FEATURE: “A Finely Wrought Dead End…” The Finest Paul Simon Albums

FEATURE:

 

 

“A Finely Wrought Dead End…”

IN THIS PHOTO: Paul Simon/PHOTO CREDIT: Getty Images/Press

The Finest Paul Simon Albums

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THIS is an emotional time in music…

 IN THIS PHOTO: Paul Simon performs in Flushing Meadows Corona Park on 22nd September, 2018/PHOTO CREDIT: Evan Agostini/Invision/AP

as Paul Simon bade farewell to live performance at the wekend. If you were not lucky enough to see the legend perform one of his final gigs then it is rather sad to realise that he will not perform again. Playing his last gig in Queens; Simon performed one of his most emotionally-charged sets ever. It seems like you really had to be there:

“Paul Simon ended his final concert tour under a moonlit sky on home turf on Saturday, telling an audience in a Queens park their cheers “mean more than you can know”.

Simon performed at Flushing Meadows Corona Park, which he said was a 20-minute bicycle ride from where he grew up, ending the landmark night with his first big hit, The Sound of Silence.

The 76-year-old isn’t retiring and hasn’t ruled out occasional future performances. But he has said this is his last time out on the road. Among his peers, Elton John and Kiss are also doing goodbye tours.

“…Mayor Bill de Blasio introduced Simon, calling him “one of the greatest New York City artists of all time”. The return to New York raised memories of two famous shows in Central Park, in 1981 with former partner Art Garfunkel and in 1991 on his own”.

He will continue, let’s hope, to produce albums but, given the fact we will not see him live again, I wanted to look at his very best records – for those starting out who want to discover Simon and his genius. If you want a collection of his eight best albums (a random number but it seems right to me…) then I suggest you have a look at the list and you will find much to love. (That quote at the top of this piece is what Robert Christgau said of Paul Simon’s brilliant album, Hearts and Bones). Have a look and listen to the essential Paul Simon collection and get lost…

 IN THIS PHOTO: Paul Simon during his final performance/PHOTO CREDIT: Jake Edwards Photography

IN his magic!

ALL ALBUM IMAGES: Getty Images

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Number-One: Graceland

Release Date: 25th August, 1986

Label: Warner Bros.

Review Snippet:

“It's easy to overstate what Graceland was. It wasn't the first world-music album, as some critics claim. But it was unique in its total, and totally natural, synthesis of musical strains that turned out to be not nearly as different from each other as its listeners might have expected, and the result resonated strongly around the world and across generations” - Pitchfork (2012)

Standout Track: Graceland

Number-Two: Paul Simon

Release Date: 24th January, 1972

Labels: Columbia; Warner Bros.

Review Snippet:

“It was miles removed from the big, stately ballad style of Bridge Over Troubled Water and signaled that Simon was a versatile songwriter as well as an expressive singer with a much broader range of musical interests than he had previously demonstrated. You didn't miss Art Garfunkel on Paul Simon, not only because Simon didn't write Garfunkel-like showcases for himself, but because the songs he did write showed off his own, more varied musical strengths” - AllMusic (2010)

Standout Track: Mother and Child Reunion

Number-Three: Bridge Over Troubled Water (Simon and Garfunkel)

Release Date: 26th January, 1970

Label: Columbia

Review Snippet:

“It wasn't clear at the time, but Bridge Over Troubled Water was an album about the end -- a casually ambitious look back at an expiring musical partnership (Simon and Garfunkel) and decade (the Sixties). Recorded in late 1969, it's largely remembered for a pair of big-themed production masterworks: "The Boxer" and "Bridge Over Troubled Water," led by Paul Simon and Art Garfunkel, respectively. "Bridge" quickly attained the beloved stature of a hymn, while "The Boxer" -- a metaphor for the immigrant experience in America -- ranks with Simon's finest songs” - Rolling Stone (2003)

Standout Track: The Boxer

Number-Four: Hearts and Bones

Release Date: 4th November, 1983

Label: Warner Bros.

Review Snippet:

“Hearts and Bones remains Simon’s most personal and also least known solo work because his next studio album, Graceland, would not only revitalize Simon’s career, but his personal life as well. Hearts and Bones would follow its predecessor to the bargain bins, but has more recently experienced a critical resurgence. In the time since its release, Simon has not since been nearly as personal in his lyrics, with his career focusing on the emerging world music genre during the 80s and 90s, and now, commonly reverts to more obscure issues in the world instead of looking inside himself for inspiration. But, the failed collaboration with Garfunkel and Simon’s troubled relationship with Carrie Fisher remain woven indelibly into Hearts and Bones, and despite its personal and sometimes uncomfortable moments, it remains is absolutely essential listen for those who are fans of his efforts as a singer-songwriter” - Sputnikmusic (2016)

Standout Track: Rene and Georgette Magritte with Their Dog after the War

 

Number-Five: Still Crazy After All These Years

Release Date: 25th October, 1975

Label: Columbia

Review Snippet:

“Where Rhymin' Simon was the work of a confident family man, Still Crazy came off as a post-divorce album, its songs reeking of smug self-satisfaction and romantic disillusionment. At their best, such sentiments were undercut by humor and made palatable by musical hooks, as on "50 Ways to Leave Your Lover," which became the biggest solo hit of Simon's career. But elsewhere, as on "Have a Good Time," the singer's cynicism seemed unearned. Still, as out of sorts as Simon may have been, he was never more in tune with his audience: Still Crazy topped the charts, spawned four Top 40 hits, and won Grammys for Song of the Year and Best Vocal Performance” - AllMusic (2012)

Standout Track: 50 Ways to Leave Your Lover

 

Number-Six: Bookends (Simon & Garfunkel)

Release Date: 3rd April, 1968

Label: Columbia

Review Snippet:

“While certainly not containing the emotional weight or grand arrangements of Bridge Over Troubled Water, Bookends is possibly Simon & Garfunkel's best album of pure, fun pop music. The seeds of Bridge's depth are there, but they don't get in the way of the fun, convoluted lyrics or the consistently amazing harmonies that are S&G's calling card. Bookends is fun, escapist folk/pop at it's best” - Sputnikmusic (2005)

Standout Track: A Hazy Shade of Winter

Number-Seven: Stranger to Stranger

Release Date: 3rd June, 2016

Label: Concord

Review Snippet:

“Stranger to Stranger is, finally, Simon’s most interconnected work, a self-contained world unto itself full of backing tracks that wind up in multiple songs and recurring characters (“the Street Angel”) who pop up in unexpected places. That type of self-referencing is also a first of sorts for Simon, yet another indicator that he has never stopped finding new ways to get excited and curious about his own, still-challenging, ever-expanding art” – Entertainment Weekly

Standout Track: Wristband

Number-Eight: The Rhythm of the Saints 

Release Date: 16th October, 1990

Label: Warner Bros.

Review Snippet:

“St It is hard to surmise whether The Rhythm of the Saints has an over-exuberance of percussion which distracts from the core song craft or if the opposite is true, meaning these track may not have been quite as interesting without the arrangements. In any case, this album was a critical and commercial success all over the world and yet another high water mark in the long and brilliant career of Paul Simon” – Classic Rock Review (2015)

Standout Track: The Obvious Child

FEATURE: Vinyl Corner: Steely Dan - Aja

FEATURE:

 

 

Vinyl Corner

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

Steely Dan - Aja

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THERE are few things I like more…

 IN THIS PHOTO: Walter Becker and Donald Fagen in 1975/PHOTO CREDIT: Ed Caraeff/Getty Images

than sitting down and spinning a record. There are those albums that sound best when they are played on their vinyl format. I feel Steely Dan are the personification of the record and what it encompasses. Given their perfectionism and incredible musicianship; it is always worth picking up a Steely Dan L.P. and letting it do its work. I think any Steely Dan album is worth playing on vinyl - but Aja seems to be the best place to start. The mid/late-1970s was quite a productive time for Donald Fagen and Walter Becker. The songwriting geniuses released Katy Lied in 1975 and the album scored some big reviews. Some critics felt the album lacked dimensions and was a bit simple – from Steely Dan’s viewpoint anyway. I like the album and cuts such as Bad Sneakers are among their finest efforts. 1976’s The Royal Scam had Kid Charlemagne and Haitian Divorce and it was clear, four years after their debut album, Can’t Buy a Thrill, Becker and Fagen were hitting a new creative period. I feel their first couple of albums were quite loose and experimental. There was a mixture of styles and the songwriting, whilst unique and strong, was not at the peak that would arrive. I love the earliest stuff they put out and am a little ho-hum when it comes to the 1975/1976 period. The guys were transitioning their music and trying out new sounds but, to me, everything came together by 1977’s Aja.

The record was one of the last Becker and Fagen made before they took a hiatus – 1980’s Gaucho was the last – and could not be seen as one-dimensional and forgettable. A lot of journalists felt Steely Dan were great but the albums didn’t necessarily resonate long-term. I feel there is a distinction between records like Pretzel Logic and Katy Lied. At every stage of their career, Steely Dan were crafting these immaculate songs and you could feel how much effort was being put in. Maybe albums like Katy Lied and The Royal Scam had a couple of well-known hits but Aja was that moment of genius arrived. If previous records had some loose edges and some of the songs could be seen as simple; Steely Dan ensured Aja would not pass anyone by. This was the moment they truly shifted that rather loose and eclectic debut. Aja is a complex and intricate album where every song is honed, crafted and shows sweat. Becker and Fagen were spending so much time in the studio and worked with a rotation of musicians. Auditions were held and the songwriters were not happy until they had the sound exactly as they wanted. The reason I wanted to focus on Aja is because it is that mix of simple and complex.

 PHOTO CREDIT: Unsplash

By that, I mean the songs all have that Jazz-Rock sound and it has a distinct template. The songs, however, are so rich and dripping with workmanship. You cannot listen to the songs and feel uninvolved and detached. Every single track tells part of a story and you immerse yourself in every note. Released through ABC Records; Aja became the best-selling album from Steely Dan and there are around forty musicians involved. Becker and Fagen wanted to push their art more and experimented with a combination of different session players. Aja has sold over five-million copies and many critics have put it in their all-time favourite albums category. It is easy to see why the album was popular at the time and sold so well. Jazz-Rock was a staple of the 1970s and Steely Dan perfectly bridged Rock/Pop chisel with the more casual and slumming Jazz. Those who followed Steely Dan from the start would have noticed, by Aja, the change from the multi-genre style to a more calculated blend of Jazz and Rock textures. The sarcastic, cynical and witty lyrics of their previous albums remained by the music was the biggest shift. Those who wanted something easy on the mind and free-flowing would have been frustrated by the sheer intellect, musicianship and passion injected in their sixth studio record.

I remember watching the Classic Albums series that focused on Aja. To see its creators dissect songs and explain their process brings you closer to the production. One gets a song-by-song investigation and people who appeared on the album, including Michael McDonald, talked about their experiences. Rather than put out an album with a dozen songs that are comparatively sharp and there is a broad range of sounds; Aja is a seven-track album that takes its time to unfold and has so many layers. To be fair; not all of the tracks on the album are long – two of the tracks are under five minutes and none of the cuts are as long as eight minutes. Look at each of the sides and you get interesting stories and narratives. I stated how there was a consistency but I prefer the second-side and its tales. Peg is a perfect opener that features those creamy and stunning vocals from Michael McDonald. You get layers of harmonies and expressions from the singer and it adds another aspect to the more caustic and distinct vocals of Donald Fagen. Peg, which looks at a movie heroine and her break, is a fantastic song that gets you moving, kicking your feet and singing along. The music here is perhaps at its loosest and least fireworks-like. I mean it has complexities and contours but it is more akin to the breezier and more hip-swaying numbers we would have heard on Pretzel Logic (1974).

  PHOTO CREDIT: Unsplash

Josie closes the album and seems like a perfect bookmark to Peg. Both look at central heroines but both are very different beasts. The former is that try-hard and hopeful movie queen whereas the latter is a more rebellious and 1970s-set icon that is back in the neighbourhood. The music, too, has a similarity in terms of its playfulness. Although Josie does not have Michael McDonald lend his croon; the story and images are incredible. The “pride of the neighbourhood” is getting scooters rolling and people flocking to the beach. It is a fantastic number that shows, even at their finest and more ambitious; Donald Fagen and Walter Becker could write something catchy and accessible. In fact, the second-side is a more open and ‘punchy’ than the more multi-part and epic tracks on the opening half. We often look at the closing songs of Aja and forget Home at Last and I Got the News. Neither track was released as a single and, by many, they are viewed as lesser numbers. I feel this is wrong. Home at Last is deceptively simple in sound. You listen to it and notice how much is working away. I love the interplay of the guitar and horns. There is a distinct groove and it plays on the cooler style of Jazz. Those who know Jazz better than me can differentiate between the songs on Aja.

