larger, that is going to continue. If they change tack and start reflecting something more substantial and meaningful then I feel music could really inspire and get into the mind. It should be more than just sound: artists need to project messages that are deeper and go past the cliché. Krenal is someone who can mix the familiar with the personal but turn the lyrics outwards and allow the listener to extrapolate whatever they need. The most powerful hit will be when he comes to perform songs like Going Home and how they resonate from the stage. With his band in tow and the ammunition inside of him; I feel he will get a great reception and go down a storm. Krenal has worked as a session musician and played the Reading and Leeds Festival with Misty Miller; he has worked with other bands and had plenty of experience. I know there will be a lot of gig chances for DXTA – and a chance for the people to connect with that incredible music.

It is not often an artist or song gets to Abbey Road Studios. Some are lucky enough to record there and be within touching distance of where The Beatles recorded their greatest sounds. I have never been there but really want to. I can only imagine how powerful and emotional it is walking through the doors and being in that stage. In the case of DXTA, the music was mastered there and you can hear the quality come through. That professional and legendary handling makes Going Home sparkle and pop. You can smell the studio and feel its blood running through the body of the song. I hope DXTA get a chance to play there and record an E.P. at those studios. It is a good start to have their music mastered at Abbey Road Studios and they can capitalise on that in the future. The latest song was recorded and produced at their guitarist’s studio down in Gosport. In a way, the song has taken a reversal role to Dexter Krenal. The man himself is based near Portsmouth and had his start in London. His song started life in Gosport but has been perfected and housed in London. I will talk a bit about Going Home’s video when I get to the song but there is a lot going on with DXTA. Even though there is not a big budget, you are attracted to the visuals and a song that gets right under the skin. Looking ahead and I wonder whether there will be another song before the end of the year. I have predicted a bright future for DXTA and I feel the momentum from the current single will lead to more releases. There is nothing to suggest Krenal and his band cannot take to some big stages and play the festivals. It is a bit late this year but I know next year will be an eventful one for them. We all want to bond with an artist or band that goes beyond the familiar and stays in the mind.

There is a lot of sound, momentum and energy that opens Going Home. There is a clash of drums and upbeat guitars; it has a 1960s feel and there is a jollity that mixes with the edginess. You are instantly connected to the song and compelled to move. As the whirling and cheery organ plays – forgive me if it is a different instrument – you hear Krenal come to the microphone and have his say. I can hear shades of bands like The Small Faces and there is a definite nod to past masters. What excites me is the unique voice of Krenal and how his personality reigns. He says, quite clearly, how he does not get along with anyone and seems to have that anti-social edge. The hero is afraid of dying – although he doesn’t know why – and he seems to be running from something. The song’s video sees Krenal rob a shop and gets away with a bag of cash. He points the gun at the owner and makes off with the stash. The symbolism and story of the video – the lead shooting a man who he bumps into whilst evading capture; nods to desolation and disconnection – make me think the song is a sign of desperation from a man who is making ends meet in nefarious ways and getting really scared. Mortality plays a big part and Krenal wonders why he feels fearful of his future. The composition has an amazing quality that matches frivolity and youthful energy with something more disciplined and dark. The excitement and electricity continue and you are following the plight of the hero. Things are surreal and the man cannot believe what is happening. Maybe it is a commentary on his situation and living on the streets or a look back at his past and the way his life has panned out. Going Home boasts that strong lead vocal that constantly questions, campaigns and strikes. Once or twice the vocal gets lost in the mix but, for the most part, it is clear and revealing.

I am impressed Krenal and DXTA did not go for an all-out assault regarding the composition. Maybe that was the first option but I feel the song is more potent given a sense of melody and optimism. I have mentioned a particular decade and band but, to be honest, there is so much working away. You get a fusion of decades and ideas that never seem to be distant and alien: it all hangs together and takes the song in different directions. The video follows the hero as he boards a train and heads home. His mate picks him up and they divide the money stolen and go their separate ways. All the while, the hero is being traced and tracked by police and there is that sense that he will be captured. The hero ends up being cornered and meeting his end and it seems to be a metaphor for walls closing in and being unable to run from the darkness. I know Krenal is in a better place now but I feel Going Home is a sign not to take desperate measures and find a way out of problems that involve criminality and risk. Maybe it is a wake-up call for him but, to many, it will ring true. I am one of those people who question what I am doing and whether it is the right thing. We can all get into the places where we feel trapped and not sure whether we should move or remain. Dexter Krenal has come a long way and he knows more than anyone what it takes to get clean and safe. Going Home is the sound of a man coming to terms with reality and making better decisions. I love how the band fuses together and the composition created. It is addictive and memorable and you will find yourself coming back again to discover new things. The song is a good sign of what the group/Krenal can achieve and what they can offer music. I would love to hear more material and am pumped to see where they head next. Maybe the sound will take a different slant but I feel there is a chemistry and formula in place already that is already established and solid. I can imagine Going Home going down a storm in the live setting and more gigs will come off the back of that. Make sure you investigate DXTA and follow what comes next – you will not want to miss it!

I have taken some time out to look at Going Home and what makes DXTA tick. This is a new project but one that has legs and big potential. Make sure you listen to the current track and see how far Dexter Krenal has come. I feel there are more singles coming and it will be interesting to see what sort of direction they take. In terms of sound; maybe it will mix some of Meat Loving Vegans’ sound and go in a more snarling direction. I feel Krenal can balance the rowdy and romantic and create his own identity. Right now, he has fused together a great sound that makes you come back time and time again. What gets to me is how he has managed to transition from painful and hard times and come through it. Maybe he is not completely free of his demons but the worst is out of the way, one hopes. Going Home has a personal origin but it is a mandate to people out there to keep going and stay strong. I will follow DXTA and what comes next and I feel there will be gigs coming up. I am not sure of the exact plan for the rest of the year but keep involved with the social media pages of DXTA and find what is coming up. I am impressed there are a lot of good photos available and the music is available across a number of sites. A lot of artists have a very vague platform and layout and their social media pages are weak. Maybe it is photos missing or they have very little information; they might be absent from some sites and it can be frustrating. It is important the music is strong and it gets into the brain. I find marketing and being visible is a crucial tool when it comes to standing out and capturing attention. If you have great music and know where you want to go then that is great but it is important, at a competitive time, to consider social media.

DXTA do/does it very well and it is pleasing to see. I would love to see them play and see how far Dexter Krenal has come. He has been through a lot of crap and there would have been points where he felt resigned and defeated. Coming from the streets and overcoming the black hole he was in is impressive but maybe he has a long way to go. It is never easy to get rid of addiction and ensure it does not come back into your life. I feel music is a very solid ground for him and something he can use to stay out of trouble and keep focused. A sense of optimism will come when the music starts to spread and more people share it. That has started already and I know it will continue as we head to the end of the year. Let’s all get behind DXTA and discover an exciting venture. The music reminds me a bit of the great Punk bands and, no matter what your tastes, it is impossible to deny the potency and wonder coming from the speaker. I have been a fan of Krenal for a long time now and it is great to see how his sound has shifted and shaped itself. I hope the success and determination continues and, in time, DXTA is allowed a passage to the mainstream. We are seeing bands like IDLES speaking about important things like masculinity and mental-health and it is striking much harder than a lot of what is coming from music. Maybe it can get a bit familiar and tired after a while but, if an artist can mix important subjects with something more familiar then that is a good blend. I am hopeful big success will come the way of DXTA and new songs will come. I am not sure what form the material will take but I feel the sound will get bigger and more ambitious. It is exciting to see the songwriter and lead grow and gain new traction. He has made his way from the streets and is in a position where he can inspire and grow. I hope the rise continues and DXTA is a name, soon enough, many of us…

WILL be familiar with.

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Follow DXTA

Twitter:

https://twitter.com/dxtamusic

Facebook:

https://www.facebook.com/dxtamusic

Instagram:

https://www.youtube.com/channel/UCYLjfA7T5pQCs8S613GJyyA

Spotify:

https://open.spotify.com/artist/0o4ThJSlWk0GZpSMxhWaLf?si=CE0mBradTF-LGZDh5Ts_xg

YouTube:

https://www.youtube.com/channel/UCYLjfA7T5pQCs8S613GJyyA

SoundCloud:

https://soundcloud.com/dxta

Bandcamp:

https://dxta.bandcamp.com/

FEATURE: The Benefits of Skipping Class: The Miseducation of Lauryn Hill at Twenty: An Album That Shows How Much We Need the Icon Back in Music

FEATURE:

 

 

The Benefits of Skipping Class

IN THIS PHOTO: Lauryn Hill photographed in New York City (1998)/PHOTO CREDIT: Anthony Barboza/Getty Images

The Miseducation of Lauryn Hill at Twenty: An Album That Shows How Much We Need the Icon Back in Music

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I have not long put my fingers down…

IMAGE CREDIT: Getty Images

from writing about another legendary artist who only released one solo studio album (Jeff Buckley, Grace) before I come to another! Grace has just passed twenty-four but, today, we celebrate Lauryn Hill’s The Miseducation of Lauryn Hill turning twenty! I am not sure what is happening in Hill’s camp but, through recent years, she has been involved in legal problems and occasional appearances. It is a sad day today: Aaliyah, a celebrated American artist, died seventeen years ago today. As I mourn the loss of a great and innovative talent; I have been looking at a brilliant, decade-owning album that managed to elevate Lauryn Hill from Fugees member to a standalone star. Forty-three-year-old Hill has been in the worldwide media for the wrong reasons the last couple of years. I wonder whether there is music brewing and we will ever see a follow-up to her 1998 gem. I recall buying the album and excitedly headed down to the record shop to snap up something I have worn to death. Back when we discussed music and shared albums; The Miseducation of Lauryn Hill was a revelation and profound earthquake in my circle. I had experience of music from black American music but had not experienced anything like Hill’s magnum opus. The incredible passion and command throughout the album blew me away; the way she switched from fighting and primed to tender and revealing was like nothing I had experienced before.

IMAGE CREDIT: The Ringer

The fourteen-track record documents social injustice and the plight of the black population in America; personal strife and romantic distress; emancipation and liberation in the face of repression and judgement. One gets history and sociology; politics, feminism and civil rights in an album that never judges and pushes people away. It involves listeners of all races and classes and captivates you with its moods and incredible dynamics. There are interstitial fragments of a classroom – the opening gambit sees Hill absent from the role-call – and it is a nice narrative and hook that gives the album a real sense of immediacy and response. In a way, it is a concept album but not one that is stiff and off-putting. When I was in school (in 1998) I was hanging with other kids my age (fourteen/fifteen) and we were chatting about the best cuts from the record and quoting lines. My instant favourites were Doo Wop (That Thing) and Everything Is Everything but, in recent years, I have started to embrace Lost Ones and Final Hour.  Although there have been lawsuits and accreditation issues regarding The Miseducation of Lauryn Hill – the songwriter working with other musicians but not giving them propers – we cut that aside and revel in an album that is Lauryn Hill taking charge and setting a bar. She opened doors for many black musicians and left a huge legacy.

Hill became a media icon and was adorning the cover of magazines around the world. It was rare in 1998 to have a black female being proffered and celebrated – it is weird and alien today in many ways! Hill helped assimilate Hip-Hop into the mainstream and provide a female bent. Her debut solo album brought Soul (1970s) to the fore and pushed boundaries. It is a sloppy listen but its lack of technical perfection is its masterstroke: the freedom and easy nature mean it is more accessible than you’d imagine. Hill’s delivery is flawless and she has inspired legions of musicians. I will continue to offer my thoughts and perspectives but, as it turns twenty, The Miseducation of Lauryn Hill has been receiving tributes from the worldwide media. Kuba Shand-Baptiste, writing in The Independent, shared her experiences and love of Lauryn Hill:

“Gifting the world ageless, raw anthems, and endearing skits about life, love and spirituality, The Miseducation spoke with an honesty that only a select few in mainstream R&B could indulge in at the time”.

The author went on to look at Hill’s recent output: a yearning to record new material but a reputation that is synonymous with tardiness, controversy and an all-too-brief Fugees reunion. She says, in spite of that, The Miseducation of Lauryn Hill is being utilised and resonating with modern artists:

“…That aside, The Miseducation has had a rebirth of sorts this year. “Ex-Factor” was sampled twice – in Cardi B’s “Be Careful” and Drake’s hit feminist-lite anthem “Nice For What” – renewing conversations about the lasting legacy of the 1998 album…There’s a reason that this album refuses to fade into the background. So groundbreaking was it, with its penchant for infusing social commentary with R&B, soul and hip-hop beats, that you could argue that Lauryn’s The Miseducation, like Erykah Badu’s Baduizm the previous year, was one of a small selection of albums responsible for changing the face of soul and R&B as we know it”.

“Her voice, just as powerful as it was sweet, soared on every track on the album. “Nothing Even Matters”, a timeless, honey-dipped duet with D’Angelo, could have easily faded into the background had it been sung by someone else. Miss Hill’s vocals, pained yet understated, transformed it into something much more”.

USA Today were among the thanksgiving that concentrated on different aspects of the album’s brilliance/birth:

“…And, beyond its numerical success, “Miseducation” is a true expression of artistic greatness. Interestingly enough, the two songs from Drake and Cardi B, which serendipitously sent Hill’s music back to the top of the charts, both channel one of the album’s most compelling narratives -- the power and pain of womanhood. Released when she was just 23, “Miseducation” was famously recorded amid several defining events in Hill’s life -- her pregnancy and birth of her first child, the dissolution of the Fugees and her breakup with former bandmate Wyclef Jean -- that provided emotionally fertile conditions for her to record a classic.

In particular, Hill credited her pregnancy for giving life to this period of creativity. “When some women are pregnant, their hair and their nails grow, but for me it was my mind and ability to create,” she told Ebony in 1998. “I had the desire to write in a capacity that I hadn't done in a while. I don't know if it's a hormonal or emotional thing ... I was very in touch with my feelings at the time".

 

TIME looked at the album’s twentieth and how it exceeded all expectations. One would think Hill, stepping away from a successful band like the Fugees, would bury herself behind a team of producers and writers; play it safe and bring in a raft of collaborators! Instead, she demanded to be paid for every interview around the album’s promotion and was not going to be guided. She fought against control and bad decisions; stood out as this raw and defiant personality who was taking no sh*t and wanted to be remembered. TIME looked at the record and how the creator created change and conversation:

“The album bends expectations in other ways, too. On the masterful “Doo Wop (That Thing)” — which debuted at No. 1 on the Billboard Hot 100 in 1998 and won two Grammy awards the following year — Hill’s gaze is broad, and she cautions men and women against being exploited for sex and money. “Guys, you know you’d better watch out / Some girls, some girls are only about / That thing, that thing, that thing,” she sings on the tinny piano-backed hook. But also: “Girls, you know you’d better watch out / Some guys, some guys are only about / That thing, that thing, that thing.” Meanwhile, the strings-heavy “Everything Is Everything” is arguably a love letter to black communities and a meditation on injustice: “It seems we lose the game / Before we even start to play / Who made these rules?” Hill asks, extending a revolutionary sort of affection”.

PHOTO CREDIT: Getty Images

One can say this – the sassiness and boldness – was a media campaign and a publicity trick. It was not at all: Hill was on her own and not willing to be dictated to and have her material changed. Here is an artist who was speaking about women’s rights and race; she was discussing heavy topics and, in an industry that sees labels and managers control and dictate; Hill was not going to let this happen. TIME looked at other effects and ways in which Hill stood out:

“In this light, one thing that makes Hill stand out is how boldly she’s sought to take to task the very system that catapulted her to international stardom in the ’90s. In the past, for instance, she’s refused to give interviews without being paid for them, and once reportedly demanded $10,000 to participate in a cover story for Oneworld magazine. While some may see this behavior as excessive, you could argue that, for Hill, it was a show of power — or at least a means of trying to reclaim power from a system with a history of nickel-and-diming black artists. (This seems to be why Aretha Franklin often brought her payment-filled purse on stage with her, within eyesight.) Even something as outwardly bizarre and eye-roll inducing as Hill’s insistence on being called “Ms. Lauryn Hill” (her artist page on Spotify is listed as such) reasonably has meaning: It’s a way for her to command respect for herself when others fail to deliver it, and to do so specifically in an arena in which the status of female artists and rappers always appears to be up for debate — something Nicki Minajhas pointed out in recent years. The New Yorker’s Doreen St. Félix got it exactly right when she wrote earlier this year, “I resist the narrative that Hill is crazy or lost — that she has failed because she has chosen not to participate in” — or, I’d add, has chosen to subvert — “that which causes her strain”.

Many are stating how, in 1998, The Miseducation of Lauryn Hill was a dynamite that shook things up and opened eyes! In terms of women’s rights and racial tensions; one can argue we have gone backwards and not really made progress. There are fantastic black artists making changes and speaking loud but they are in a minority and there is a huge struggle ahead – so much inequality and a long way to go. Lauryn Hill’s incredible debut demands a follow-up. I wonder whether we will see that because, at a stressful and divided time, she is this endlessly-inspiring voice that could create some order and inspiration. Maybe it is the fact Hill has not followed up on her success and promise that creates the biggest impression. There is a chance a follow-up can be disappointing or take something away from her debut; maybe it will be ill-judged and lack any real bite. In any case; we have this incredible album that desires a brother or sister. Maybe, as The Ringer investigates, Hill’s age and youthful vigour might have inspired the album’s direction and quality:

“When an artist makes such a massively successful, groundbreaking, and format-defining work at a precocious age—think Mary Shelley writing Frankenstein at 20 or Orson Welles directing Citizen Kane at 25—it usually inspires the less precocious members of its audience (so roughly, everyone) to feel some combination of adoration and human inferiority: What were you doing with your life when you were 20, or 25, or 23? But maybe, too, there is something inherently youthful and thus reassuringly communal about such be-all-and-end-all swings for the moon. And so I like to temper this vision of an inhumanly precocious Lauryn Hill with the more human hubris of youth. “Lucky for us, like everyone in their twenties,” writes Kierna Mayo, the woman who famously put Hill on the cover of the preview issue of Honey magazine, “Hill imagined herself wiser than she really was”.

The piece also looked at modern black icons and the confidence of the contemporary female best. These are words I can get behind:

“The lesson is particularly resonant right now, this year. On social media, hyperbolic god-and-goddess worship of celebrities runs rampant. Queen Bey exists in a place so far above censure that SNL parodied what happens when a person suggests that something she’s done is anything less than great. Nicki Minaj, who is currently promoting an album called Queen, has been lashing out at anyone who dares question her greatness, sometimes sending her fan base to do her bidding and other times attacking constructive critics herself. But I was reminded reading Morgan’s book that criticism at its most measured and thoughtful can be an act of love, an act of seeing another person’s humanity and his or her potential for growth. Maybe this is what Hill needed—after all, Lauryn is only human. Perhaps that is how she should have been seen all along”.

I have vivid memories of The Miseducation of Lauryn Hill arriving in my white, working-class background – something that seemed so far away from Hill’s existence and what she was singing about. It didn’t matter, mind: I can relate to every note, in a way, and so too could my friends in the schoolyard. The album became a bit of a favourite and taught me so much about the world. I was more educated – ironic, given the fact I was in school! – and excited to dive into every song and note. As I mark the twentieth anniversary of the album with new appreciation and ears; I wonder whether we will see Lauryn Hill return to class and grace us with another biblical seminar. That is in her hands but, if you have not heard The Miseducation of Lauryn Hill; get in touch with a record that set a standard…

FEW have got close to touching!

FEATURE: One of These Days! How the Eagles’ Greatest Hits Compilation (1971-1975) Toppled the King of Pop’s Thriller as the All-Time Best-Selling Album

FEATURE:

 

 

One of These Days!