  PHOTO CREDIT: Unsplash

Whereas songs such as Aja and Deacon Blues are more experimental and suite-like; you can hear that assimilation of Rock and Jazz in Home at Last as it creates a taut and sexy blend. I Got the News is, perhaps, one of the most addictive and sassy songs Steely Dan have written. Among all the serious study and brilliantly honed songs; I Got the News, again, has a freedom and looseness. Even when they are relaxed and a bit more cool-flowing, you can still hear all that incredible music and colours bursting forth. I feel these songs get overlooked and should be ranked among the best of Aja.  To me, Home at Last and I Got the News are stronger than songs like Black Cow and Aja. Conventional wisdom and reviews would disagree but that is the way I feel! Both are very different tracks but Aja’s title offering is the definition of the experimental and fastidious nature that would define the record. It is largely free of vocals – there are some but it is more about music – and it is almost spiritual. You are caught in this big production and story that seems to focus on the Asian heroine.

I think Steel Dan said the album was named for a Korean woman who married the brother of one of their high-school friends. Even through the cover is of a Japanese model (Sayoko Yamaguchi); you picture this anonymous Korean heroine and her life. It is an odd thing. You feel like you know this woman but the song sort of takes you in a new direction. I like how the song moves through phases but, in my view, I would like to have heard more of Donald Fagen and his voice – it is busy with sounds and moves but needs more verbal input to give it a proper hit. Maybe I am wrong but I still really like the song. Los Angeles played a big role in Aja and it was definitely handy when it came to having musicians close-by. GQ, when looking at the album back in 2014, talked about Fagen and Becker being New Yorkers relocated to Los Angeles:

“At the time of Aja, Fagen and Becker were New Yorkers on location in LA, and although they revelled in the recording facilities and the abundance of great musicians, seemingly on tap - they spent their days getting studio tans as opposed to any other kind - they found the city faintly ridiculous. "LA was certainly a lot of laughs," says Fagen. "Neither of us really liked it, because we just weren't LA-type people. We called it Planet Stupid. Nobody seemed to understand us there." "Becker and Fagen are interesting characters, sort of isolationists by nature," said one of their session musicians at the time. "They live in these houses in Malibu, not near anybody, and I have a feeling LA helps them keep their music going on a certain level - they're almost laughing at the people in their songs”.

  PHOTO CREDIT: Unsplash

I will end the piece by looking at the standout song from Aja – and my favourite song ever – and but it is interesting seeing how the record has endured and the effect it has had on people. Variety investigated Aja last year (to celebrate its fortieth anniversary) and concentrated on its sophistication, polish and work-rate;

“Aja,” Fagen and Becker’s sixth LP, only amplified the carping. It was a work of gleaming surfaces, buffed to a high gloss by the band’s longtime producer Gary Katz and an ultimately Grammy-winning team of engineers. Its reflected light blinded the eye to what lay beneath.

Its seven songs burst with sophisticated changes, exquisitely played by such jazz luminaries as saxophonist Wayne Shorter and keyboardist-vibraphonist Victor Feldman (both graduates of Miles Davis’ ‘60s bands) and session pros like bassist Chuck Rainey, drummers Steve Gadd, Jim Keltner and Bernard Purdie, saxophonists Jim Horn and Plas Johnson, pianist Paul Griffin and guitarists Larry Carlton and Lee Ritenour.

For Fagen and Becker, the beautifully tooled music they made with their studio cohorts served as the ultimate alienation effect. The true import of their work, which addressed forbidden impulses that moved to the edge of crime and frequently beyond, was always garbed in satiny elegance; its sardonic and horrific essence was marketed as the purest ear candy.

To this day, “Aja” is a thing of musical beauty with a hard-edged heart, and a consummate act of creative sleight-of-hand”.

Many have tried to capture the essence of Aja and what defined Steely Dan. So much life and literature goes into their work; the studio perfectionism made the songs impossible to top and fault; the songs, by and large, concentrated on those a little alienated and unusual – not your conventional heroes and attractive leads. This article talked about Steely Dan’s progression and ethos and how, by Aja, they had reached the apex of what made them them:

“The ambition of the music and their (Crowe’s words) “heinous” studio antics were not the sole, or perhaps even the main reason, for Steely Dan’s lasting reputation as curmudgeons. The narrators of their songs were creeps. On early Dan albums, Fagen and Becker spun autobiographical yarns about intellectually overzealous young men who were bitter beyond their years, both sending up and romanticizing their youthful steady diet of Beat literature, low-grade weed, and worn-out Sonny Rollins LPs. On Aja, those bad and sad men were grown up into shadowy, morose personalities, their faces averted like the lonely guy at the counter in Edward Hopper’s Nighthawks. The album solidified Steely Dan’s obsession with what Fagen would call a “culture of losers” in earnest, with Deacon as the self-appointed superhero of the bunch.

It’s easy to scoff at the notion of Steely Dan becoming a hip-or-hipster phenomenon, in addition to the band your dad, one of his brothers, or your high-school jazz band teacher staunchly defended to you throughout your less-diplomatic childhood. But their music was always designed for the self-consciously cool. Walter and Donald practically defined the term “hipster” in its original usage: bored, precocious suburban kids who scoured the dial for good NYC jazz radio, subscribed to Downbeat, then went on to read Kerouac, high as hell, at college upstate. Their music was steeped in the obsessions of their early life, yet their holier-than-thou-ness manifested in their music in a way that somehow connected to people. The public hung on even when it seemed like the two of them were deliberately trying to shake them: with Aja, the stakes were highest, the chords were strangest, and their heads were buried deepest in the sand”.

  PHOTO CREDIT: Unsplash

If Gaucho (1980) was their last album by a bit of a rest; Donald Fagen and Walter Becker left their greatest song until very near the end. Deacon Blues ends the first-side of Aja and is Steely Dan’s defining statement. It is the tale of a helpless and hopeful loser who plays the saxophone as he feels; coming out at night and crawling like a suburban lizard. He has hope that things are going to be great and, perhaps, has too much self-confidence. So many of Steely Dan’s greatest songs assess losers and those who unlike what you will hear in most Pop songs. I identify the song in many different ways. Maybe it is the way the unnamed hero hopes things will turn and he doesn’t care about conventional and what he is supposed to do. This loveable protagonist is not an expert Jazz saxophonist but it doesn’t matter – he is someone you can pine for and let him go about his way. Unlike Aja’s title-track; Deacon Blues has enough story and narrative but also boasts a terrific score. I am fascinated by the song from the very first notes! The teasing percussion and intriguing notes welcome you in before you follow this story. In this article; it explores the song and what it is inspired by:

“Many people have assumed the song is about a guy in the suburbs who ditches his life to become a musician. In truth, I’m not sure the guy actually achieves his dream. He might not even play the horn. It’s the fantasy life of a suburban guy from a certain subculture. Many of our songs are journalistic. But this one was more autobiographical, about our own dreams when we were growing up in different suburban communities—me in New Jersey and Walter in Westchester County…”

  PHOTO CREDIT: Unsplash

“Mr. Becker: The protagonist in “Deacon Blues” is a triple-L loser—an L-L-L Loser. It’s not so much about a guy who achieves his dream but about a broken dream of a broken man living a broken life.

Mr. Fagen: The concept of the “expanding man” that opens the song [“This is the day of the expanding man / That shape is my shade there where I used to stand”] may have been inspired by Alfred Bester’s “The Demolished Man.” Walter and I were major sci-fi fans. The guy in the song imagines himself ascending the levels of evolution, “expanding” his mind, his spiritual possibilities and his options in life.

Mr. Becker: His personal history didn’t look like much so we allowed him to explode and provided him with a map for some kind of future.

Mr. Fagen: Say a guy is living at home at his parents’ house in suburbia. One day, when he’s 31, he wakes up and decides he wants to change the way he struts his stuff”.

It is a wondrous song where all these magnificent musicians come together and deliver something unbeatable! I know Becker and Fagen went to great lengths to get the sounds correct and ensure what they conceived sounded perfect. It is a biblical and profound song from a band/duo who were hitting their peak. Whilst it is the clear standout from Aja, I do not think it overshadows everything and, in fact, there are plenty more treats on the record to get you fascinated. Listen to an incredible album that is over forty years old but sounds fresh and reveals new layers. I am going to return to it now and, if you are new, ensure you involve yourself in an album that is unique and…

 IN THIS PHOTO: Walter Becker and Donald Fagen in 1977/PHOTO CREDIT: Henry Diltz

UTTERLY beguiling.

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Beth McCarthy 

An All-Female, Autumn-Ready Playlist (Vol. IV)

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THE weather is a bit naff today…

 IN THIS PHOTO: Little Simz

and so it seems the right time to introduce some autumn-ready songs that can get the mood back on. I have been looking around and trying to seek out some great sounds that summon the colours of autumn but retain some of the heat and magic of summer. I hope the collated list of female-led gems is ripe to put you in the mood and get the spirits raised. Have a look at what is in the rundown and I am sure you’ll get some satisfaction, nourishment and comfort. As it is a bit iffy out there; it is only right we settle down with some great songs and let the talented artists…

 IN THIS PHOTO: Hollie Carmen

DO their work.

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

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Beth McCarthy – Shame

PHOTO CREDIT: @offshoremusics 

Praa – Y

PHOTO CREDIT: Todd MacDonald - Filmmaker & Photographer

Kitty Macfarlane – Sea Silk

Unloved – Heartbreak

Ramona Rose – High Water

 

Courtney Paige Nelson - Hurt

Mia Milla – The Way You Roll

Hollie Carmen – Butterflies

Laura Jean Anderson – Thinkin Bout You

Fia Moon – Take

Rukhsana Merrise – Sober

Starley – Signs

Ruth B. – Rare

Metric – Die Happy

Black Honey – Blue Romance

PHOTO CREDIT: Lucy Foster Photography

LAOISE – Again

LOYAL – Patterns That Fall

PHOTO CREDIT: Tor Hammar Erickson and Dayna Weststeyn

Chersea – I Can’t Be You

Nina June – Where the Angels

Alina Baraz – Feels Right

PHOTO CREDIT: Jeanna Ross

Skyler Stonestreet – It Kinda Hurts

Only Girl – Release

Little Simz – Offence

Blithe – Mission

Aisha Badru – Waiting Around

FEATURE: The September Playlist: Vol. 4: I’d Stay, But I’m on the Way to Brazil…

FEATURE:

 

The September Playlist

IN THIS PHOTO: Jorja Smith  

Vol. 4: I’d Stay, But I’m on the Way to Brazil…

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THIS week finds a lot of big artists…

IN THIS PHOTO: Sir Paul McCartney/PHOTO CREDIT: Collier Schorr for GQ

release music into the ether. Cat Power, Sir Paul McCartney and Jorja Smith are among those who are here with fresh videos/tracks; Cher, Lana Del Rey and Arcade Fire are also armed with new work/videos – it is a busy and exciting week for music.

I have been looking through the best releases of the week and have collated a weekend-ready rundown of the tracks you need to get your ears around. Have a dip in and experience the full spectrum of the fantastic music that is out right now. I am sure you will find a lot to keep you entertained and fulfilled.

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

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Paul McCartney – Back in Brazil

Years & Years – All for You 

PHOTO CREDIT: Patrick O'Dell

Cat Power – Stay

PHOTO CREDIT: Dan Medhurst

Jon Hopkins – Singularity

PHOTO CREDIT: Bella Howard for British GQ

Jorja Smith – On Your Own

John Carpenter – The Shape Returns

Mumford & Sons – Guiding Light

Cher – SOS

Marshmello – Stars

Macy Gray – Over You

Avril Lavigne – Head Above Water

Ruby Mancuso - Lento

Lana Del Rey – Venice Bitch

Ella Mai – Trip

The Chainsmokers – This Feeling

Pale Waves – One More Time

PHOTO CREDIT: Mary Ellen Matthews

Arcade Fire – Peter Pan

Christine and the Queens – The walker

Fia Moon – Take

Steve Mason – Stars Around My Heart

Rukhsana Merrise – Sober

Starley – Signs

Self Esteem – Rollout

Only Girl – Release

Villagers – Real Go-Getter

Hudson Taylor – One in a Million

Little Simz – Offence

Blood Red Shoes – Mexican Dress

Allie X – Little Things

Rita Ora – Let You Love Me

PHOTO CREDIT: Genevieve Medow Jenkins/Press

Rhye – Hymn

PHOTO CREDIT: Nasty Man Creations

The Blinders – Gotta Get Through

Au/Ra – Emoji 

Nao – Drive and Disconnect

Black Honey – Crowded City

 

FEATURE: A Perfect Collaboration: Creating More Free Time and Community for Those in Music

FEATURE:

 

 

A Perfect Collaboration

ALL PHOTOS: Unsplash 

Creating More Free Time and Community for Those in Music

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ONE of the questions I ask artists when interviewing them…

is whether they get free time to unwind away from their careers. Some artists say they do and get to do other things but many say either music is their free time and relax or there is no time to do anything else! I have sort of alluded to this topic before and wanted to return to it. One of the biggest concerns I have is the sheer amount of time musicians spend doing their work. Maybe it is their passion and dream but it can be all-consuming gigging and being in front of a screen every day. If you are so caught up in making music and touring then you do not get enough time to unwind and have any sort of detachment. Some are lucky where they can get away and chill but many others have several jobs to fund their careers. Throw into the mix the demands of social media and online promotion and how much time is left for anything else?! Anxiety levels are rising and musicians are more depressed than ever. It seems like, in many ways, the business side of music is on the rise. Once was the time when artists had to release singles physically and there was a cost when the singles came to the end of the run. They were dumped into bargain bins and the whole business of making music was a lot more expensive. This article looks at ‘Dumperdom’ – that failure and physical waste – and argues musicians now do not witness failure:

“But for some artists, avoiding Dumperdom may simply be a stay of execution, and in many cases may not be ideal for mental health or longterm careers: it can’t be easy checking streaming stats each week in the way some people check their Lottery numbers, forever hoping that there’s a pot of $0.004 streams at the rainbow’s ungraspable end.