ALL PHOTOS/IMAGES: Getty Images 

How the Eagles’ Greatest Hits Compilation (1971-1975) Toppled the King of Pop’s Thriller as the All-Time Best-Selling Album

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IT is strange to think a greatest hits package…

that covers four years in a band’s career could outsell Michael Jackson’s epic album, Thriller. I always associate Jackson as being the artist who could not be beaten but it seems like a new wave of Eagles appreciation has seen their greatest hits record become the all-time biggest-selling disc. Compare Michael Jackson and the Eagles’ albums and there are big differences. Thriller is the album that finally got the King of Pop his throne and made up for a lack of award success following on from Off the Wall. That album gained huge critical acclaim but did not scoop as many Grammys as expected. Thriller, released in 1982, became an instant seller and was a step up from the 1979 smash, Off the Wall. Maybe, compared to other albums in his cannon, Thriller contained a few weaker moments. We do not often replay Baby Be Mine (on the first side) or P.Y.T. (Pretty Young Thing) (on the second side) but the nine-track album suffers no bloating and few wasted moments. The truly biblical tracks – Thriller, Beat It; Billie Jean and Wanna Be Startin’ Something – have gone down in the history books and, between them, saw Michael Jackson stand in a league of his own. Whilst there were various writers and producers that helped Thriller pop and resonate; it is the central performances from Michael Jackson that ensured the record sold by the millions!

Thriller has shifted over thirty-three million units (in the U.S.) and it seemed like its position as the best-selling album ever was cemented. It is no surprise Jackson’s masterpiece gained big applause back in 1982 and, given the fact it is a sleek and polished selection of Pop gems, is promise and brilliance will not dampen for a very long time. The tracklisting on the Eagles’ greatest hits selection is a banquet of treasures that, unfairly to Michael Jackson, is the cream of the band’s crop. Take It Easy, Lyin’ Eyes and Desperado; One of These Nights, Take It to the Limit and Tequila Sunrise are all Eagles classics and it is not the only album from the band in the top-ten best-selling albums. Hotel California, with the title-track as mysterious and popular as ever, is at number-three and there is a big appetite for the band. Look at the remainder of the top-ten and there are offerings from Led Zeppelin (Led Zeppelin IV), Pink Floyd (The Wall) and Fleetwood Mac (Rumours). The Eagles’ collection, Their Greatest Hits (1971-1975), has shifted five-million more than Michael Jackson’s Thriller and I wonder whether that balance will shift. The tussle between the top-two albums has been going on for a while now. Jackson overtook the Eagles in 2009 after posthumous popularity surged Thriller into the lead. Now, nine years down the line, and it seems like the leader is confirmed and in no danger of shifting.

I feel there is something old-school and romantic in the collection of songs. Maybe the Eagles, at their peak, represented an America that has been lost and forgotten. If Hotel California has been seen as a wild night with a band ripping up a hotel – there are numerous interpretations and theories – there is something settled, safe and memorable regarding the Eagles’ greatest hits. We can all hum the songs and recognise the brilliance at work. This piece asks why the Eagles’ greatest hits has overtaken Thriller and lodged into the mind of millions:

“…Now, it’s not a bad album by any means. “Take It Easy” is a good song, as are “Desperado” and “One of These Nights.” But how has a run-of-the-mill best-of collection sold more than 29 million copies? How did it, in 1999, manage to surpass Michael Jackson’s Thriller—a moon-landing of an LP—as the best-selling album in American history? (Thriller would reclaim the top spot 10 years later, following Jackson’s death.)”.

“When Their Greatest Hits was released in 1976, “best of” albums were a relatively new phenomenon in rock and pop music. The album’s initial success prompted a trend piece in The New York Times, one that included primers on nine other new best-of compilations”.

“It’s no wonder that record companies love to market these collections,” the Times’ Henry Edwards rationalized. “They cost almost nothing to produce; they sell with a minimum of advertising; and they are spared bad reviews by pop critics who, for the most part, ignore them.” (This didn’t prevent Edwards from slipping in some critical musings: “A genuine gift for melody coupled with vigorous playing and harmonizing occasionally enables the Eagles to overcome the vacuity of their recent hits.”) While Edwards understood why these albums were so beloved by labels, he couldn’t predict how fervently fans would eat them up”.

You may think it is a bit of an unfair advantage having a best of out there when Michael Jackson’s Thriller is an original studio album. I argue some of the Eagles’ best songs are not on that compilation but it is a solid collection of tracks that seem to connect. The fact so many of the songs have been endlessly played on the radio means they have embedded themselves in the mind and become the soundtrack to many of our lives. It is amazing to think, in a streaming age, we are still celebrating the album and have a lot of love for artists like the Eagles. I mentioned how America has changed and, in my view, the Eagles represented core values that have disappeared from the nation. One can hear something old-world and romantic in the best songs on that album; there is an easiness and open road that portrays a gentler and more hopeful America. Maybe many yearn for the past and turn to the Eagles because they have scored many of our lives. I wonder, as does this article, whether we can accurately determine what constitutes a world-class album and whether that mirrors cultural tastes/preferences:

“In 2018, sales numbers of any sort can seem like a quaint metric for success—the methodology for gathering and collating those numbers hasn’t caught up, in any satisfying way, to cultural shifts in how people actually consume music. It wasn’t until 2016 that the R.I.A.A. even agreed to tally on-demand audio and video streaming. (Now fifteen hundred streams count as one sale.) Yet, even long before streaming complicated the mathematics, accurately determining a record’s sales was something of a fool’s errand. Prior to the introduction, in 1991, of Nielsen SoundScan (itself a flawed point-of-sale electronic tracking system), the Billboard charts were determined by “store reporters,” or record-store clerks who would call the magazine and simply describe what was selling”.

IN THIS PHOTO: The Eagles

Do we really value the album as a concept and put much stock in the sales figures?! We are all so consumed by the streaming statistics and how many times a video is viewed on YouTube. Albums still sell but we rarely take a look at the top-ten and go and buy that album – why would we when we can hand-pick the odd song on Spotify?! The article I have just quoted asked whether we should care which albums are selling well:

“You might be thinking: But who even cares what is selling? The monoculture is dead! This is the age of personal autonomy! Commercial popularity is surely no longer a useful barometer of the national condition! But it’s also an era in which “influence”—as determined by the number of followers a person can amass on any given social-media platform—can be quantified with horrifying precision. This leads, on occasion, to a very modern sort of numbers panic. Earlier this month, the rapper Nicki Minaj released her fourth album, “Queen.” When it débuted at No. 2 on the Billboard chart, behind Travis Scott’s “Astroworld”—“Queen” sold a hundred and eighty-five thousand copies in its first week—she logged on to Twitter and posted a series of heated grievances, opining on the system and how it can be gamed. Numbers matter less than ever—until they matter the most”.

I wanted to raise this article because it is fascinating to see two big albums tussle and change positions through time. This Rolling Stone article whether the Eagles’ greatest hit has gained new reputation because of its influence on modern artists:

“The ubiquitous compilation influenced generations of future country stars. “A lot of younger country musicians did experience the Eagles [through Their Greatest Hits],” says Ken Levitan, a veteran country and rock manager who represents Kings of Leon, Trace Adkins and LoCash. “Every household had a copy of that record. If they didn’t hear it themselves, their parents were listening to it, so it became part of a fabric of their life. That record, and Skynyrd and Hank Jr., influenced the whole range of country artists”.

I can understand why Michael Jackson’s Thriller gained its millions-selling reputation and continues to shift: it is peerless and sees the Pop maestro at the top of its game; the songwriting is superb and you can listen to the entire album and not feel the need to wander off and skip through tracks. So, then, why do many people like the Eagles’ greatest hits – given that so many find a lot of the songs hard to swallow?! This piece offers some guidance:

“That still doesn't answer the major question: Why did The Eagles benefit so much more than anybody else? If yuppies were re-buying their favorite records to relive the music of their youth, shouldn't a plethora of similar albums be threatening their record? Yet outside of a similar Billy Joel collection that has now exceeded 23 million in sales, no other greatest-hits record has approached the dominance of "Their Greatest Hits." (Of course, Billy Joel's sales figure is assisted by the rule that counts each sale of a double album as two units.)

More credit must go to the changing sounds of country radio in that time period. Steel guitars and southern accents gave way to guitar solos and bigger drum sounds. The gigantic country acts of the time, most notably Garth Brooks, acknowledged the influence of songs such as "Take It Easy" and "Lyin' Eyes," and a 1993 country tribute to The Eagles topped the charts with more than three million in sales. This was a previously untapped market for the band, and a greatest-hits compilation certainly would be a perfect entrance”.

I am one of those people fascinated by the album and why some sell big and others do not really catch on. I wonder whether Michael Jackson and the Eagles will tussle and battle for those top-two spots for the rest of time? You have to ask which other albums can get near to them and would be able to budge their crowns – nothing from modern times has any chance of getting anywhere near! I think the Eagles’ greatest hits package seem to hold a lot of sway for modern artists in Pop and Country. There is timelessness to the material that seems to puts us in a better mood; a sense of satisfaction and reminiscence that other albums do not hold. Whatever the reason behind the success of the work; I have approached the album with fresh ears and appreciation. In an age where we care less about the album and need to see a reversal in our habits; I am happy to throw light on a couple of records who have been battling for the best-selling spot for years and years. Maybe Michael Jackson will come back and put Thriller back on top but, right now, the Eagles’ four-year-spanning songs of solid gold…

IS outstripping anything else out there.

FEATURE: Grace at Twenty-Four: Why Jeff Buckley Is More Influential Than Ever

FEATURE:

 

 

Grace at Twenty-Four

ALL PHOTOS/IMAGES (unless credited otherwise): Getty Image 

Why Jeff Buckley Is More Influential Than Ever

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THERE are few musicians I love more than Jeff Buckley.

PHOTO CREDIT: Mikio Ariga

Maybe Kate Bush steals the honour of my absolute-all-time-brilliant-and-best musician but there is something about Jeff Buckley that continues to make my heart skip a beat! He died in 1997 but, since then, he has managed to make a gigantic influence on the music scene. It is like the old Jazz masters who gained modest applause during their lifetime: the adulation and respect followed when they were not able to appreciate it. I have mooted, in previous Jeff Buckley-related pieces, how the man would have dealt with his current fame. He would have been pleased to know his music has endured and continues to get radio play and respect. I think the modern music would not suit his needs and personality. Even before he died, he bemoaned the stadium gigs and not having access to intimate spaces – he performed anonymously in some venues to get back to his roots and escape the sort of places he was expected to play. I feel future albums and movements would have had the obligatory stadium tours and endless T.V. gigs. He would be (if he had lived) in his fifties now so would have been enjoying the slightly more settled life of a middle-aged musician. Given the fact there was huge attention paid to artists like David Bowie and Prince when they hit that age; I wonder whether he would have had much rest and chance for privacy...

In any case; one of the reasons I hold Jeff Buckley in a special place in my heart is that honesty and warmth he gave. There was no ego and the need to hold back. Listen to any of his interviews and you are greeted by that soft voice and knee-buckling sound. He often flirted with the camera and pouted; sometimes he was shy and cool – at others, he would be quite angry or baffled. Maybe there was an air of playing up to expectations and projecting a more mysterious version of himself but listen to the way he talks and projects and you get a pure and beguiling artist who just wanted to make music and not be subjected to the glare of the media. I guess you cannot be a musician, at any age, and escape the rumours and endless demands. There is one reason why Jeff Buckley will always be in the news: his incredible debut album, Grace. Technically, it is his only studio record – he was starting work on his follow-up but died before completing it – and stands as one of the greatest records ever. Every time I interview an artist and ask for their influences; you always get a nice mixture of names. Jeff Buckley’s Grace is the album that, time and time again, keeps coming up.

I am not surprised Grace continues to compel musicians some twenty-four years after its release. Released through Columbia on 23rd August, 1994; Grace was an unusual album that did not fare too well. There were some good reviews but sales were pretty poor. 1994 was a year when gritty and bombastic albums were gaining the most critical acclaim. From Oasis’ Definitely Maybe and Blur’s Parklife to Hole’s Live Through This and Soundgarden’s Superunknown; Manic Street Preachers’ The Holy Bible and Portishead’s Dummy – it is, perhaps, music’s finest year but one where something harder and more ‘exciting’ was being favoured. Perhaps it was the transition from Grunge and the reaction to changing tastes; perhaps the role of the sensitive singer-songwriter was limited and ahead of its time. Tori Amos released Under the Pink in the same year but there was something strange and dark enough to impress the public and fit into the scene. Grace was the outsider that provided alternatives and options for those seeking something more sensual, emotional and tender. Buckley, on the album, showed plenty of passion and intensity in certain songs – Grace and Eternal Life – but it is the range of moods and extraordinary songwriting that, for some reason, evaded critical love. One need only look at Grace’s cover to realise what you were in store for: a brooding hero whose mystique and beauty would infuse every note of the album.

PHOTO CREDIT: Anton Corbijn

I feel the lack of genuine Rock bands and a solidified, central music movement – like Britpop – means the landscape is more varied and less cohesive. One cannot identify a particular taste and preference in today’s music. If 1994 was defined by its Britpop wars and brilliant American guitar music; today, there is nothing definitive and identifiable that artists can use as a guide. Buckley was not going to compromise and make something Nirvana-like or Pavement-sounding. He was outside the Grunge/Alternative nucleus and, instead, was taking guidance from artists like Joni Mitchell and Edith Piaf when creating his debut. Look at documentaries made regarding Grace and you get to see Buckley and his band entering the Woodstock space and all the magic coming together. Personnel and commentators noted how Buckley knew exactly what he wanted from his music and would often throw in strings and unconventional sounds to elevate a track. Many artists would play it safe or follow the scene: Buckley was an innovator and curious musician who wanted the music to stand out and was true to who he was. There are subtle shifts and turns but it all adds to a majestic and era-defining album. 

From the rush and ecstatic power of Grace – a song about true love and not fearing mortality – to the weaving and wordless runs of Mojo Pin; the heartache and loss of Last Goodbye and the fantastic cover versions (including Lilac Wine); it is a banquet of brilliance and wonder that could not have come from any other artist. I will talk about the legacy of Hallelujah but I have sort of side-stepped my original question. The reason so many modern artists are discovering and name-checking Grace is the role of more sensitive and evocative songwriting. Maybe the changing role of masculinity and the male singer-songwriter means there is greater room for an album like Grace. 1994 was a bad year for a tender and richly textured L.P. With the likes of Oasis and Soundgarden claiming big focus; Jeff Buckley delivered this terrific debut album that had nothing in common with its peers. Maybe it would have fared better in the 1960s and 1970s but it took a while for the music world to open its eyes to Buckley’s brilliance and voice. Today, there are a lot more albums like Grace and one can attribute that opening to Jeff Buckley. Artists are less afraid of being sensitive and exploring different areas of music. Whereas, back in 1994, bands were more popular than singer-songwriters; today, that balance has shifted and I wonder what would happen if Grace had been released today.

One suspects there would be the odd, criminal two-star review and some would turn their noses up. It would be a much more instant hit and see Buckley get his face all over T.V. Maybe that would be a poisoned chalice: a popular album means that exposure and many would put soundbites and personal life over the quality of the music. Look at other interviews Buckley conducted around 1994/1995 and you can see interviewers coming back to the same old subject. Whether it is his late, estranged father Tim Buckley or something else personal – it must have been tiring hearing the same things and always being compared to his dad. Grace is an album that has plenty of unanswered questions and deep thoughts; sweeping moments and some of the most beautiful music ever recorded. Conspiracy theorists and the media went nuts when Buckley drowned in 1997 and asked whether he foresaw his death in 1994. Songs talking of waves and water, perhaps, a sign of what was to come. The truth is that none of those songs foresaw anything but that is the way people’s minds work! Consequence of Sound, writing last year, encapsulated what Grace meant and why it delivered such an enduring and empathic punch:

“There is no replacement for the kind of singing Buckley does on Grace. It has an uncanny ability to summon memories of loss, a quality that’s almost intrinsic to its sound. But it’s also an instrument of blunt force, every high note finding the frequency of heartbreak, articulating how love feels at its most devastating.

 IN THIS PHOTO: Jeff Buckley with Nusrat Fateh Ali Khan, in New York, in 1995: Buckley called the Pakistani legend "My Elvis"

Yet for all the power contained within his voice, Buckley’s presence as a songwriter is the real reason why Grace endures. There was an almost magical innocence to Buckley; in interviews, he answered questions with soft, dreamlike speeches, and he was known for carrying around a sketchbook brimming with doodles and poems (many of which would later evolve into songs). He cared about music — both listening to and making it — with a fierce conviction utterly at odds with the slackerdom of his generation. This rare blend of innocence and intensity characterizes every scrap of music Buckley produced in his short career, from his grandest compositions to his barest demos.

We know this because, in the more than two decades since Grace was released, countless covers and demos have been dug out of the corners of Buckley’s career. In all of these posthumous releases — including the recent You and I — he can be heard finding his way as an artist, searching for his own sound through the music of his heroes. As enjoyable as these collections are, none can quite recreate the synergy that happened on Grace. It’s an album that Buckley crafted with passion, and it encapsulates everything that made his musical style so special. Some of the musicians and artists who worked alongside him in the studio still grapple with how Grace came to fruition”.

I agree with everything written there but would suggest post-Grace recordings are worth a look. From the songs on SKETCHES for My Sweetheart the Drunk – Buckley’s second album was to be called My Sweetheart the Drunk but he drowned as the band flew out to meet him and record – and his live albums; there is so much material that gives you a complete impression of the man and master. Maybe Grace is his defining statement but it is not the only thing Jeff Buckley put out into the world. Many people associate him with one album and, in many cases, a single song. Hallelujah has been much-covered since Buckley’s definitive version of the Leonard Cohen track (which he released in 1983) but it has never been equalled. The track is the mixture of everything Jeff Buckley was about. Every emotion and ember of his being went into making that song what it is and, as such, I argue there has not been a pure and transcendent like it. It is a sensational delivery that makes you shiver and takes you somewhere special. Even if the remainder of Grace were weak and inferior, many would still hold the album up as a treasure. The fact there are so many wondrous moments in the album makes it astonishing critics missed the boat in 1994. It is also no shock to see the record making an impact and finding fresh eyes twenty-four years after its release.

The Irish Times, writing in 2014, investigated Buckley posthumous work and stated how, in no uncertain terms, everything leads back to Grace:

“As with Tupac Shakur, the posthumous myth is often much different to what happened when Buckley was actually still around.

In terms of assessing Buckley’s work, all roads lead to Grace, the document that he gave us in August 1994. He had made various statements of intent before then: he had played in experimental rock combo Gods and Monsters with Gary Lucas, before striking out for solo turns in New York’s cafes and coffee houses, which produced the Live at Sin-é EP. But Grace was the big calling card.

The recording emphasised his vision for emotionally driven rock music with sweeping string arrangements. Aside from some cathartic, lovely original tracks, his debut also featured that mesmeric version of Leonard Cohen’s Hallelujah, a beautiful take on Nina Simone’s Lilac Wine, and a stunning ambient, choral version of Benjamin Britten’s Corpus Christi Carol. The album was a sign that Buckley was on the way to much greater things”.

So many people are coming into music because of Grace and what Jeff Buckley gave to the world. It is a record that never ages and is never too personal: everyone can understand what it is about and relate to the lyrics. The musicianship and incredible nuance mean even those who experienced the album first time are picking up on new things!

The genius behind the music might be gone but, more and more, we are seeing songwriters compared with Buckley; Grace is mentioned and it seems like the fascination will never end. Grace was not part of a scene or captured a single time in musical history. It was a stunning and unique perspective of an artist who was making music for people rather than the scene; someone who was happy to create the way he wanted and not compromise and negotiate. That sort of attitude and boldness did not translate to huge sales back in 1994 but, more importantly, the enormous legacy and reputation it has gained since then are more important. Many of the artists who created 1994 albums have either passed, retired or made less-effecting work. Buckley’s debut remains cocooned and protected as this sublime piece of work that cannot diminish and weaken with age. I think we need to mark the album with each passing year but look backwards and forwards. Visit the Live at Sin-é collection (the Legacy Edition) and these are recordings made in a New York coffee shop in 1993 – just before Buckley signed a record deal and headed to make Grace. It is the man performing in a space he felt at-peace in and wanted to return to. You can hear embryonic versions of Grace tracks taking shape and the maturing musician causing jaws to drop. The post-Grace recordings are hit-and-miss but there is ample evidence to suggest the follow-up album would take in a sharper and more Rock-driven sound. It is upsetting to realise Buckley would have made many great albums and, let’s hope, still hitting the road today. Rather than mourn his death - and the lone studio album - it is a great time to listen to Grace – and the documentaries and interviews conducted around the time – and discover an artistic statement like no other. The first lines of Grace’s title-track speak: “There’s the moon asking to stay/Long enough for the clouds to fly me away”. It is a shame the man who spoke those words is among the stars but, as we listen to his timeless masterpiece it is true…

PHOTO CREDIT: Mikio Ariga

HE will never leave our hearts.