“…Have we ushered in a generation who have something in common with Les McQueen, the League Of Gentlemen’s hopeless Crème Brulee frontman who lived in a perpetual state of believing that this might finally be the year things turned around?

Just as significantly, what impact does it have on artistry? Musicians and creatives are often driven by the need to succeed but how many of them — how many of all of us — are equally driven by the fear of failure? And what, then, happens when we remove from the equation half the motivation to do well?”.

For artists wanting to shift their music; it seems streaming sites and the Internet is providing bounty and finance. This article, published in January this year, looks at the growth and current prosperity:

“The most exciting area of the industry right now is streaming--and, with more than 140 million active users and more than 50 million paying subscribers, Spotify is winning the arms race. The main reason we're seeing growth in recorded music is that Spotify, in particular, has expanded access to what amounts to a new music industry. In 2018, as it goes public and its savvy backers start to recoup their investments, Spotify appears set to solidify its dominance”.

A lot of things have got easier but I feel it is not as simple as celebrating streaming and how digital music allows artists to remain vital and seen. A lot of the artists I speak to feel so much pressure to be seen and heard. They find it hard to compete with the mainstream and the sheer effort to promote the music and be visible is taking its toll. You can share music on social media but that only goes so far. Artists now are touring harder than ever; sending more emails and, if they are lucky enough to find some success; there is that pressure to follow it up and hit even harder.

Making a success of things is about putting the time in but I feel we are not urging artists to take time away and relax. I am in the position myself: spending so much time working and not taking moments to pause and unwind. The best times are when you can have a night/day out and not feel pressured to check emails and social media. We all have one eye on that all the time and it can be an addiction! The feeling (among musicians) they will be overlooked and lose support if they are not either playing or being online creates this very negative feeling and is dangerous for mental-health. It can be hard weening people away from screens and the studio but one of the big problems is that feeling a social life is too costly or there are not like-minded people out there. It can be pricey going out and having a few drinks and, unless you know people nearby who are like-minded; how likely are you to venture out and connect with someone?! The natural answer would be to create a network for artists and musical folk that mean you can bond over music and not have to pay the world.  I have been playing with the idea that we could establish clubs or events that would get us all together and not be expense. Based in various cities and towns around the country; you would go to these nights and be in a fairly quiet, exciting environment that would be about relaxing but connecting.

You could chat with other artists about collaborating and making music together; discussing experiences and sharing new music. Others, like myself, could pitch ideas and network or simply listen to music play. You could have a jukebox playing and drinks served – either international coffees or music-themed cocktails – and it would be a bit of a paradise for musically-minded people. In many ways, it would be a bespoke music café/bar that means you would not feel alienated and anti-social and the prices would be low. What I want from a break away from the screen is relaxation but the chance to still work a bit. I would like to go and bond with people like me and discuss developments in the industry and new artists to check – whilst having a nice drink and listening to some classic/epic music. In a way, this would be a cross between a networking event and a traditional night out. Having these cool spaces that are themed and well appointed – music memorabilia or artefacts around – would relax you and you would not entirely be off the clock. I do not think anyone can go cold-turkey and unhook from music work completely. You would not be glued to the phone and laptop but, instead, could talk to similar people and actually discuss opportunities and things. Having that blend of fun and a creative environment would be a great way of taking away the stress and still being busy.

If you look at existing music cafes/bars they are perhaps a little niche or small. I am not proposing a massive area that is intimidating but have a few bespoke cafes around the country. One might argue it is expensive to commute to these places and it may be hard to fund setting up these cafes. I think having something smaller and village hall-style would be depressing and incomplete and you need to design something that grabs the imagination. A crowd-funding initiative could be established and it would be a way of having these places in different locations and provide a bit of a co-operative. Those who fund the proposal could get discounts and would be helping ease the stressed and anxieties of many of us out there. Carpooling could be mooted and people could communicate with one another regarding transport – so that nobody is left out and there is that extra sociable side to things. Maybe you could have live performances and artists playing or just stick with a jukebox that would play a mix of older and new music. Maybe it is hard to get this idea floated and realised quickly but I think there is a danger many of us are becoming dislocated and not able to get out a lot. If there was a way of bringing elements of music promotion/work to a social environment then it would get us out and about and help ease the stress.

You only need look at social media and chat with those in music to know the pressure on their shoulders and how much time they spend in front of screens. Whether it is emailing P.R. companies or promoting music; organising gigs or simply being on the road and gigging – how many of us actually get out and about and relax?! Most of us feel cost and not having anything exciting to do is a good reason to stay in but, if something were designed that appealed to the musical-minded; I feel that would be killing many birds with the one stone! I am not sure what this venture would be called but having venues/cafes where we could go and chat; listen to music and create opportunities at the same time sounds like a good thing indeed. You only need go once a week but I feel the personal benefits would be clear. I am launching some ideas in music and want to connect with others but find it can be challenging online. Where do you start and how do you go about finding the right people? If this social endeavour has a website where you could register and connect with those you want to chat with – it sounds like we are heading back into the problem at hand but you need to have some electronic input – that would be a way of going about things. If there is a consensus and more input from others; not only could we find places where those in music could unwind and be sociable but there is that business/creative element. I know something needs to be done because, the way things are now, so few of us actually feel we can commit the time…

TO interact with others.

FEATURE: A Maligned Musical Decade: Time to Stop Hating on the '80s

FEATURE:

 

 

A Maligned Musical Decade

ALL IMAGES/PHOTOS: Getty Images 

Time to Stop Hating on the '80s

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EVERYONE has their favourite decade of music…

 IN THIS PHOTO: Bauhaus

but you always get that argument against the 1980s – that it is completely naff and never produced anything good! I think the 1990s is the best time for music but, again, there are those who refuse to accept the brilliance of the time. I guess everyone is entitled to their tastes and preferences but there is this huge weight against the '80s that makes me a bit angry. I always hear people slag off the music based, I guess, on images like the one above. It is true there was a lot of tragic clothing and dodgy music but look at the classic albums from the decade and you have to wonder what the hell people are talking about. Inspired by a recent piece Pitchfork published regarding the best two-hundred albums of the 1980s; my eyes were watering at the sheer volume of genius that came through. Just look at their top-twenty and you cannot argue against the inclusions. From Kate Bush’s Hounds of Love (1985) to Beastie Boys’ Paul’s Boutique (1989); Madonna’s eponymous debut (1983) through to Prince and the Revolution’s Purple Rain (1984) – there is so much wonder and brilliance there. 1986 is a year that has been criticised for having too much computerised beats and a bit of an awful sound that did not produce much greatness.

 IN THIS IMAGE: The cover for Beastie Boys’ album, Paul’s Boutique

Aside from records like Graceland (Paul Simon) and The Queen Is Dead (The Smiths); there was not a huge force to write home about. That is okay because so much of the decade is represented in the 1980s’ list. I think about Madonna arriving on the scene and that unique, brilliant sound coming through. Some argue her peak was 1989’s Like a Prayer but you can make a stronger case for her debut. Prince has a productive decade that also saw Sign o’ the Times in 1987. He was in incredible form and showing he had no peers. Great Hip-Hop and Rap was emerging in the form of Beastie Boys and Public Enemy. On different pages in terms of their style and lyrics; Paul’s Boutique and It Takes a Nation of Millions to Hold Us Back (respectively) are among the finest creations of the '80s. You marvel at the innovation emerging and listen to Erik B. & Rakim’s 1987 masterpiece, Paid in Full. Pitchfork, when assessing the album in their rundown, had this to say:

“But formal innovations lose their shock over years; once you’ve been astonished by their novelty, you don’t stay astonished. What truly solidifies Paid In Full’s lofty place in history, and what makes it sound mysterious and untouchable three decades later, is the spartan form of cool it pioneered. Rakim cut a forbidding figure against his peers: He was a stone-faced virtuoso in a sea of party rappers, equal parts exacting and self-assured”.

 IN THIS PHOTO: Eric B. & Rakim

The staggering array of Hip-Hop and Rap emerging from the 1980s was staggering to see. Pioneering and bold artists like Neneh Cherry, Kraftwerk and Pixies were ruling and it was a sensational time for Pop kings/queens. I have mentioned Kate Bush’s Hound of Love but she released the wonderful The Sensual World in 1989. Madonna was undergoing change and transformation through the 1980s. From her debut in 1983 to Like a Prayer in 1989; she established herself as the Queen of Pop and became a fashion icon in the process. They do not make stars like her anymore and, rather than conform to all the uncool stereotypes of the 1980s, she constructed her own looks and inspired legions of fans. Michael Jackson gave us Thriller in 1982 and Bad in 1987. I amused by this article that reacted to ‘scientific’ study that suggests the 1980s was the most homogenised and boring era for music:

“The second landmark movement in 1983 came with the adoption of aggressive, synthesized percussion — think Phil Collins and his pulsating drum machine — and loud, guitar-heavy Arena rock with lots of chord changes, such as with Mötley Crüe, Van Halen, REO Speedwagon, Queen, Kiss and Alice Cooper. These rock bands were joined by new wave acts — like the Police and Cyndi Lauper — plus a surge of metronomic dance-pop heroes like Madonna and the Pet Shop Boys. (Michael Jackson’s Thriller dropped in late-1982) Meantime, classic country and folk lost popularity and wouldn’t return until the early aughts.

“…But these sounds and styles of the Reagan era flooded the music scene, pushing out genres like country and folk to the point that mid-to-late 1980s became most homogenous period in music over the last 50 years, based on the team’s computer analysis”.

Tommy Lee of Motley Crue performs live onstage in February 1986. The 1980s marked a period of low diversity in music, according to a new computer science study. Photo by Peter Still/Redferns

This theme doesn’t mean music from this era was bad, but rather it suggests “a small number of styles were very catchy and therefore dominated,” Pagel said. This catchiness may linger to this day and explain why themes from the 1980s have bounced back over the last decade”.

Maybe 1990s’ Pop and Rap scene were more vivid and populist but you cannot claim the decade lacked inventiveness, spark and imagination. I will end the piece by selecting tracks from the albums Pitchfork selected as the best of the 1980s – that shows what an array of brilliance there was! Rap, especially, was noted for its scene and culture during the 1980s:

“As complicated as it was creative, as contradictory as it was all-conquering, the story of hip-hop's eventual aesthetic takeover starts in the '80s. From artists like Slick Rick to the Fresh Prince, Public Enemy to the 2Live Crew, N.W.A to BDP, Salt-N-Pepa to Queen Latifah, The Fat Boys to De La Soul—this is where rap's various ideologies and innovations begin spinning outwards, spreading geographically and, culturally. Early on, it wasn't an album genre; hip-hop was all about parties and park jams, preserved and propagated via bootleg cassette. Soon after it was about stars and singles, disco loops and breakbeats, drum machines, and ultimately, albums. The art of the hip-hop album was perfected by the close of this remarkable decade”.