FEATURE: Sisters in Arms: An All-Female, Summer-Ready Playlist (Vol. XXIV)

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Taliwhoah/PHOTO CREDIT: Undine Markus

An All-Female, Summer-Ready Playlist (Vol. XXIV)

__________

I am not giving up on summer…

IN THIS PHOTO: The Aces

and feel this collection of female-led music is the perfect way to keep the sun going and the heat rising! I guess we have another few weeks of summer so, until then, I am going to provide the perfect soundtracks to keep the body moving and the positive high in the mix. Included in this latest outing are Pop gems, R&B seducers and some brilliant, harder moments and some of the best music from new artists. Some of the songs are a year or so old but are perfect when matched alongside the brand-new and unfamiliar. Sit back and enjoy another selection of brilliant tracks that are definitely going to…

IN THIS PHOTO: Lauren Ruth Ward/PHOTO CREDIT: Tess O'Connor

KEEP the great weather flowing!

ALL PHOTOS/IMAGES (unless credited otherwise): Getty Images/Artists

_____________

PHOTO CREDIT: Adeline Mai

The Aces – Fake Nice

Amara La Negra - Insecure

PHOTO CREDIT: @exquisite_eye

Taliwhoah - Sweetest Escape

PHOTO CREDIT: @mandorlalondon 

Lial – Heart Scars

PHOTO CREDIT: Leslie Colon

Ashe – Choirs

PHOTO CREDIT: Paul Bellaart

Sofie Winterson – Military Man

Empress Of – When I’m With Him

Your Girl Pho – I Can’t Take It

PHOTO CREDIT: Marcus Maschwitz

The Wild Things – Loaded Gun

bülow – You & Jennifer

Lauren Ruth Ward – Sideways

Jasmine Sokko – HURT

Ivy Adara – Rebels

PHOTO CREDIT: Will Edgar

Sloan Peterson – Our Love

SAARA – Sangria

PHOTO CREDIT: @Jan Lenting

Inge van Calkar - River

Fears – Blood

Eves Karydas – Damn Loyal

Clara Mae – Rooftop

KT Tunstall - The River

Liza Owen – Fallin

Indiana – Paper Cut

Eva Lazarus – Bad News

Hannah Wants (ft. Kate Loveridge) – How Long

PHOTO CREDIT: Cameron Brisbane Photography

Zoe Graham – Industrial Strength

INTERVIEW: Ricky Rebel

INTERVIEW:

Ricky Rebel

___________

THE fascinating and candid Ricky Rebel…

talks with me about his new single, The New Alpha, and what its story is. He tells me about his experiences with Michael Jackson, Britney Spears and Adam Lambert; being inspired by Madonna and the albums mean the most to him – the songwriter talks about his future and what we can expect going forward.

The American sensation discusses his bisexuality and support of the L.G.B.T. community; a gender-fluid society and not subscribing to the myth of ‘men need to be men’ – he ends the interview by selecting a classic Madonna cut.

____________

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

I am doing well. My week has been productive. 

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

I am a Billboard Top-40 recording artist who has toured with Britney Spears. Notable tracks on the Billboard charts include Boys & Sometimes Girls - a bisexual anthem - and If You Were My Baby - an '80s-inspired love song that has Prince’s actual synth on it. I am also a strong advocate for freedom of speech and expression and L.G.B.T. rights. 

 

The New Alpha is your current single – it is from the album of the same name. What can you reveal about the song’s stories and the themes address on the album?

The New Alpha is a record about freedom.

On the album, I sometimes express myself in a way that can be seen by some as politically incorrect. The New Alpha doesn’t live in a box of labels that society tries to impose on him: he lives outside of the box. The themes I explore on The New Alpha are sex, power; materialism and love. My favorite track is called Magic Carpet. It’s a sexual song with Middle Eastern undertones. 

Style and creating your own image is important. We have had some great musical style icons like David Bowie and Madonna. Who do you draw inspiration from?!

I draw inspiration from the two artists you just mentioned. I am lately inspired by political figures who are out there speaking their minds for free speech. I think it’s important that we fight for speech that we disagree with just as hard as speech that we agree with. One day, it might be your speech that is repressed. 

 PHOTO CREDIT: Kentö

I believe you are friends with Adam Lambert. How did you two meet? Is it true you raised Adam’s closet when you needed a stage outfit pretty quick?!

Adam and I met at the clubs in Downtown L.A. We used to gather a group of friends, dress in wild outfits; wear makeup and dance the night away. One night, I was headlining at the Roxy in West Hollywood and had nothing to wear. I called Adam for help and he let me raid his closet. He is a very generous guy. In return, the only thing I had to do was re-feather his jacket. 

Do you think society wants ‘men to be men’ and not show their feminine side?! What do you think about that and the rise in gender fluidity?

I think society doesn’t even know what a real man is. A real man is a man who can be authentic with who he is. A real man tells the truth. I identify as all-male, all-man every day. I can wear makeup, high heels; a dress, stockings; a suit and tie (sometimes at the same time) and it has nothing to do with my gender. These things are an expression of my creativity. I am absolutely not gender-fluid. I do not turn into a woman when I impersonate one. I’m acting. 

Has your bisexuality ever caused issues in music? Have you been told to hide your sexuality away?!

Absolutely. I was told, at the beginning of my career, to stay in the closet or else I would never make it. I was even locked into a sound booth while someone read Bible verses to me informed me that I was going to Hell. I knew that, one day, being honest and open about my bisexuality would be seen as a strength, not a weakness. 

Do you recall when you got into music? Which artists did you grow up around?

I started singing professionally immediately after I started taking dance classes at eleven-years-old. Before that, at five-years-old, I would sing Annie and Grease every single moment of every single day. Growing up, my mother and father loved The Beatles and Queen. They were always playing great music like that during my childhood. 

I am a big Madonna fan. Is it true you have worked with her label? (My favourite cut of hers is Take a Bow). Do you have a personal standout Madonna song/style period?

I was signed to Maverick - Madonna’s record label. My favorite era was The Blond Ambition period. I remember taping the entire show and performing it on-repeat in my room. I loved the fact that she would miss notes and not perform some of the dance steps perfectly, but she did everything with beauty and confidence. She was my hero when I was growing up. 

Is it true Michael Jackson gave you some advice? What did he say to you?!

Before I signed to Madonna’s label, I was signed to Michael Jackson’s label MJJ records. He told me that I should stay away from girls because they break up bands..

What do you hope to achieve by the end of 2018?

I want to headline a ten-city West Coast tour in the U.S.A. with other talented artists. 

Have you got a favourite memory from your time in music so far – the one that sticks in the mind?

Learning that I charted on the Billboard chart was an amazing day! I loved being invited to perform at the Cannes Film Festival. The whole trip was like a dream. The people were beautiful, warm and welcoming. They loved Boys & Sometimes Girls. 

Which three albums mean the most to you would you say (and why)?

Prince - When Doves Cry

That album is the closest thing to perfection.

Madonna – Music

That album taught me how to produce. It’s simple in its production style. Mirwai is a genius.

David Bowie - Reality and Low

David Bowie taught me to love my voice. He sings in a lower register like mine. He was the first rock-and-roller that I could identify with vocally. 

If you could support any musician alive today, and choose your own rider, what would that entail?

I would love to open for Britney Spears again. She was such an amazing person to be on tour with. She’s a lot of fun. Plus, we could talk about memories of being on tour together. On my rider, Britney and I would have to do Pilates together in my dressing before every show. 

How important is it being on stage and playing? Is it possible to describe the emotions you feel when connecting with fans in the audience?

Performing is everything to me. I feel most alive when I am on stage. The connection you feel is the closest thing to oneness. When I performed at New York City Pride this year, people were exuding so much love. It made me cry. The L.G.B.T. community has fought so hard to be where we are.

What advice would you give to new artists coming through?

Stick to your original idea of who you are and what you stand for. People in the industry will push and pull you in many different directions and waste your time. Don’t let them. Stick to your first version of who you set yourself out to become. That is the best way to succeed. 

 IN THIS PHOTO: Saint Heart

Are there any new artists you recommend we check out?

Every week, I go live on Instagram, Facebook and Periscope (@RickyRebelRocks) at 12 P.M. P.S.T. for all of my fans on a show called #TuesdaysWithRebel. I have featured some great artists that I am currently producing and/or just great friends with like PrettiBoiRoq, Glass Battles; DJ Hector Fonseca; Davis Mallory, Saint Heart; Twinkle Time etc. - all people that I love and admire. Elena Nazaroff, my stylist, also gives them a mini makeover. It’s a lot of fun. 

IN THIS PHOTO: Glass Battles

Do you get much time to chill away from music? How do you unwind?

My chill time consists of working out, doing Pilates; listening to political podcasts (relaxing to me, believe it or not), getting facials; eating, napping and having sex. That’s a great way to unwind.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Erotica - Madonna. That’s my spirit animal song

____________

Follow Ricky Rebel

Official:

http://rickyrebelrocks.com/

Facebook:

https://www.facebook.com/RickyRebelRocks/

Twitter:

https://twitter.com/rickyrebelrocks

Instagram:

https://www.instagram.com/rickyrebelrocks/

YouTube:

https://www.youtube.com/channel/UCpgTD3PBCHJsn_eO79DeYSQ

SoundCloud:

https://soundcloud.com/rickyrebel

FEATURE: The August Playlist: Vol. 4: I’ll Park in One of the Loading Zones and Call Your Mother…

FEATURE:

 

The August Playlist

 IN THIS PHOTO: Kurt Vile 

Vol. 4: I’ll Park in One of the Loading Zones and Call Your Mother…

 __________

THIS is an interesting…

IN THIS PHOTO: Anteros

and eclectic weeks in terms of new music. I have been getting to grips with all the various sounds coming out this week. There are new cuts from Kurt Vile and Villagers; Anteros and Disclosure have all released fresh music. Whilst there are few big-hitters and mega offerings; it is a consistent and varied week that should please most people out there.

Have a listen to all the gems and diamonds that have come out and I am sure you will hold many of them dear to the heart. A packed and busy week for music that is guaranteed to get into the head and lift the spirits!

ALL PHOTOS/IMAGES (unless credited otherwise): Getty Images/Artists

___________

Kurt Vile – Loading Zones

Villagers – Fools

Anteros – Call Your Mother

Pale Waves – Eighteen

Menace Beach – Satellite

Disclosure – Where Angels Fear to Tread

Empress Of – When I’m With Him

Interpol – If You Really Love Nothing

The Chainsmokers (ft. Emily Warren) – Side Effects

Danny Ocean – Epa Wei

Courtney Barnett – Charity

LANY – I Don’t Wanna Love You Anymore

Cardi B (ft. Kehlani) - Ring

Christine and the Queens - la marcheuse

Grace Carter – Why Her Not Me

Vivienne Chi – Under Your Skin

CAGGIE – Thinking About You

KT Tunstall – The River

Liza Owen – Polite

Spring King – Paranoid

Indiana – Paper Cut

PHOTO CREDIT: Hysteria

Jain – Oh Man

Bill Ryder-Jones - Mither

MoStack – Liteness

Seinabo Sey – Good in You

Fall Out Boy – Lake Effect Kid

Zoe Graham - Industrial Strength

Hero Fisher – If I Die and Nothing Happens

Kodaline – Head Held High

Kiiara – Gloe

LAUREL – Adored

Jack Vallier - Anyway

Fyfe – Be There

Blood Orange – Chewing Gum

Barns Courtney – “99”

Eves Karydas – Damn Loyal

White Denim – Performance

Sivu – Submersible

TRACK REVIEW: INBAL - Hail in Madrid

TRACK REVIEW:

 

INBAL

Hail in Madrid

9.3/10

The track, Hail in Madrid, is available via:

https://www.youtube.com/watch?v=oIkaxdXvHuA

GENRE:

Electronic

ORIGIN:

Tel Aviv, Israel

RELEASE DATE:

12th July, 2018

_________

WHEN considering INBAL…

and her music; I am compelled to look at various things and understand how everything comes together. I will talk about Hail in Madrid soon but, right now, I wanted to study atmosphere and mood in songs; strong visuals and videos that stand in the mind. I will then look at artists who are hard to categorise and sounds that have a unique melodic flair; themes that are creeping into songs and being investigated more by musicians; a quick peek at music that can settle you and make you think at the same time. INBAL has based herself in a studio and been working on an E.P. The multi-linguist from Tel Aviv has been busy and working on some great material. Following from previous singles, Right Mistakes and Almost Twenty, she has been described as an artist to watch and someone who stands aside from the crowd. I listen to INBAL’s music and there is so much working away. It is not your average Pop or Alternative song and, each time you listen to the music, you take something new away. It is important to infuse a sense of mood and emotion into everything you do. One of the reasons INBAL has gained praise is because of the sense of beauty and passion entwined in every note. You can tell how much energy and thought goes into line and expression. She is a songwriter who is not aiming for the charts and anything that could gain quick streaming figures and popularity. Rather than compromise integrity and go for an easy option; INBAL makes sure the listener is immersed in a world of magic and mystery. I listen to her work, like Hail in Madrid, and you get that unique expression and fantastic sound. INBAL pitches the mood between dreamy and real; a clash of states that will have a different effect on different listeners. It is a real trip, in a good way, seeing what she produces and how it all comes together.

You may say creating atmosphere and mood is not that important: if there is a hook or big chorus then that is okay. I think there is a lot more pleasure and emotional impact when you find a song that has so much working away and a fantastic soul. It is brilliant diving into a brilliant track that takes your head and heart in different directions. INBAL is an artist who considers how the song(s) will strike the memory and imagination. I listen to her work and it is the sort that rewards repeated listens and study. There are not many artists in the mainstream that take care when it comes to nuance and real depth. I have been searching for artists that go out of their way to provide intriguing songs and break from the herd. INBAL is among the artists right now doing something amazing. Critics and journalists have backed her work and celebrated its majesty. It is hard writing a song that has a unique purpose and sound and then following that up with something equally special and stirring. INBAL is someone who can show consistency and not let her standard drop. I am amazed how she manages to provide such engaging and thought-provoking every time and not seem familiar. By that, each of her singles has their own skin and colours. Alongside this mood and emotion, you get plenty of drive and physicality. It is not all about playing it calm and taking the lights down. When you listen to Hail in Madrid; your mind starts to conspire and you get all these different scenes forming. You can watch the music video but I have switched that off at times and cast my own interpretations. Connecting video and audio is something a lot of artists struggle with. It can be difficult, on a budget, creating something complete and memorable. INBAL has accompanied her latest track with a great promotional film.

Many say music videos are dying and not as important as they once were. Maybe we have passed the glory of MTV and when music videos ruled the land but they are still important. I feel videos can add new dimensions to songs and it can bring something new and unexpected. I am one of those people who loves to see a great video and see whether it connects with the original song. If the artist gets it right; you can take something away you hadn’t expected and it is a great thing. INBAL ensures her videos capitalise on the potency and grace of her music and matches that with astonishing visuals. There are few fireworks and big scenes but you feel, when watching one of her videos, you are connecting with an artist who wants to remain in music for a very long time. She expends so much attention and work; taking care to ensure the maximum amount of emotional engagement and effect is produced. Music can be quite a soulless place where we listen idly and never really question its origins. Disposability is coming in more and more and I fear we are losing sight of music’s origins and purpose. Given the digital age, more of us are abandoning physicality and stuff like music videos. I want to return to the days when we were interested in music videos and actually questioned how the music came together and feel something pure – stopping in our tracks and letting the sounds sink in. Today, we are so quick to dismiss and can whiz past a song without giving it a moment’s notice. INBAL realises there is a problem in the modern age and we are all becoming less involved in music. Rather than pander to that and go for something cheap and simple; she aims at those who have longer attention spans and prefer their music more compelling and detailed. That reflects in the music videos.

It has been many years since we saw any classic music videos – maybe Childish Gambino’s This Is America ranks alongside the very best out there. Hail in Madrid is about the fine line between dreams and being awake; our perceptions of surreal events that happen in dreams and the illusion of being awake whilst we are actually asleep. She puts so many different emotions into the lyrics and takes care to craft songs that are meaningful and stunning. The videos are given the same amount of care and attention. You can listen to a song of hers and get your own visions but, when looking at the videos that accompany them, everything slots together and seems perfect. It might be risky taking that time to really produce great music and not following what so many others do. Maybe INBAL will not get the same hits and streams as the big Popstars but she appeals to those who are gripped by music’s substance and core. You can watch a video from INBAL or listen to a song and strip it away and take it apart. You wonder how it was all put together and how quickly it all formed. I shall move onto another subject but I have not really covered Israel and Tel Aviv. I have featured artists from this part of the world before and always find something different. You get a distinct British and American sound and way of working. If you look at music coming from Tel Aviv; there is something incredible and strange coming through. Many of us do not listen to music from Israel and consider the nation’s potential. I am a fan of the county and feel Tel Aviv especially is a fantastic place to discover fresh sounds. The city is a paradise for those who want to be inspired and find new impetus for songwriting.

The beautiful scenery and history feed into the blood and the people are friendly and wise. You have different cultures and religions alongside one another; beautiful vistas and great music venues. There is no one set ‘sound’ in Tel Aviv: one experiences a spectrum and so many different ideas and movements. INBAL has her own sonic flair and she seems to borrow from the heartbeat and lungs of Tel Aviv. Her upcoming E.P. was produced and mixed between Brazil, Helsinki; London, Tel Aviv and Seoul – and the U.S. I am a new follower of INBAL and what she does and can see her evolution and rise. There is nothing to say she cannot ascend to the big leagues in time and rank alongside the modern best. I have mentioned her visuals and music and how there seems to be this close relationship. INBAL’s unique style and melodic sensibilities are among the reasons why the music settles in the brain and endures. Rather than produce Pop bangers or compositions that are soulless; you can hear a distinct INBAL sound and note a musician that takes care to ensure each song is as striking and stirring as possible. I am looking at musicians now and there seems to be a general break away from songs of love and relationships and something more original. There are still those who focus on the ordinary and familiar but I love artists who step aside and write something that is a bit more unexpected. INBAL’s latest track looks at that blur between dreaming and being awake; not quite knowing whether you are experiencing something real or it is part of a dream. It may not sound like the most obvious thing to write about but dream-like states and our consciousness is coming more into music. Maybe it is a rebellion against commercial subjects but many of us want to find artists who document the new and sensational. Many of us, too, experience these moments where we are in a dream or cannot distinguish between reality and the surreal.

Every time a songwriter comes out with something that challenges the mind and takes you somewhere special; I often wonder how they will follow it up and keep away from rather stale and basic themes. INBAL would have experienced heartache and disappointment but, if she writes about it, she will not employ basic lyrics and copy everyone else. That lyrical intelligence and imagination is already set so it makes me urge INBAL to have a look at past heartache and mine that for gold. That sounds rather exploitative and cruel but I would love to see how she tackles this side of life and what the video will look like. More and more artists are moving away from love and investigating the human mind. The state of our being and the conscious vs. the unconscious is coming into music more. Maybe it is a recent development but I am pleased to see a more mature and interesting sensation come into the fold. I will move on to look at Hail in Madrid but, right now, I wanted to look at songs and artists who can calm the bones and keep you safe. One other reason why I love INBAL and her work is (that you) can dive into the music and escape. There is so much working away and you always feel comforted and engaged. I can listen to one of her songs and get carried away on a wave but, at the same time, think about my own life. I can see big things come for INBAL and I feel she will enjoy a long career. If you are not familiar with her work and why she is so lauded; make sure you take some time away and dive in. Many of us have stressful lives and tough times and, whilst it is good listening to music with energy and verve; I am always drawn to something a little more tender, alluring and dream-like. I can listen to an INBAL song and everything sort of melts away.