 IN THIS PHOTO: Bananarama

Whether you prefer an '80s record like Talking Heads’ Remain in Light (1980) or Sonic Youth’s Daydream Nation (1988); plump for Joy Division’s Closer (1980) over Janet Jackson’s Control (1986); there was so much range and terrific stuff coming out. The 1980, of course did bring us Bros, Spandau Ballet; Bucks Fizz and Duran Duran. Some love the music of those artists - I am partial to classic Duran Duran – but there was that ‘look’ that gets in the way of the music. Look at the publicity photos and it tends to be the large hair, matching outfits and eye-catching looks. I agree the fashions and styles of some artists distorted the music but the likes of Tears for Fears, Eurythmics and Bananarama were making some incredible music – even if the fashion has dated somewhat. If you cast aside the worst of Pop music and a lot of the rough edges; I argue the 1980s was as strong and interesting as the 1960s and 1970s. Rock was less of a potent force during the decade and artists were more pansexual in terms of their compositions and themes. Everyone from Orange Juice to The Clash were bringing in Calypso, Funk and Synth-Pop and lacing it together wonderfully. There was so much more richness at the forefront compared to the 1970s. With a decline in genres like Rock and Punk, more female artists were coming to prominence.

I have mentioned Madonna and Kate Bush but we also had Suzanne Vega, k.d. lang and Sade releasing incredible music. It was a great time of hubris for female artists who were, for the first time in a long time, given a lot more attention and focus. I am not saying there was no sexism in the 1980s but female artists were flourishing and showing just how exceptional they were. Music journalism was booming and great independent labels were formed. Whilst Smash Hits and The Wire were looking at the new releases; Creation and 4AD were among the labels leading the charge against the big boys. Black artists like Prince, Salt-N-Pepa; Michael Jackson, Whitney Houston and De La Soul were making waves and, alongside the rise of music television, it meant there was less homogenisation on the screen. The Tube and Top of the Pops gave artists of the day a stage on which to perform and MTV were playing the biggest and most spectacular videos of the time. Groundbreaking videos such as Sledgehammer (Peter Gabriel), Thriller (Michael Jackson) and Talking Heads’ Once in a Lifetime pushed technology and techniques to the limit and it was a golden era for music T.V., journalism and progression. Maybe a bigger explosion came in the 1990s and, to me, it is a stronger decade but the 1980s was a wonderful time for music and culture. In many ways, I wish we could return to a time when there were those huge Pop artists challenging one another; music T.V. and journalism were fierce and huge shifts were occurring. I really love the '80s and think it gets a hard press. I think we should all take time out and appreciate all the amazing albums, artists and moments that reigned…

DURING a fantastic decade!  

FEATURE: Between the Grooves: Why the Album Can Never Be Considered ‘Dead’

FEATURE:

 

 

Between the Grooves

ALL PHOTOS (unless credited otherwise): Unsplash 

Why the Album Can Never Be Considered ‘Dead’

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SOME might say…

 IMAGE CREDIT: Getty Images

they listen to great albums like Oasis’ (What’s the Story) Morning Glory? all the way through and they are beholden to the album as a concept. Many, slightly older listeners, have always bonded with vinyl and do hold much stock in the digital takeover. The reason I bring this subject up is because there is that never-ending talk about the album and whether it holds much weight. The Hyundai Mercury Prize happens on Thursday and it is a rare occasion where we get to celebrate an album in its whole. Award ceremonies commemorate and nod to great records but I wonder how much the public actually takes notice of the L.P. I myself have been dipping into a lot of recent albums but I go back to older records and listening to them in full. I am not sure whether it is the way artists make albums – a few singles and then some weaker tracks – or if it is a sign of the times. I love putting on a vinyl and listening to the complete thing. Great albums are a story and narrative that grip you from start to end and it is harder to draw yourself away than you’d imagine. You sit there and let the music wash over you and it is a wonderful thing. I wonder whether we have the time and patience to sit through albums and whether we have that same passion.

Focusing on an album requires patience and time to concentrate. Many of us are busy and going about our business and, when we get a moment free, we go onto streaming sites and pick tracks we want to listen to. The album turns seventy this year and it is a good occasion to look at the format and whether it is really in full decline. This article from The Conversation (published in July) looks at the figures and how albums are faring at the moment:

“The album – or at least, the 33rpm vinyl record that spawned the format – turns 70 years old this year. But it isn’t ageing gracefully. Even five years ago, Bob Lefsetz declared that “the album is dying in front of our very eyes” – and given how comprehensively streaming services are decimating record sales, that still seems a reasonable observation.

In 2017, UK revenues from subscription streaming platforms rose 41.9% to £577m, while physical formats dropped 3.4% and online downloading dropped 23.1%. Album sales – as hard copies and digital files – have halved since 2010”.

You can argue award ceremonies and special days – National Album Day on 13th October is a special day to mark the wonders of the album – help boost the importance of albums but I fear many people are picking singles and there needs to be that sort of revival.

 IMAGE CREDIT: Getty Images

Back in the 1960s and 1970s, when the album was at its peak, you had those wonderful statements that have stood the test of time. Whether it is The Beatles creating cultural milestones on Sgt. Pepper’s Lonely Hearts Club Band or huge commercial success like Thriller (Michael Jackson) and The Dark Side of the Moon (Pink Floyd) selling millions – it is clear the album is important and has changed music. That article from The Conversation noted how some acts toured entire albums – Paul Simon for Graceland and Lauryn Hill for The Miseducation of Lauryn Hill – and fans can revel in their favourite record coming to life, in full, on the stage. The piece looks at the current state and how streaming has affected the market:

“Notwithstanding a resurgence of vinyl sales, albums are still suffering when compared with streaming, which has steadily ratcheted up the value of individual smash hits. But while some songs end with a sudden cut-off, others slowly and gradually fade away. It’s been a long time since the album was defined solely in economic or physical terms. Culturally and socially, the album’s carefully choreographed tracklist could run for a good while yet”.

This Forbes article looks at the expense of making an album and asks whether it is worth buying them considering the fact many of us pick a track or two:

“Albums are expensive and time consuming to make and, for the most part, amount to a lot of wasted effort as consumers only listen to one or two songs (the singles) anyway even if they buy the album. Most people that get their music from a streaming service will end up cherry-picking the most visible songs (again, the singles), and will never experience the rest of the album cuts anyway. Even if they do, chances are they’ll only listen to each a few times at most, and in most cases, not at all. That’s a lot of wasted effort for so little in return”.

This phenomenon of the dwindling album is not a new thing. Ever since artists started filling C.D.s with as much material as possible, many have eschewed the notion of the album being noble and omnipresent. There was that trend, especially in the 1990s, to make sure the consumer got value and, as such, artists crammed every ounce they could into a C.D. It meant a few filler tracks and, as such, people were only listening to the big hits. It seems rather pointless and sad for artists to make albums at all if we are less concerned with the whole work. I know the facts out there are shocking but I do not want to see the day where artists are more interested in getting their music featured on playlist and can’t be bothered to record whole albums. The reason we have these classic artists and music has come this far is because of the album itself! We will not see evolution and legendary artists of the future based on singles – there needs to be the album and, if it is expensive, then artists need to up their games. Attention spans are short but we cannot let the album die because people cannot be bothered to listen to them. Album artwork and images are still playing an important role for some artists. Now, we have thumbnails and artists are required to submit a cover art as a formality. Many artists are using images as branding and can create an identity based on an album cover.

Streaming is good for those who want to grab a few tracks but the tactility of an album and that complete package is important. Most of my greatest musical memories revolve around hardware and me having that tangible and personal bond to an album. I love picking up a vinyl and having this finished product in the hand. The sleeve has that great detail and art and it feels like you have a much greater attachment to that artist. I maintain a lot of albums, classic or not, have a couple of weaker tracks but you still listen to the whole thing because it is that album experience. If you skip over tracks – harder to do on vinyl! – then you miss out on something pure and cohesive. I think this mentality has formed that says the album is pointless and plays no role in the modern day. This great article states how you can hear a complete statement and story through an album:

“Albums still matter because they tell the unique story of who a band is at a specific moment of time that one or two singles just don’t have the ability to do. Imagine if the songs from Nick Drake’s Pink Moon or The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band were released one at a time over the course of a year. Yes, the songs would still be incredible, but the meaning of these hugely important albums would be far less impactful. Whether it’s a concept album or not, good albums feature some sort of story or larger narrative whether it’s in the lyrics or instrumentation. Singles can’t tell the stories albums can”.

It goes on to say how albums do not need to be masterful works of genius and comprehensive – there is great logic releasing an album:

“Albums don’t need to be deep, meaningful or political in order for the world to take notice. Rather than being some grand artistic statement, it’s sometimes as simple as a music listener thinking, “Hey, a band I like just put out ten songs.” You’ll get far more mileage out of releasing your music through albums than you will from spreading out your releases song-by-song no matter what kind of music you make”.

I know there will be a decline and formats like the C.D. will be phased out. It is important we keep hold of the album because, without it, music cannot survive. That is not hyperbole: if we celebrate singles then artists releasing now will be overlooked and it is a case of washing away one generation and forgetting what came before. If we do have short attention spans then we are only listening to what’s out now and, in years to come, aren’t going to recall the singles we are streaming now. Albums are the natural source of new music and have to be preserved. Whether it means looking at the cost of making them or enforcing the pleasures of artwork, the physical format and classic albums we all love – accepting the album is dead is something a lot of people are not willing to let happen.

We can never get rid of the album because, whether you like it or not, there is still a passion among musicians to release them into the world:

“No matter how it arrives, the hoops people jump through beforehand, or how it’s labeled, it’s clear that everything relates back to one simple truth: Bands still make albums for people to consume. Somehow, some way…

The fact of the matter is that no fiscal, artistic, or cultural change could ever make a lasting difference. You can release an album on human bone and distribute it via tornado, and people will either treat it like an artifact of pure value or ignore it outright — just like most folk do already. Nothing of this most venerated institution has so much changing”.

We need to stop bleating about the album being dead and look at ways to balance its importance against that of convenient streaming! If we get too complacent then music is going to suffer hugely. As we look forward to the Mercury Prize and mark the album more passionately next month; I hope people will realise how special albums are and the role they play in modern music – none of the artists you all love and listen to would be in the business were it not for the albums they grew up around! Against cost, attention spans and the rise in streaming; if we get rid of albums and accept singles are all that matters then the future of music as we know it is…

 IMAGE CREDIT: Getty Images

IN dire straits.  

FEATURE: You Can’t Please Everyone! Does the Hyundai Mercury Prize Need an Oil Change?

FEATURE:

 

 

You Can’t Please Everyone!

IMAGE CREDIT: Hyundai Mercury Prize/Getty Images

Does the Hyundai Mercury Prize Need an Oil Change?

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ON Thursday evening…

 IN THIS PHOTO: Sons of Kemet (one of this year’s shortlisted artists who are seen, by some, as a ‘token’ inclusion)/PHOTO CREDIT: Pierrick Guidou

we will see who will walk away with this year’s Hyundai Mercury Prize. This year’s list has drawn as much discussion and backlash as any I can remember. IDLES missed the cut last year (for Brutalism) and, although they look dead-certs to make the list next year for Joy as an Act of Resistance, it seems like there is a leaning towards bigger artists and Pop this time around. I guess Noel Gallagher’s High Flying Birds goes all over the place but many have asked whether big artists like Arctic Monkeys, Noel Gallagher and Lily Allen need the award – same goes for Florence + the Machine! The shortlist was compiled from over two-hundred albums and it was narrowed to twelve after months of study. There is no doubting the seriousness with which the judges announced the shortlist but many are noticing certain trends and omissions. If last year’s nominations was geared towards London and albums with a bit more grit and depth – Sampha won for Process but Kate Tempest and Loyle Carner were nominated; both edgy and arresting records. This year is more synonymous with already-nominated artists and those who have been around for a while! Although great albums from Jorja Smith (Lost & Found) are nominated and King Krule makes the list with The Ooz; I wonder whether artists like Everything Everything and Wolf Alice (who have been nominated before) need another nod. I agree the Mercury Prize should be decided upon quality and the best album of the year - but it is always a chance to recognise new artists who can benefit from the prize money and award. Rather than give it to someone who has already won or a mainstream artist; why not recognise King Krule or Sons of Kemet?!

There is always this division and argument when the shortlist is announced and it seems opportunities are being missed. Nadine Shah, nominated for Holiday Destination, seems like a shoe-in to me and she is someone who could really benefit from the prize. Her political and vital album is more powerful and popular than any politician’s message and it gained a score of great reviews. She has not been nominated before and it would really raise her profile – especially as a Muslim woman in music. It would be good if Nadine Shah or Jorja Smith won but I have the feeling either Arctic Monkeys or Florence + the Machine could win. Whilst both albums gained applause and are great works; how are they going to benefit from the Mercury?! I feel the money is irrelevant and the award will not change their direction or make a huge impact. There is this split between those who say the Mercury Prize should be about quality and the best album around and those who feel it needs to go to an upcoming artist who is being recognised because of their potential and to help build their platform. I am not sure how Sampha has been spending his time since he won the award last year but I am sure he is making new material and it has made a big impact. Those who say the award is ‘cursed’ – some artists won it and their careers disappeared – could make an argument against giving it to a popular artist who might be impacted negatively.