Maybe I have spoken a lot about aspects of INBAL’s music and how it comes together but, right now, it is worth looking at the song in question. I have seen a lot of press around Hail in Madrid and other people giving their impressions. It is always strange seeing how others view a song and whether they get the same things out of it as you. Rather than let them guide your own interpretation; I use critics are a general guide and somewhere to start. INBAL makes sure everyone gets something from her music. There is an odd mixture of calm and chatter in the opening moments of the song. You get acoustic guitar and a gentle strum but there is childish conversation and chat that fuses with that sound. The heroine comes to the front and talks about some sort of cosmic force and dream-like feeling. She can feel the rhythm and sensation of someone’s feet near her. At the start, you are not sure whether she is talking about a dream itself or that odd feeling when you are half-awake and not sure whether everything is real. The composition adds a nice feeling of confusion and dreaminess that affects how you view the song. I was caught by the immediacy of Hail in Madrid and how it made me feel. Once settled and pure; it starts to provoke feelings and interpretations. I was looking at that feeling of just waking up and having some of your dreams there. By that, I mean you think of something vivid and fantastic and it sort of remains once you wake up. Maybe the heroine is feeling connected with a lover or pining for something and that manifests itself in the form of a dream. She is struggling to draw a line between the dreaming and awakened state. I guess the subject of her thoughts might be fictional but I think there are unresolved issues and feelings that are working their way into her dreams.

There are those who feel there is no meaning in dreams and symbolism does not mean anything either. You can ascribe a meaning to dreams but, in reality, dreams is the unconscious mind working through problems it could not solve in the day; a random collection of thoughts and ideas that have no deeper significance. INBAL is talking more about consciousness and being wrong or right; she wants to be home for the night and I wonder, as I hear the words, whether we are witnessing a dream or something real. The distinct accent of the subject brings gravitas and new emotions to the song. Rather than feel disconnected and uninvolved with the song; you get right to the barrow and walk alongside the heroine. The music and lyrics have their own mindset but they connect wonderfully. In the background, you have that child-like chat and echo; you get ethereal notes and a soundscape that seems to separate the body and mind. The vocal is quite calm and restrained but holds plenty of weight and potential. The lyrics are never clear so you can definitely assert where they were born and what drives them. INBAL lets the listener come to their own conclusion and go in whatever direction they feel matters most to them. I have provided my feelings but, in truth, there is so much working away. One gets impressions of a deadly smile and lies; a strange explosion in silence and the heroine falling back again. Maybe she is trusting someone who cannot be trusted and looking for solid ground. Given the fact Hail in Madrid looks at the conscious and dreams; I keep wondering whether the entire piece is part of a night-time fantasy. It is interesting piecing things together and coming to your own conclusion. One of the reasons I wanted to investigate the song is because of all the colour and emotions working away.

The backdrop is not merely there to score the track and provide little impetus. The score is as integral and meaningful as anything in the forefront. INBAL weaves something beautiful and emotive together that, before long, makes its way to the front and get into the heart. The song stops and changes direction; there are odd little moments and evocative revelations too. This is not a song that keeps a steady course and has a predictable path. You get twists and turns and a real sense of the unexpected. INBAL has put so much effort into the track and that workrate really shows. Twinkling notes and galloping notes spar one another and you get that unexpected clash. By the end of the track, I was still taking it all in and figuring it out. My first impression was one of a dream that is bleeding into waking life; a feeling of loss and struggle that is hard to vanquish. Maybe the real situation and story are different but that is the thing: every listener will come to their own conclusions and witness something unique. With lush production and a commanding vocal; Hail in Madrid is a stunning offering from INBAL. Perhaps those who prefer their music primal and emphatic might take a while to get behind it but they will be broken and seduced soon enough. I keep coming back to the track and witnessing something fresh each time around. Hail in Madrid is a colourful and challenging song that will make you feel better but get you thinking at the same time. Not many artists can do that and, when you discover them, you need to put them out into the world. Make sure you put Hail in Madrid out there and spread the word. I am always stunned by artists who can create something unexpected that goes against the grain. INBAL is someone who will enjoy a long future and, on the strength of her current single, will provide a sensational E.P. Ensure you watch the music video for Hail in Madrid and watch all the stunning visuals come together. It is a great experience and beautiful video that does justice to a fantastic song.

With each new release, you can feel something new come through. I am a fresh follower but can already track changes and developments emerging. Critics have celebrated her work and noted her as one of the best new artists around. I would back that hypothesis and am excited to see where she goes from here. The approaching E.P. is a chance to see INBAL’s existing songs and new offerings mix alongside one another. I am one of those people who loves the E.P. and album and is not just interested in singles. Music should be savoured and enjoyed: those who quickly skip and pass by songs are missing out on so much. I do not think music will advance and progress if we ignore it or give it very little time. If you take an INBAL song as an example and what you get from it. Listen to Hail in Madrid and you will not want to simply have it on in the background and let it pass you by. You will want to put the volume up and make sure every note of the song gets into the mind. I am excited to see what we will get from her E.P. and where she heads from here. Those who have praised her work and highlighted her merits are looking forward and will surely be all over it. INBAL is someone who can make us interested in full works and taking a bit more time out. You cannot simply let one of her songs flow past and ease away. Let’s consider where she will head next and what her future holds. There will be gigs and developments but I feel there is a chance for a long career and real influence. The amazing songwriter has already crafted some wonderful singles but shows no signs of slowing. I would love to see her tour and take her music around the world. I know she has plans to play in Berlin and London and you need to check her social media channels for all developments.

I will end things soon but I want people to follow a modern artist who seems to take music back to its ideal start. We have someone who takes care to produce properly arresting songs and moments that will stay in the memory. INBAL takes care when it comes to visuals and how a music video makes you feel. Her live show is not something I have witnessed but I am sure it matches the brilliance and beauty of her music. You cannot escape the passion and purity that comes from every note. If you need a lift or want to think and reflect; there is so much in INBAL’s locker you can take away and enjoy. Make sure you do catch her live and see the artist up-close. I have talked a lot about her sound and various highs but I have not really discussed where she will head and how her career will work out. I feel there will be albums and more E.P.s arriving from her. It is always hard to predict longevity and which artists will stay in the consciousness. I know which artists will fade quickly and those who will be around for a bit. You cannot say INBAL will have a short career. Just listen to what she is putting out into the world and you get an artist who knows what it takes to succeed and what the people want. Hail in Madrid is another fine offering from a young talent who should be in your regular rotation. I will follow her career and see where she goes from here. I know there will be a lot more releases and maybe that sound will expand out. Right now, we have someone who can get the heart skipping and make the mind wander and imagine. I feel there is a chance for INBAL to push the envelope and kick the energy up. That would not mean compromising her sound or going in a Pop direction. What I mean is she has that passion underneath and I can see her tackling big and emphatic themes. Maybe she has the future worked out and I shall not dictate too much. I am excited to see her produce such strong material and go to new plains. Make sure you listen to her latest track and what it is all about. Her E.P. is not too far away and I suggest you get behind that too. Here is an artist who will go all the way and has many more years ahead of her. Hail in Madrid is a fantastic cut from an artist who does thing her own way and stands out as a star of the future. I have been listening to the song a lot and taking new things away each time I hear it. That is a hard feat and achievement at a time when we are still going for songs that are rather aimless and hollow. This will all change in time and artists like INBAL are fighting against easy instinct. If you have not discovered her brilliant work then get behind Hail in Madrid and fall in love with a brilliant…

AND distinct gem.

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Follow INBAL

Official:

https://www.inbal.co.uk/

Twitter:

https://twitter.com/inbalofficial

Facebook:

https://www.facebook.com/Inbal.music/

Instagram:

https://www.instagram.com/inbal_official/

Spotify:

https://open.spotify.com/artist/32dqNoPndQFsNPyoqNqQd7

YouTube:

https://www.youtube.com/channel/UCAUeGuMA8x_Ero4Crwjbs2A

SoundCloud:

https://soundcloud.com/inbalofficial

INTERVIEW: Em Hoggett

INTERVIEW:

Em Hoggett

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MASSIVE thanks to Em Hoggett…

for opening up for me regarding her latest single, What I Want to Say to You, and its emotional story. The E.P. of the same name is out and Hoggett talks about the music and themes running throughout; the artists and albums that inspire her; moving from the U.K. to Los Angeles – she tells me what the scene is like in L.A. right now.

Hoggett provides advice to upcoming artists and those who have been through the same experiences of rape as her; what we can expect from her going forward; a rising artist to look out for – she ends the interview with an epic song!

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

Hi. I’m great thanks. It’s been a busy week. I’m working on the new album.

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

I’m a singer-songwriter and pianist. My music is soulful, sensual; dense…James Bond-esque in style. I trained as a classical pianist since I was four, so it’s all rooted in piano. What I Want to Say to You has a unique sound - partly because of subject matter, but expect Bond in the next album.

What I Want to Say to You is your new single. Can you reveal its story and how it came together?

What I Want to Say to You is a single that developed into a four-track E.P…

I was raped when I was sixteen. I suppressed it for years until it finally began to take over my life at eighteen. I couldn’t sleep, eat; work…do anything at all. My mum suggested I write a letter to my attacker, not necessarily to send, but just to get the feelings out on a page. Naturally, for me, this came in writing a song. 

I wrote What I Want to Say to You in about ten minutes; the words were just there…waiting. A few days later, I posted the song on social media; therefore, letting all of my friends and family know what had happened. This was the hardest thing I’ve ever done but it was so important. At the time, I was suffering with denial a lot. It was so easy for me to pretend it had never happened because nobody around me knew that it had. Once I posted the song, I couldn’t hide anymore and I finally had to begin the process of acceptance and healing. 

I entered a pretty rough few months after that, during which time I wrote Anger, which expresses the pure emotion of anger that is felt when you realise you’ve been abused. It was really important for me to put this song on the E.P. to let other survivors know that it is a totally normal and healthy feeling and not something to feel ashamed of or alone with. I then wrote Will It Always Be Like This, which questions if the rest of my life would be consumed by a painful dark cloud...(which it isn't, by the way - it does get better). The final song, Get Out, describes the feeling that this person and experience will live inside your body forever. I wrote this in the wake of the Harvey Weinstein scandal. 

Meeting producer Bruce Witkin was the essential ingredient that brought it all together. We got into the studio pretty much straight away and everything just came together. I couldn’t have asked for a better producer to work with. 