 IN THIS PHOTO: Florence Welch (Florence + the Machine) is nominated for High as Hope/PHOTO CREDIT: Getty Images

I remember when the shortlist was announced and a lot of the feedback was critical. Journalists came out and called the list quite soft and populist; not taking any risks and not representing the best of British. Judges like Clara Amfo and Jamie Cullum have made their choices but I feel there will be big questions asked if a mainstream artist wins on Thursday. I feel two things could happen regarding future years. I feel like having one prize and only shortlisting twelves names is going to be limiting and controversial. I wonder whether the shortlist should be even longer – maybe sixteen names – and dividing the categories into a Best Album of the Year and Best Newcomer category. I feel, if you have one award/list then you are always going to court controversy. By introducing another category then you are going to be split between rewarding the best artist/album and those who could benefit from the award. Another problem is those who turn their noses up at ‘token’ artists in the genres of Jazz. Critics always list them as also-rans and put them at low odds – there to make the numbers up and merely show something interesting. Maybe the records artists such as Sons of Kemet produce are not as commercial as Noel Gallagher and will not get the airplay of Arctic Monkeys but should we be asking WHY their inclusion is necessary and how they could benefit from the prize?!

The Guardian raised a point regarding ‘token’ acts and whether judges need to be braver:

“Talk to the acts themselves, however, and a different story emerges. “I don’t care if we’re called a token jazz act if we sell 3,000 more records,” says Shabaka Hutchings, whose jazz group, Sons of Kemet, are among the favourites to win. “And it might be a coincidence, but I’ve noticed things happening since we were nominated this year.” Their gigs are selling out more consistently and the band are getting better stages at events. They’re getting support they don’t get from the Mobos, Hutchings argues, as he has before, and don’t start him on the Brits. “That side of the industry doesn’t care. But this is like a little stamp: you are given a level of validation that reverberates. And if it sells more albums or tickets, it helps subsidise our music and push our scene as far as it can go”.

Past years have given the Mercury to Drum ‘n’ Bass artists (Roni Size in 1997) and Ms Dynamite (Hip-Hop/Rap) won in 2002 for her debut – there have been some good and rare inclusions but it seems the nominations are getting more commercial and less risky. You could argue the nominations of Jorja Smith and King Krule carry on from last year’s nominations of Loyle Carner and Kate Tempest – those artists who are producing something more substantial and original. Neither of the nominated won last year and there is that fear 2018’s prize will go to a chart act. Are we ignoring artists who could get a kick from the award and really do something with it?!

 IN THIS PHOTO: Jorja Smith (who is nominated for her debut album, Lost & Found)/PHOTO CREDIT: Jacqueline Harriet

The Guardian article looks at the early days of the Mercury Prize and why it was established:

“A look at the prize’s early years and the token acts included back then is instructive. The prize was established as an alternative to the Brits, says Trevor Dann, who was a judge from 1995 to 1997, “not to reward success, but to serve and promote the rising stars of British music culture. It was a tough time back then. People didn’t want the British music scene to be forgotten and overrun by the US.” The first shortlist in 1992 did include the Sheerans and Gallaghers of their day – Simply Red and U2 – but Jah Wobble, John Tavener, jazz artist Bheki Mseleku and the former Magazine bassist Barry Adamson lined up alongside them”.

People can contrast their playlists through streaming sites and crossover artists are suffering. Genres like Folk rarely get a look-in and what about Classic musicians?! There are some great current composers but many cannot afford to put a C.D. out and will suffer on streaming sites. A lot of great artists missed out this year – including Shame and Let’s Eat Grandma – and I feel there is an identity crisis happening. Do we need to widen the Mercury so that there are categories that ensure great Jazz and ‘token’ artists actually get recognised?!

 PHOTO CREDIT: Unsplash

I do feel it is hard to please everyone but I feel having a shortlist that is quite heavy on mainstream artists and those who have been nominated before risks calling the validity of the prize into question. The Mercury is that alternative to the Brits and mainstream ceremonies – something that is there to uncover a gem that is making great music but not included in those bigger shows. I feel there need to be rules coming in so that there is a limit on the already-nominated and those who are bigger/not in need of the celebration. If you limit it to say, three, artists who are bigger and ensure there are nominations from Jazz, Folk and other genres – is that a better chemistry and compromise?! I feel it is a good start and do feel an overhaul is needed. Who knows who will be nominated next year but nothing will progress if we keep going down the same road. I hope Nadine Shah wins the Mercury this year this year but, if not, it will be a real shame! Who knows which way things will go but a lot of critical voices are lambasting the Mercury Prize and its worthiness. There are a lot of artists out there, from various genres, who would give their right arm for a Mercury win! If we deny them and do not address the albums/artists we are nominating now (and why) then will the Mercury Music Prize come off as a slightly cooler version…

 IN THIS PHOTO: Nadine Shah (who is among the favourites to win the Mercury Prize this year for Holiday Destination)/PHOTO CREDIT: Getty Images

OF the Brits?!

FEATURE: 2015: Colour, Short Movies and Art Angels: The Best Albums from a Remarkable Year

FEATURE:

 

 

2015: Colour, Short Movies and Art Angels

IN THIS PHOTO: Laura Marling/PHOTO CREDIT: Getty Images/Press 

The Best Albums from a Remarkable Year

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I am doing a multi-part series…

 IN THIS PHOTO: Grimes in 2015/PHOTO CREDIT: Holly Andres

that looks at the best albums from this century. It may sound random but I am coming back at those who feel the previous century has produced all the very best albums. There is a school of thought that suggests we have long-sine seen the finest from music and the past eighteen-or-so years has been a case of diminished returns. We may not have seen any Beatles-level works of genius but that is not to say the twenty-first century should be overlooked and is not up to the mark. I look at a particularly fine year, 2015, and the variation that arrived from it. Take a look at the exceptional albums laid out below and you cannot say the year was short…

 IN THIS PHOTO: Kendrick Lamar/PHOTO CREDIT: Getty Images/Press

OF wonderful offerings.

ALBUM COVERS: Getty Images

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Kendrick Lamar – To Pimp a Butterfly

Released: 15th March, 2015

Labels: Top Dawg, Aftermath, Interscope

Genres: Hip-Hop; Jazz; Experimental

Sufjan Stevens – Carrie & Lowell

Released: 15th March, 2015

Label: Asthmatic Kitty Records

Genre: Indie-Rock

Courtney Barnett – Sometimes I Sit and Think, and Sometimes I Just Sit

Released: 20th March, 2015

Label: Marathon Artists

Genre: Indie-Rock; Alternative-Rock  

Tame Impala – Currents

Released: 17th July, 2015

Labels: Modular/Universal, Fiction, Interscope

Genre: Psychedelic; Pop; Disco; Synth-Pop

Drake – If You’re Reading This It’s Too Late

Released: 13th February, 2015

Labels: Cash Money, OVO Sound, Republic, Young Money

Genres: Hip-Hop; Rap

Grimes – Art Angels

Released: 6th November, 2015

Label: 4AD

Genres: Synth-Pop; Art-Pop

Jamie xx – In Colour

Released: 29th May, 2015

Label: Young Turks

Genres: Electronica; House; Rave; U.K. Garage

Florence + the Machine – How Big, How Blue, How Beautiful

Released: 29th May, 2015

Label: Universal Island Records

Genres: Indie-Pop; Indie-Rock; Soul; Pop

Blur – The Magic Whip

Released: 27th April, 2015

Label: Parlophone

Genres: Rock; Alternative-Rock; Pop; Britpop; Art-Rock

Lana Del Rey - Honeymoon

Released: 18th September, 2015

Label: Interscope Records

Genres: Pop; Dream-Pop; Jazz; Trip-Hop

Beach House – Depression Cherry

Released: 28th August, 2015

Label: Sub Pop

Genre: Dream-Pop

Laura Marling – Short Movie

Released: 23rd March, 2015

Label: Ribbon Music

Genre: Folk; Folk-Rock; Alternative

CHVRCHES – Every Open Eye

Released: 25th September, 2015

Label: Glassnote Records

Genre: Synth-Pop

FEATURE: The Madness and the Mayhem: Twenty Years of Muse

FEATURE:

 

 

The Madness and the Mayhem

IN THIS PHOTO: Muse/ALL IMAGES/PHOTOS (unless credited otherwise): Getty Images/Press 

Twenty Years of Muse

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ALTHOUGH they were formed in 1994…

PHOTO CREDIT: Jeff Forney

the band released their first E.P., Muse, in 1998. At that point, Muse were, by their standards, fairly honed-in and controlled. Matt Bellamy, Chris Wolstenholme and Dominic Howard started life as three guys from Devon who cut their first E.P. at Sawmills Studios (situated in a converted water-mill) and released in on the in-house Sawmills label. That E.P. garnered a bit of attention and, by Muscle Museum EP, in 1999, D.J.s like Steve Lamacq were turning their heads and things were starting to get interesting. It was not long before the trio was signed after playing at Woodstock ’99. There is not much inspiration behind the band’s name – they thought ‘Muse’ looked short and good on a poster – but their first album, produced by John Leckie and Paul Reeve (alongside the band) did take them to the next level. Even from the start, Muse were getting people talking and garnering interest in the U.S. Lyrics on Showbiz (1999) dealt with fractious relationships and struggles establishing themselves in their hometown. Songs like Sunburn and Muscle Museum are among the best of Muse’s catalogue but their debut received a smattering of positive reviews. The guys were gaining comparisons to Radiohead and Jeff Buckley – names that would follow them for a while – and Matt Bellamy was establishing himself as a talented, if quirky, frontman. The mad-around-the-edges lyrics and musical histrionics were taking shape and critics noted how Muse were a lot more ragged and wild than many of their peers.

Muse’s eighth studio album, Simulation Theory, is out on 9th November and boasts a neon, futuristic-looking cover. If singles such as Something Human and The Dark Side suggest a band that are toning things down a bit and taking a new direction; the mad and crazy Muse we all know and love is still present. Twenty years after their first E.P. and the guys are unwilling to grow older gracefully and produce something a bit tame. Drones, released in 2015, is a concept album that drew some mixed reviews – I will come back to that later. Simulation Theory is a Synth-Rock album that explores simulation in society and the simulation hypothesis. The album explores fantasy becoming real and the idea that we all just lumps of code in the shape of lumpy sims. The videos we have seen so far are Science Fiction-inspired and there is an aesthetic vibe of the 1980s. Short of mullets and naff shoulder-pads, many of the visual effects and scenes evoke the colour and sensations of that decade. Every one of the eleven album tracks will have a video produced to form a single narrative that focuses on digital containment and escape. Muse were keen to break away from concept albums after Drones and it was suggested they’d release a few single for those not keen on listening to entire albums. It seems like they have changed course and are embarking on something conceptual, narrative-based and flowing – they want people to listen to all the tracks and get a sense of what the album is all about.

It seems like Muse are walking away from the restrictions of the guitar and experimenting more with drum loops and different styles. Matt Bellamy, when speaking with the BBC, explained his relationship with the guitar and new ideas:

"The guitar has become a textural instrument rather than a lead instrument," he told the BBC. "And I think that's probably a good thing.

"What's exciting about this period of music is you can mix classical with hip-hop and rock in the same song.

"As a rock band you're slightly one foot in the past, playing instruments like guitar, bass and drums".

It all sounds very exciting and it seems, twenty years down the line, the band have lost none of their edge and excitement. Even though they are not the whipper-snappers of their early days; they are upping their game and evolving all the time. Their artwork is bright and their sounds becoming bolder and, as I will argue throughout, Muse are far more interesting than your ordinary band! One of the reasons why I wanted to focus on Muse is because they definitely do not walk the same lines as their peers. It is true the Devon-formed band are unafraid to do things differently and document something that nobody else is. Look around and how many groups are tackling things like digital entrapment and simulation theory?! Muse are experimenting with music videos and themes; they are taking risks using new instruments; embarking on another concept but an entirely different look, sound and sensation than Drones.

After their debut album in 1999, the band released three fascinating albums. Reviews for 2001’s Origin of Symmetry were variable. Although it is seen as one of the best records of the year – and retrospective reviews have been more favourable – it did split opinion when first released. Some were giving it five-star reviews and many noted how the band was moving away from Radiohead territory. After only one album, Muse were loading in new content, texture and influences to create something accomplished and unique. Sensual, Classical and hugely ambitious; some reviewers felt Origin of Symmetry was overblown and marked it down. It is the weirdness and excitement of the record that marked Muse out as a band to watch and one of the finest acts coming out of the U.K. New Born is a breathy, edgy and spacey opening that sees Muse shred and rock it out alongside cosmic organ/electronics and a frantic chorus. Space Dementia is as eye-popping and peculiar as its title: Bellamy as an astronaut as sound who was producing something truly out of this world! Micro Cuts sees that weirdness stretched and it is almost impossible to describe the song! There are some forgettable songs – Screenager and Darkshines do not get mentioned a lot – but you cannot argue against the pedigree. Many fans rank this as the best Muse album because of the huge leap and all the imaginations being brought into the music.