 

You survived a brutal rape and are using music to heal, not only yourself, but others. What is your message to other women (and men) who have been in the same situation?

If you feel able to tell someone what happened to you, do it. I think you will be surprised at the response…

Telling my family and friends was the hardest thing I’ve ever done but it literally changed my life. I no longer walk around with an unbearable weight inside of me. I was believed and supported. Once you tell someone, you begin to realise the truth: that this was not your fault. From this place of understanding and acceptance, you can begin to heal…you realise that this weight isn’t yours to carry around; you can begin to let go. If you don’t feel able to tell someone, try expressing your feelings around it. Expressing through writing, painting; singing…creating in any way and even just talking is SO important. Get these feelings OUT of you or they will eat you up inside. 

If you feel like you’d like to tell someone but are afraid you won’t be believed or you don’t know who to tell, you can contact me at the ‘Contact Us’ button on www.WhatIWantToSayToYou.com - I WILL believe you.

Might we see more material next year? How far ahead do you look as a songwriter?

Yes. I have another album ready to go; I’m hoping to get back in the studio as soon as possible.

I look pretty far ahead: I’ve got a lot of material to work with. I’ve been writing since I was thirteen and I have around four-hundred songs on my phone. I’d like to record some of those too…but this next album will all be songs I wrote in the past year.

You were born in the U.K. but live in Los Angeles. What is life like out there? Is it a great place as a musician?!

I love it! I feel so at home here. The sun, the relaxed atmosphere; the creativity…I feel like everyone I meet in L.A. is doing something artistic…they’re a writer, a model; a musician, a photographer; an actor.

It’s incredible to be surrounded by such creative energy all the time. Being a musician here is awesome. There are so many amazing musicians to play with, listen to and learn from. I’m an actress as well, so this is literally the perfect place for me…the creative juices never stop flowing.

Do you recall when you got into music? Which artists did you grow up around?

I was trained as a classical pianist since I was four, so music was a huge part of my life from a very young age. 

My music taste is incredibly broad. I grew up with a lot a variety. I listened to a lot of Soul/Jazz. I’m a total Motown lover. I also listened to a lot of Rock - and a lot of Alternative. Honestly, all sorts. One of my big influences is Jamie Cullum; Pink Floyd was big for me, Nina Simone; Marvin Gaye…also, Birdy…I think I took a lot of inspiration from her. Kind of all over the place here.

What do you hope to achieve by the end of 2018?

I’d love to get back in the studio and record a few singles for the new album - and to get W.I.W.T.S.T.Y. out there more. This E.P. needs to be heard. 

Have you got a favourite memory from your time in music so far – the one that sticks in the mind?

Wow…tough question. Honestly; recording with Bruce (Witkin) was such an incredible experience. Recording the piano and vocals was really special. I love performing too…so, a few of my live performances for sure.

Which three albums mean the most to you would you say (and why)?

I think I’d give a different answer to this question every year. Right now, I’d go with these.

Pink Floyd - The Final Cut

The emotion in this album is like nothing else. Pink Floyd have such an incredible way of using sounds to tell a story. I think they’re the filmmakers of the music industry. It’s amazing how you can listen to one of their albums from beginning to end and be taken on a total journey - and not just musically.

Bill Laurance - Flint

Bill Laurance on keys is just WOW. This album really speaks to me because it has so much skill, so much Jazz influence and a lot of upbeat tunes but still remains super emotional. I’m really into emotional stuff if you hadn’t noticed.

Frank Turner - England Keep My Bones

I’m a huge Frank Turner fan - it’s hard to pick one album. But, his lyrics are just incredible. I think he’s one of the most talented lyricists out there.

If you could support any musician alive today, and choose your own rider, what would that entail?

Jamie Cullum. What a musician. 

A lot for the rider…starting with a white grand piano.

How important is it being on stage and playing? Is it possible to describe the emotions you feel when connecting with fans in the audience?

It’s super-important to me: there’s nothing quite like live performance. When you’re with a band and you’re all on the same wavelength, just vibing together…it’s an incredible thing. You learn a lot from live performance too.

You really have to listen. 

What advice would you give to new artists coming through?

1. Don’t give up.
2. Write about what speaks to you.
3. Play more! Meet musicians. 
4. ENJOY. Have fun. That's why you're doing this, right? 'Cos you love it.
5. Be kind.
6. Stick with what’s true to you. NEVER feel like you have to do anything or have to be anything for an opportunity. Always stick with your instinct and the right things will flow to you. Don't get pressured into stuff you don't feel good with.

Are there any new artists you recommend we check out?

Not particularly new, but if you don’t know Tash Sultana, check her out. Jungle is an awesome song to start with. 

Do you get much time to chill away from music? How do you unwind?

I do have time away from music because I’m an actress too, but that’s not exactly chill. When I do get to chill, I journal a lot; meditate, hike; travel, go to the ocean…all soul-cleansing stuff. I love to dance too and explore the world.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Truth - Kamasi Washington. Wow. What a song

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Follow Em Hoggett

Official:

https://www.emhoggett.com/

Facebook:

https://www.facebook.com/emhoggett13

Twitter:

https://twitter.com/emhoggett13

Instagram:

https://www.instagram.com/emhoggett13/

Spotify:

https://open.spotify.com/album/5ecc39WWdxd5tpyc0elCaW?si=N7gDXbVtT7WkhppGFIWuzw

PHOTOS:

@suzanne_a_witkin_

INTERVIEW: Miki Fiki

INTERVIEW:

Miki Fiki

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THE awesome Miki Fiki…

have been talking with me about their single, Scrub, and how it came together. Their lead, Ted, takes up most of the questions and tells me about that unique moniker; what Nashville is like as a base; which artists they are all inspired by – he recommends some new talent to watch out for.

I ask whether there will be touring dates and the possibility of U.K. dates; what advice Ted would give to artists coming through; whether he and the band get time to unwind away from music – each of the band members chooses a song to end with.

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

Hey. Nice to digitally meet you! It’s been good. Just bopping between coffee shops and half-working, half-people watching (alongside everybody else).

For those new to your music; can you introduce yourselves, please?

I’m Ted and I sing and play keys for the group. Julia plays sax and Hunter plays bass. We all met in college at Belmont in Nashville and we’ve been putting out music and touring as Miki Fiki since early-2017. We’re based in Nashville but have been all over the eastern half of the U.S. in a blue truck.

Is there a story behind the band name ‘Miki Fiki’? How did that come to pass?!

My Facebook bio was “I’m one bad mickey fickey” for the longest time. I’ve forgotten what that’s from but, when picking a name, I wanted something that didn’t really mean much. I changed the spelling to ‘Miki Fiki’ because it looks nice stacked. It’s also slang for ‘motherf*cker’, but you don’t have to put that in.

Scrub is your new song. Can you reveal the story behind the song?

It’s an angry song! I was feeling a lot of things at the end of college but anger kept returning and I couldn’t find a way to process it. The song is literally about a relationship but, while the attitude of previous songs is a desire to learn, loneliness or missing someone sweetly, this one is bitter.

I don’t recommend latching onto this way of operating but, for a couple minutes, I was able to write down a few cheap shots I could never say to the person. That time is long gone - maybe in part because I put it to music.

It is your most energetic song so far! Do you think it is a logical move from your initial single, Stranger?

It’s definitely in the same vein in terms of communicating hurt through somewhat more aggressive/bitter language than I’m accustomed to in daily life. That’s where I was at the time; trying to live measured and well-behaved to an extent. But, there was a lot, mentally, that needed to go somewhere and, in both songs, that extreme pressure found some space.

Which artists are you all inspired by? Did you grow up around a lot of different sounds?

We have some overlap but all three of us have fairly different musical upbringings. I was fully engulfed by Usher then The Avett Brothers. Julia’s people are Jeff Coffin and the late, great Aretha Franklin. Hunter’s are Alvvays, Whitney; Crumb and Shintaro Sakamoto.

Nashville is where you are based. What is the city like in terms of its scene and diversity?

I’m still trying to sort that out myself!

There are all kinds of scenes to fall into here but I more often find myself where my friends are. I could break them down into genres but the benefit usually comes from doing what you love around people you love who are trying to do the same thing. I haven’t hit a ceiling here by any means and, every time I’m ready to get rolling, there are people around to help me do that.

Do you think there will be touring dates? Can we catch you play?

We toured heavily the first half of this year and are headed out for five dates in September up north. All dates are announced on our website and social media: 9/13 - Grand Rapids, MI: Tip Top Deluxe; 9/14 - Detroit, MI: New Way; 9/17  - Chicago, IL – Sofar; 9/18 - Appleton, WI - Stone Arch Brewpub; 9/19 - Minneapolis, MN - Nomad World Pub.

Might you come to the U.K. and see us here? Do you like the music here?

We would love to make a European trip someday. All we need are enough good friends!

If you had to select an album that means the most to you; which would it be and why?

Emotionalism by The Avett Brothers means a lot to me

I found it right around the first time I got REAL sad (fifteen) and the songwriting/messages hold up the older I get.

Have you got a favourite memory from your time in music – the one that sticks in the mind?

The first Miki show still stands out in my mind: there’s something special about being able to communicate in a way I’m proud for the first time in a long time.

If you could support any musician alive today, and choose your own rider, what would that entail?

Anderson .Paak. The rider would include Reese’s and Arnold Palmers.

What advice would you give to artists coming through?

The same thing I tell myself - which is to pay special attention as to whether or not you’re enjoying it and whether or not it’s growing you.

IN THIS PHOTO: The Pressure Kids

Are there any new artists you recommend we check out?

The Pressure Kids, Katy Kirby and Rand all come to mind. While they may not necessarily be new I believe they deserve to be appreciated by as many people as possible!

IN THIS PHOTO: Katy Kirby/PHOTO CREDIT: Kelsey Cherry

Do you get much time to chill away from music? How do you unwind?

I’m working on not thinking about it 24/7 because it can really start to feel like work. I unwind by getting wound up in other things - be it running, reading or both. Still trying to figure out where to put a lot of this energy but, for now, it resides in one of those three places!

Finally, and for being good sports; you can each choose a song and I’ll play it here (not any of your music - I will do that).

Fever - The Pressure Kids

Juniper - Katy Kirby

Only – Rand

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