Absolution, arriving in 2003, had very apt title. The band felt the word was appropriate given the fact they were making music in a new way and starting afresh. Previous recording sessions were rushed and ill-devised and this was the first time the band was setting proper time aside to make music. Bellamy had not quite stepped out to lead the way – he would go on to be the sole composer and writer soon enough – but the tightness of the band was starting to show. Although Absolution was recorded between various studios and with producers like John Cornfield and Paul Reeve; some true Muse classics were coming through. The promising band of before were now developing into arena-ready titans who were taking their music to new heights. Time Is Running Out and Stockholm Syndrome show the sort of nervousness and paranoia they would exploit in later works; writing beyond ordinary love and cliché themes. The latter track and Hysteria see Muse step into gnarly and finger-shredding territory whilst the piano was becoming a common trait in their music. There are not many bands today that use the piano in their music but, gifted with a very talented player in Matt Bellamy; songs like Butterflies & Hurricanes became symphonic, sweeping numbers that take the breath away. Maybe the last few numbers of Absolution are not as memorable as the standout cuts – it is quite too-heavy as a record – but it is a big leap from Showbiz and, in some ways, Origin of Symmetry. Absolution is a move sideways from Origin of Symmetry but, again, proved the band were unafraid to mix the slightly bizarre and eccentric with the conventional.

2006’s Black Holes and Revelations saw Matt Bellamy taking sole authorship of the work and, with it, really cranking up the tension. With its dystopian undertones and lyrics that looked at aliens, political corruption and revolution; it is another sign of Muse covering original and much-needed topics. They were still not your band who spoke about general anger and heartache – looking at a broken world and what was happening around them and filtering it through their exceptional spectrum. To be fair, there are a couple of conventional love songs (Starlight among them) but the more interesting moments are when the band reinvent themselves (again) and go completely bananas! Take a Bow kicks things off and talks of representing for sins and a sense of pending doom. It is more anxious and progressive as anything Muse had previously thrown out and, on Supermassive Black Hole, more sensual, slinky and Prince-like – one of their classic cuts and proof Muse could mix the mature and conventional with something a little quirky. The clash of the sensitive and thought-provoking Soldier’s Poem sitting alongside (or very near…) the razor-sharp and relentless Assassin – the band at almost Heavy Metal-levels of pummel and attack – shows they were brave when it came to programming and track sequencing! City of Delusion brings in Flamenco-like swagger and horns; a terrific full-stop ending and another great revelation from the band.

If some critics felt Muse should calm it and show some level-headed direction; they were shocked at the blistering finale, Knights of Cydonia! The track must rank alongside the very best closing tracks from any album! A song that urges people to fight for their destiny and take control; it is a riotous, galloping epic that finds Bellamy at his strange best. It is a cross between a spacey Prog-Rock song and a Western. The outro and closing moments are amazing! The riff and sense of spirit captivates you and the chorusing of “No one’s gonna take me alive!” is infectious. The six-minute song is another one of those Muse classics and shows they could easily mix humour and the grand with something base and simple (the riffs and composition are not as bat-sh*t-mad as the video or lyrics). Some critics felt the record was overblown and Black Holes and Revelations was a misfire. It was nominated for a Mercury Prize and was a big commercial success. The band embarked on their biggest-ever tour and played all around the world. As I shall discuss; Muse’s sets and gigs were becoming bigger and more sensational by the album! The Resistance (2009) and The 2nd Law (2012) led Muse to calm it down a bit but they were still interested in what was happening around them. A more Electronic and experimental album than Black Holes and Revelations; The Resistance features the bombast of Uprising with the closing suite of ‘Exogenesis’. Almost a Classical suite that shows how Muse, again, were not going to be limited and defined…

Bellamy shows his chops as a composer and strings together one of the band’s most spectacular realisations – even if some critics felt the three-part finale was a bit daft, unfocused and forgettable. A tighter and tauter album that some of their previous work, the Queen-influenced United States of Eurasia (+ Collateral Damage) is delightful.  The 2nd Law refers to the second law of thermodynamics and the album features a new range of influences – from Paul McCartney and Wings to David Bowie. Chris Wolstenholme takes his first writing credits with Save Me and Liquid State – talking about his battle with addiction and the personal problems associated. Some critics did not like the new direction the band were taking and the themes they were exploring. Perhaps there weren’t the same bonkers-mad songs of past albums but that same fascinating and epic Muse remained. Reviews were generally good but The Telegraph seemed to assess The 2nd Law best:

“More interestingly, for a proggy act, there’s a healthy dose of funk, making this a rare example of danceable prog rock. The disco feel of Panic Station – which nods at INXS’s Suicide Blonde, Queen’s Another One Bites the Dust, David Bowie’s Fame and Prince’s Kiss — ends up sounding a bit like a Scissor Sisters number.

Muse’s rather absurd spaceship may be welded together from bits of other acts – but it still flies”.

When speaking with NME about the release of Drones (2015); Matt Bellamy reflected on the way we are being surveyed and the atrocities of modern warfare. He gave his thoughts on what was lacking from modern society:

“Empathy seems to be seen as a weakness. We condition people to withdraw it to succeed. But really, it needs to be re-seen as a strength again if there is to be any kind of hope in the world”.

Whereas albums like Black Holes and Revelations was about pushing things to the limits and employing lots of different sounds; Drones seemed to represent something simpler:

“But by our standards, it is back to basics,” Dom Howard points out. “Yeah, it’s layered and bombastic, but the start of that process was very different to how we normally do it. For the first time, he three of us in a room, eyeballing each other again. I think on 2nd Law, producing it ourselves, we spent so much time in the control room that we lost sight of ourselves as a band”.

There were a lot of good reviews for Drones but some were less keen. There was a concern the lyrics were a little repetitive and uninteresting; not as sophisticated and cutting as political bands like Rage Against the Machine – not as varied and appealing an album as what had gone before. The Guardian had their say:

“It’s the heaviest the band has sounded in some time, and exuberant enough for you to ignore Bellamy’s clunky lyrics. But Drones veers badly off target in its final third, most pointedly in overindulgent chamber suite The Globalist, which veers from Morricone to Metallica, and concludes, bewilderingly, with an adaptation of Elgar’s Nimrod”.

Perhaps it is a more slow-burning album than a lot of their work but it was clear Bellamy was still fascinated with what was happening around him; conspiracies, deceits and atrocities. That value and anger that goes into the songs appealed to me and I feel Drones has some of Muse’s chunkiest riffs and most interesting songs. It was another reinvention from the band and shows how, unlike a lot of their fellows, they were always keen to keep moving and exploring new ground. The touring that happened around the album, again, upped the budget and sense of spectacle. Go to one of their shows and you can see everything from drones and flying saucers to huge light spectacles and a dazzling stage set-up. A lot of bands like to go for something simple and focus on the music but Muse can bring carnival and party and still produce blistering live moments. They are one of the best live bands around and always bring something insane! Long-gone are the days when Prog-Rock bands used to have those crazy sets and it was almost like going to a weird play or some sort. You never know what you will get from Muse and that seems to be part of their charm. Each album is a completely new beast and has its own personality and skin. They have been going for twenty years (in terms of recorded and released material) and are not showing any signs of slowing down! Keep an eye out for Simulation Theory on 9th November and see where the chaps head next! They have cemented an incredible career and it looks like they have ambitions to go for a lot longer yet. Not only are they one of the best live bands in the world but listen to their material and there is nobody on the…

SAME planet as Muse!

FEATURE: 2001: A Fine Vintage: The Albums That Defined an Extraordinary Year

FEATURE:

 

 

2001: A Fine Vintage

IN THIS PHOTO: The White Stripes in New York in June, 2001/PHOTO CREDIT: Getty Images/Press

The Albums That Defined an Extraordinary Year

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IT may seem random…

 IN THIS PHOTO: Destiny's Child backstage in the summer of 2001/PHOTO CREDIT: Gillian Laub

but I am keen to explore musical years from this century and make a case in regards their quality. There are many who say the music pre-2000 is a lot stronger than music that has come since – many others say very few genius-level albums have arrived this millennium. I feel some of the best records arrived in the 1990s and 1960s but we have seen some truly remarkable records since 2000. 2001, especially, was not shy when it came to immense L.P.s and, accordingly, I have curated and collected some of the very best from the year. For those who feel this century has produced few wonders and nothing to match what has come before; have a look at these golden albums and I am sure you will find much…

 IN THIS PHOTO: Radiohead in New York in 2001/PHOTO CREDIT: Danny Clinch

FOOD for thought.

ALBUM COVERS: Getty Images

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The Strokes - Is This It

Released: 30th July, 2001

Label: RCA Records

Genres: Punk; Alternative; Indie-Rock

Björk - Vespertine

Released: 27th August, 2001

Label: Polydor Records

Genres: Electronic; Trip-Hop; Ambient

Basement Jaxx - Rooty

Released: 25th June, 2001

Label: XL Recordings

Genres: House; U.K, Garage; Big Beat

The White Stripes – White Blood Cells

Released: 3rd July, 2001

Label: Sympathy for the Record Industry

Genres: Garage-Rock; Alternative-Rock; Blues-Rock

Daft Punk – Discovery

Released: 26th February, 2001

Label: Virgin Records

Genres: House; French House; Synth-Pop

Radiohead - Amnesiac

Released: 5th June, 2001

Label: XL Recordings

Genres: Rock; Jazz; Experimental; Electronic

Missy Elliott – Miss E… So Addictive

Released: 15th May, 2001

Label: Elektra Records

Genres: R&B; Hip-Hop

Alicia Keys – Songs in A Minor

Released: 5th June, 2001

Label: J Records

Genres: Soul; R&B; Contemporary

The Shins – Oh, Inverted World

Released: 19th June, 2001

Label: Sub Pop

Genres: Indie-Pop; Indie-Rock; Indie-Folk

Muse – Origin of Symmetry

Released: 17th July, 2001

Label: MCI Records

Genres: Alternative-Rock; Progressive-Rock; Space-Rock

Destiny’s Child - Survivor

Released: 1st May, 2001

Label: Columbia Records

Genres: R&B; Pop

Gorillaz – Gorillaz

Released: 26th March, 2001

Label: Parlophone

Genres: Rock; Alternative; Electronic; Hip-Hop

FEATURE: Mind Over Body: Is There Pressure on Female Artists to Look a Certain Way and Have an ‘Ideal’ Body Size?

FEATURE:

 

 

Mind Over Body

PHOTO CREDIT: Unsplash 

Is There Pressure on Female Artists to Look a Certain Way and Have an ‘Ideal’ Body Size?

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I have been seeing a lot of conversation strike up…

 PHOTO CREDIT: Unsplash

over social media about fat-shaming and those who want a woman to look a certain way. It is not only women being fat-shamed but I am hearing a lot of cases where women across the world are being judged on their appearance/size or criticised when at the gym or on public transport. I have witnessed it once or twice and know the entertainment industry, film especially, sees these sort of events pop up more than one would like. Hollywood is especially culpable of eating its leading ladies to look ‘ideal’ and ‘sexy’. One hears of so many actresses who are made to slim-down for a role or are judged on their size. A lot of times it is not even required for a role: so many women are told to lose weight or accused of being overweight because they do not fit into that mould and ideal hole. You see some actresses rebelling by having photoshoots where their curves, cellulite and true figures are revealed and not subjected to air-brushing. Whilst it is not only men calling for these changes and ludicrous modifications; there are some women guilty. It is part of a decades-long idiocy that has blighted the entertainment industry. Advertising asks women whether they are beach-ready and there are very few adverts that urge them to be who they are and promote the mind over the body.

 PHOTO CREDIT: Getty Images/Press

Many might assume the music industry does not suffer the same horrors because it is more of an audio art. There are fewer cases then you might see in acting but, for years, we have seen cased of female artists come out with their testimonies and experiences. It is happening still today and I wonder whether the reason we have very few female/girl groups now is because of the way they are controlled and how they are made to look. I feel a lot of the mainstream female stars of today are allowed a certain creative freedom but, to sell their records and get on the front of magazines, there is this need for them to be slim and ‘beautiful’. All female artists are beautiful but there is still too much expectation in regards what they look like as opposed what comes out of their mouths! I have been thinking of cases of fat-shaming in music and wonder whether we have come that far at all. A few years ago, before Selina Gomez recorded her album, Revival, she was inspired to write some of his material based on reaction she received on social media.

 IN THIS PHOTO: Selena Gomez/PHOTO CREDIT: Steven Klein for W magazine (March 2016)

Shots of her on a Mexican beach holiday appeared online. She had gained a bit of weight but it was nothing unusual and, to be fair, she is not someone who could ever be overweight – I think she had put on a few pounds but she looked great. Hurtful comments led her to turn that upset into material but maybe social media is making it a lot easy for females in music to come under fire because of their weight (recent, similar, attacks have arrived this year). Earlier this year, Sam Smith was accused of fat-shaming a women whilst on holiday. This article talked about an incident that happened whereby singers for The Sheraton Cadwell Orchestras were asked, if they were not slim, to wear loose clothing. They said they have an expectation with regards the physical appearance of their singers and expect them to be slim and physically fit. The email the players/singers received sparked a backlash and it was another sign of the music industry imposing insane rules when it comes to women and size. That is not the only example of women in music feeling shamed and judged. The video for Katy Perry’s song Swish Swish features cameos and guest appearances. It raised some controversy when it came to featuring comedian Christine Sydelko and a blatant case of fat-shaming:

“Among the guest appearances, YouTuber and comedian Christine Sydelko is featured throughout the video. Despite being known for her humor and other talents, Perry’s production team took the immature route of only using Sydelko to make “fat jokes”.

Tweets circulated about the video and many questioned the video’s producers as to why they showed shots of Sydelko eating – gained cheap and nasty laughs based on her appearance and eating habits. The article shed more light:

“These tweets suggest that Sydelko was perhaps unaware of the producer's intentions to only portray her as the “fat girl,” which makes the matter much worse. While the comedian is quick to joke about herself on her YouTube channel, it’s a different matter to make “fat jokes” at the expense of Sydelko in the video, especially if she was uninformed about how she would be portrayed”.

Although women are being more accepted and there is, perhaps, less judgement compared to past years; modern Pop singers are still sharing their experiences of being fat-shamed and cast aside because they do not look a certain way. Kate Nash, in this article from last year, talked about her experiences in music and how she was seen as overweight and not a desirable Popstar size:

"When you're a woman, you have such a strange relationship with your body because - especially when you're in the public eye - you're constantly being judged.
"People comment on my body all the time in a really inappropriate way, in a way I find completely offensive.

I saw it in serious newspapers where I've been called 'too fat' and 'too ugly' to be a pop star. It's so weird, but people feel like they can say that to you".

 IN THIS PHOTO: Anne-Marie/PHOTO CREDIT: Getty Images/Press

Anne-Marie, speaking to The Guardian early this year talked about her fight and how body issues affected her:

“I’ve become very aware of body issues and body confidence,” she says, adding that she still has issues with her body, relating to an earlier time in her life. “But I feel like I’ve taken time really figuring myself out to be able to talk about it now. If I’d written that same song five years ago, it’d be very different – even angry.” She took confidence from watching TED talks and accepted her figure as it is. (The fact that she is slim and athletic speaks to how crushing and indiscriminate body-confidence issues can be.) “Hearing other women talk about it makes you feel less alone, which is why big movements are so important”.

She is calmer and more confident in her skim but there was a time when she was comfort-eating and larger than she is now. Although Anne-Maris is toned and slim; she had curved and seemed like a more natural figure before – even if she was more anxious and her mental-health was not as positive. I wonder whether Anne-Marie’s changes were as a direct result of expectation in Pop and what she was ‘supposed’ to look like.

 IN THIS PHOTO: Rihanna/PHOTO CREDIT: @rihanna

Another example, where blogger Chris Spagnuolo attacked Rihanna because of her size – what little there is of her – drew huge criticism :

“Writing in his fiercely criticised blog post “Is Rihanna Going to Make Being Fat the Hot New Trend?” Mr Spagnulo, who calls himself “Straight Spags” on Twitter, said: “It looks to me like Rihanna is rocking some new high key thiccness [sic].

“And based on what I've seen, that means it's time to worry if you're not a guy who fancies himself a chubby chaser.”

He added: “A world of ladies shaped like the Hindenburg loaded into one-piece bathing suits may be on the horizon now that Rihanna is traipsing around out there looking like she's in a sumo suit".

I remember growing up on bands like the Spice Girls and remembering how the label bosses wanted the girls to be a certain weight. One can only imagine how strict their diets were and the sort of discussions that took place. Look at all of the girl groups from the 1990s – and before – and you know there were rules about what they could eat and how they had to look. Maybe the highlighting of feminism and body confidence means labels will not be able to get away with this sort of thing for much longer but I know full well a lot of mainstream artists are expected to be a certain size and what people consider ‘desirable’.

Sex and beauty are still huge parts of the music industry and there is that never-ending need for mainstream women to be conventionally attractive. Social media’s rise and exposure means artists are more exposed to negative comments and criticism regarding their looks. Whilst it is great to see body confidence emerge and female artists take a swipe at those who want them to slim and look a certain way; I worry too many artists are shedding weight based on the comments they receive from labels and social media. Selena Gomez and Anne-Marie are more svelte than before and artists like Kelly Clarkson have received hateful messages regarding their size. Artists such as Alessia Cara, Lizzo and Princess Nokia have written songs that looks at body positivity and ask women to be who they are. Whilst I agree there are fewer cases of women in music being fat-shamed, it is not completely gone and Pop artists especially are put under the microscope. There are magazines that still show slim women on the covers as what society wants and finds attractive. You see beauty magazines with bikini-clad models and, in Hollywood, how many ‘natural’ or curvier women are provided leading roles? Music is not immune to the toxicity and it has devastating impacts on artists. You rarely see curvier women in the forefront of Pop – aside from the likes of Adele and Beyoncé – and I wonder how far we have come.

 IN THIS PHOTO: Alessia Cara (whose 2015 song, Scars to Your Beautiful, is seen as a body-confident anthem)/PHOTO CREDIT: Getty Images/Press

A lot of music depends on selling that artist and how they look. If they have a slim physique and are slim then they can have more magazines shoots and T.V. appearances. Trolls on social media mean self-doubt comes in and we still expect people, mostly women, to be thin and ‘sexy’. In reality, women should be proud of who they are and not be told how to dress and what size they should be. That is easy for me to say but I feel labels and music bosses are not doing enough to drop this notion a female musician should be thin/skinny and social media makes it so much worse. It is great to see women striking against ignorance but I feel too many female artists are losing weight and being hit hard by criticism. We still do not place enough importance on mind and what comes from within as opposed weight and image. Every industry and corner of society has a long way to go but it seems even more insane music – as opposed industries where image and visuals are more prominent – judge women for being who they are. If artists like Anne-Marie, Rihanna and Kate Nash are being targeted because of their weight then I wonder how far the problem extends – none of those women are overweight or can be seen as ‘fat’. In any instant; music needs to be accountable and encourage women, in every genre and walk, to be who they want to be and do more to protect them against social media slur – whose business it how much a woman weighs and how relevant is weight when it comes to music?! The quicker we make positive changes and do not focus on image then the better it will be for everyone. I know music has come a long way but I am still troubled by how many incidents of fat-shaming…

 PHOTO CREDIT: Unsplash

ARE coming through.

FEATURE: A Certain Band Spring to Mind… The United Borders Project: Why Music Can Act as Therapy and Help Reduce Violent Crimes

FEATURE:

 

 

A Certain Band Spring to Mind…

IN THIS PHOTO: A mobile studio/music base on a double-decker bus set up by Justin Finlayson of United Borders/ALL PHOTOS (unless credited otherwise): Brunel Johnson 

The United Borders Project: Why Music Can Act as Therapy and Help Reduce Violent Crimes

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YOU do not need to look too hard…

to know there is a problem with violence and knife crime in this country. You turn on the news and we hear of stabbings and beatings; gangs and young people taking each other’s lives and so many random, senseless murders. It is especially pronounced in London and, whilst it is mostly between gangs and sort of revenge killings; there is a feeling so many young people are committing such crimes through boredom, a lack of identity and isolation. Maybe they are unable to work or living in areas that are derelict or under-funded. Some are from rough background and many feel like there is nothing out there for them. In a lot of cases, there are those who only know violence. Whether they have been running with gangs or grown up around a gang culture. Whatever the reason behind the rise in killings/knife crime in London; it is clear there is a problem the Government is struggling to get a handle on. This article from Huck written earlier in the year looks at an initiative run by the charity, United Borders:

“Justin Finlayson, the founder of United Borders, is a well-known local music producer who grew up in the diverse London borough of Brent. He refers to his hometown, Harlesden, as the Wakanda of the day due to its visible and prevalent Afro-Caribbean culture. However, over the last few years, reports of rival drug crews and local gang warfare have caused deep divisions among the area’s young community”.

PHOTO CREDIT: Unsplash 

“…I am an ex-gang member,” Justin tells me. “Although, I don’t actually think of myself in that way because I didn’t have a road name or an official gang name. But my movements were identical to what we’re witnessing today.”

United Borders is the first youth project of its kind. A cross-border initiative between Hyde housing association and Catalyst housing association, it was started in August 2017 as a way of bridging the divide between the Stonebridge and Church Road estates.

However, finding the right location initially proved challenging. To avoid hosting it in one crew’s ‘no-go’ area, Justin decided to set up the programme on a double-decker bus, which he then converted into a makeshift music studio and classroom. In the mornings, he would drive to Church Road, before moving onto Stonebridge in the afternoons”.

That sounds like such a brilliant idea. There are plenty of buses going spare – more than enough for this project at least – and it can freely drive between boroughs and near estates and reach people who are cut off from colleges and educational facilities. There is a mobile booth/studio set up on the upper-deck of the bus and youths have been getting involved and learning about music. Whether laying down tracks or understanding production; they are being given a creative outlet where they can learn new skills and join like-minded peers. Youths from Church Road, at first, were getting off after the morning but many remained put and travelled to Stonebridge.

 PHOTO CREDIT: Unsplash

The fear that was there before is replaced by a keenness to collaborate and come together. Finlayson talks about government cuts and the link to gang activity. Areas are becoming gentrified and others, in need, are being ignored and falling into chaos. This leads to a lot of young people feeling ignored and scared. They cannot work or get an education so they are turning to crime and taking out their frustrations on others. It is sad to think so many lives are being lost or endangered because of a lack of funding and divides in the city. Finlayson spoke about the power of music:

“So why does he believe that music can help? What makes it such a powerful unifying force for the area’s young people? “Music is the soundtrack for life,” he says. “It doesn’t matter the age, gender, culture or environment. Most people utilise music to relax, escape, enhance or create – and this is no different with our young people today”.

There has been talk and accusation in the press that Grime and Drill artists like Stormzy are actually encouraging killings and spurring on this violence. The biggest consumers – tragically or ironically – of that music is the white middle-classes and they are not the ones being blamed for the violence. A lot of the young black kids who the music is aimed at is not being consumed as voraciously by them then others – one cannot accuse music for encouraging violence and making it seem cool.

 PHOTO CREDIT: Getty Images

The media has always blamed T.V., films and music for the rise in violence and anti-social behaviour and it would be naïve to blame entertainment for any of the crimes we are seeing on the news. There are more complex reasons than a lack of funding but gaining a greater understanding of what motivates gang violence and these senseless murders is paramount. In another interview, conducted by Brunel Johnson (the two sort of overlap); Justin Finlayson talks about reasons why youths are becoming involved with his scheme and jumping on the bus:

“The youth believe they are being deprived of the opportunity to excel and that the educational system has failed them. Justin believes that the educational system hasn’t just failed our youth but has failed us as adults too because we are only churning out younger clones. The answers for tomorrow require a different value system from the system which has created the vast inequality we see today. We need an education which doesn’t value violence because we can profit from it.

Justin said, “If younger people are given the trust to devise the education which can be a benefit to their generation then that work must start with a younger demographic. We can still learn things in a traditional way but it can’t come at the cost of todays world which is vastly technological. For starters, should we be allowed to profit from anything which impacts our environment negatively? These are the sort of questions I hope tomorrow’s generation can ask without any government opposition or argument”.

Maybe it is a bit simplistic to say music alone can cure the problems of gang violence in the country. There is a lot of anger in certain communities and maybe musical primal scream therapy would be better?! Maybe some Primal Scream would help?! I think teaching a lot of disaffected youths production and recording techniques is a good idea but exposing them to all sorts of different music is another possibility. I do not feel any genre of music is responsible for violence and crime but it is easy to get hooked on a particular genre that, they feel, speaks for them and talks about their lives. There is a wealth of wonderful music out there and it can be eye-opening being exposed to all these different sounds and artists. Therapy, whether through a bus or providing a convenient and safe space for youngsters is wonderful. It is clear that the Government is dropping the ball and unaware of the plight and struggle out there. Mayor Sadiq Khan has come under fire in regards the wave of stabbings in London but it is not right to put the blame on his shoulders. A lot of the issues stem from an imbalance in funding and seeing estates crumble and many of the capital’s young lacking any understanding and feeling like they are marginalised.

It is not only a London issue, of course: all over the country, there are problems regarding knife crime and violence and it is getting out of hand. I am glad there is something like The United Borders Project out there that is unifying two Harlesden areas together through mentoring, media classes and music. Justin Finlayson’s magic bus is a simple and mobile breakthrough that is already making a difference. Returning to the Huck interview; he was asked what his aims are and what he would like to see happen:

“For Justin, music is just the start. He hopes to eventually persuade Brent council to defy government cuts and pour more money back into the community, ultimately giving more young people the chance to broaden their horizons. He cites his childhood as an example, where he was frequently given the opportunity to leave the capital and spend time at activity centres in the countryside.

“My parents often say that if you were walking the streets in their era and saw somebody who was black, you’d instantly cross the road, greet them and walk together,” he adds, finally. “To see somebody who was black was seeing safety. How has Brent and the majority of the UK in the space of two generations, now seeing the reverse? To see somebody who is black, who looks like you is now a sign of danger”.

 PHOTO CREDIT: Unsplash

Gang members – from both sides – are already recording members and collaborating gives them a chance to set aside differences and use that anger as fuel for great music. Funnelling illogical tensions and that gang mentality into a genuinely productive, inspiring and wholesome pursuit can actually be a long-term solution. The mentoring happening means youngsters are finding jobs and arming themselves for the employment market. Educated, better-informed and with new meaning in their lives, the mobile school that they can go to and feel enriched is brilliant. I hope the scheme rolls out to other areas/estates and money is set aside to ensure it is a continued success. Rather than loitering around shops and looking for ‘excitement’; they have somewhere to be and feel like they belong. Maybe leaning more on the musical side of things could kick-start something huge. Now, we are witnessing warring gang members conspire through song. Music in its simplest form, just listening to it, can be a calming and wonderful thing. Allowing youths from all around London a chance to bond over music and talk about their experiences through the lens of old and new music is a cheap and easy fountain. Music is the soundtrack to our lives and the link we all have in common. Providing musical education and allowing young people the chance to lay down some beats and a song is so crucial.

 PHOTO CREDIT: Unsplash

There are lots of layers and reasons as to why there are these crimes and violence levels seem to be rising. Like soldiers; many of those who commit violent crimes suffer emotional and physical abuse. This is their way of retaliating and, in many cases, all they know. Justin Finlayson has hopes United Borders’ scheme will take off and continue to grow. I feel music is a perfect Muse for many disaffected Londoners. There is so much language and so many stories in music that can not only act as wisdom and guide but can be discussed and picked apart. Picking up an instrument provide a physical way of expressing emotions and pains – as does singing and writing. Maybe we are not about to see walls comes down and harmony break out but the more tied up and occupied gang members are then that will mean they are being taken off the streets. Whilst there are psychological reasons as to why violence is rising; a lot of the problem is a lack of communication and the assumption a blade is more powerful than words. These ‘differences’ gangs have are not divisive and different at all. At their root, these people are on the same page and they all want the same thing: to be heard and feel accepted; to find a place in society and not feel deprived. United Borders are doing great things and this musical therapy – alongside mentoring and social media classes – is already showing results. With those in power showing a real ignorance and not doing what is required of them – they are profiteering from human suffering – it is amazing to thing something as elemental and fundamental as music is making a huge difference…

IN so many people’s lives.

FEATURE: The September Playlist: Vol. 3: Strange Mice in the Mariners Apartment Complex

FEATURE:

 

The September Playlist

 IN THIS PHOTO: Lana Del Rey 

Vol. 3: Strange Mice in the Mariners Apartment Complex

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THIS week delivers plenty of punches…

 IN THIS PHOTO: Billie Marten/PHOTO CREDIT: Liz Seabrook

and there are some big releases from Lana Del Rey, Billie Marten; The Smashing Pumpkins and Gorillaz. Alongside them, there are plenty of interesting cuts and offerings that stand out and guarantee an interesting weekend. It is a strong week for music that sees KT Tunstall rub shoulders with Orbital and Eminem; there is a new video from Sir Paul McCartney and songs from The 1975 and Nicki Minaj. Take a look through the selection of new releases and I am sure there is enough in there to keep you happy and active.

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

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Lana Del Rey – Mariners Apartment Complex

Billie Marten – Mice

Villagers – Again

PHOTO CREDIT: Frazer Harrison

Nicki Minaj – Barbie Dreams

The Smashing Pumpkins – Silvery Sometimes (Ghosts)

Gorillaz – Tranz

PHOTO CREDIT: Phil Smithies

Sea Girls – All I Want to Hear You Say

KT Tunstall – The River

Paul McCartney – Fuh You

Kate Nash – Hate You

PHOTO CREDIT: Craig McDean

Eminem (ft. Joyner Lucas) - Lucky You

The 1975 – Sincerity Is Scary

Black Eyed Peas – Big Love

Ciara – Dose

Dizzee Rascal – Don’t Gas Me

Mariah Carey – GTFO

Olivia O’Brien – I Don’t Exist

Aphex Twin – 1st 44

PHOTO CREDIT: Nate Ryan/MPR

First Aid Kit – I’ve Wanted You

Orbital – Hoo Hoo Ha Ha

Sleaford Mods – Dregs

Carrie Underwood – Love Wins

Pale Waves – One More Time

Rival Sons – Do Your Worst

Dani Sylvia – London on Fire

Good Charlotte – Self Help

IN THIS PHOTO: Jess Glynne

Too Many Zooz, KDA (ft. Jess Glynne) – So Real (Warriors)

FEATURE: “Do You Want to Hear About the Deal That I’m Making?” Old Dogs, New Kicks: Hounds of Love at Thirty-Three

FEATURE:

 

 

“Do You Want to Hear About the Deal That I’m Making?”

IMAGE CREDIT: Getty Images/PHOTO CREDIT/CONCEPT: John Carder Bush

 Old Dogs, New Kicks: Hounds of Love at Thirty-Three

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MY self-imposed Kate Bush embargo…

 PHOTO CREDIT: John Carder Bush

has already failed after a couple of days but, until November, I think there will be a gap! I was writing about her a few days back, when marking Never for Ever’s thirty-eight birthday, that she tends to release her albums in September and November. In November, 50 Words for Snow (2011), Aerial (2005); The Red Shoes (1993) and Lionheart (1978) have anniversaries and, just yesterday, The Dreaming turned thirty-six. Maybe it is something about the autumn/winter that gives warmth and extra relevance to the albums’ sounds? I am not sure but, on Sunday, we mark thirty-three years since Hounds of Love arrived. To many, myself included, Kate Bush’s fifth studio album is her at the most engaging, brave and free. I will talk about the album’s gestation and qualities soon but, to many, in 1985 we saw the legendary singer-songwriter free of shackles and finally creating how she always wanted. Certainty, struggles with record label control – she was with EMI until 2011 but always wanted to produce her own material without impositions – and creative difficulties blighted some of her work pre-Hounds of Love. Kate Bush began producing solo since The Dreaming (the album prior to Hounds of Love) and suffered nervous exhaustion off of the back of it. Her perfectionist tendencies and experimentation meant she would spend hours in the studio crafting songs and pushing boundaries. Strange instrumentations and effects would come in; she was at her angriest and least conventional when making that album.

IMAGE CREDIT: Getty Images

It is no surprise, given she wrote and produced everything herself, there would be strains and fatigue. She was undergoing a bit of a creative change from a relatively (by her standards) composed and commercial artist to someone who was going in a different direction. The Dreaming saw rawer vocals come in and a dark, more intense set of compositions come out. The compositions, in fact, marked her most assured and ambitious so far. Many critics did not know what to make of the album and some felt she had gone completely overboard! It is not a conventional record and, because of that, hairs were raised and eyebrows aloft! Contemporary reviews have been kinder and more praise-worthy - and many consider The Dreaming as the best Kate Bush achievement. Bush, based in London and shuttling between studios at that time, moved into the country and evaded a city she felt was exhausting and taking its toll. She wanted the freedom of nature and a space where she could breathe and create something less suffocated. Poor albums sales (of The Dreaming) and the long time it took to record and release the album meant Bush was determined to take time off and, when the next record was brewing, do things in a different way. In fact, three years is not that long a gap between records – so many of today’s big acts take much longer than that to release material!

 PHOTO CREDIT: John Carder Bush

Bush spent a summer out with her boyfriend, family and friends and was being herself. It was one of the first times since she arrived onto the scene, aged nineteen, she could escape the pressure and constant need for material and interviews. That breather and distance did wonders and she was able to soak in the calm of the surroundings and revise her plans. Rather than create an album that sounded like her last; she build a forty-eight-track studio in a barn – as you do! – and, behind the family home, it meant she could work at her own rate and be in a safe spot. As opposed the years in London working in studios and being pulled here and there; Hounds of Love would start life in a much different and positive environment. As this was her first time autonomous and independent – as a sole producer and making music in her own studio – the recording process altered. She would record demos and enhanced them when in the studio. The Fairlight CMI – which she brought in to Never for Ever and used ever since –, chorused vocals and Irish instrumentation (Jig of Life) meant she was not going to produce a simple and calmer record. If The Dreaming was an edgy and slightly angry album: Hounds of Love is pure ambition and awakening.

Early albums like The Kick Inside (her debut in 1978) put off some critics because of the high-pitched vocals and flightiness. Hounds of Love sees a deeper-voiced Bush swoon and swallow and, whilst hardly tame and calm, she was, perhaps, more accessible and digestible than she was back in 1978. Bush would go to create a two-side album with Aerial (a conventional first-half and experimental, suite-like second) and that all started with Hounds of Love! The record’s top part is full of singles and more conventional songs. The second-half, The Ninth Wave, is the concept of a woman being stranded at sea and in need of rescue. From the paen to sleep and relief (And Dream of Sheep) to the scuttling and twisted notes of Waking the Witch – a stunning vision and spectacular blend of styles! You follow the story and – although the woman is rescued in the end, according to Bush… – you feel the terror and uncertainty of the open ocean; the night coming in and the relief of being alive when the morning fog comes up. On paper, it sounds tricky to execute and realise but that, perhaps, is the first sign Kate Bush was unhindered and in an organic, inspiring space. Unafraid to go beyond the expected and try something new; The Ninth Wave is considered one of her finest achievements. She talked about recording the songs in a film-style series and bringing them to life in a different way. Although she achieved that, to a degree, in her 2014 live show(s), Before the Dawn; I wonder whether we will see a mini-film that unites those seven songs?

Maybe that will come but there is, for sure, that distinct split between the former and latter halves. The second is imagined and this single story. The opening portion of the record is, if anything, more personal and love-based. You get a nice shift in styles and tones - and the fact it all hangs together seamlessly and naturally is testament to Kate Bush’s instincts and talents. It is strange recollecting some of the stories from the recording. She has said, in a couple of interviews, how she was writing Cloudbusting and a wasp flew in the window and headed straight for her. In the middle of writing a line, she changed it so that it said “Ooh…I just know that something GOOD is going to happen!”. The initial pitch was more negative but, when presented with a kamikaze wasp, reverted to something positive and hopeful – who knows what legacy that song would have were it not for that random incident! The Big Sky, the fourth single from the album, was a tricky process that saw the song go through changes and re-writes. Written about the child-like sensation of watching the sky and gazing in wonder; it was a hard thing to piece together and I am not surprised! It is one of the most propulsive and impressive songs on the album and boasts incredible depth and variety.

With its big drums, shrieked vocals (at the end) and wonderful chorus; Bush worked at the song and, eventually, it came together. If some associate Hounds of Love with that suite and incredible drama; most highlight three particular songs as works of genius. Hounds of Love and Cloudbusting are often voted among the best Kate Bush songs ever and, with equally potent and imaginative videos, here was an artist stepping into her own league and becoming more immersed and involved with film. The songs themselves are hugely confident, accomplished and immersive experiences where Bush confesses to cowardice and seeing a fox ravaged by dogs (Hounds of Love – possibly a metaphor for heartbreak) and a fantastical weather device that can bring rain (Cloudbusting - about the very close relationship between psychologist and philosopher Wilhelm Reich and his young son, Peter, told from the point of view of the mature Peter. It describes the boy's memories of his life with Reich on their family farm, called Orgonon where the two spent time ‘cloudbusting’.). Cloudbusting’s video, too, sees a certain Donald Sutherland appear as Kate Bush’s dad! Utah Saints sampled the mentioned wasp-inspired line from Cloudbusting for their song, Something Good (1992), and the lyrics look at safety and danger; a child realising adults are fallible and you get that dreamy and extraordinary set of imaginative images. Hounds of Love sees Bush chased by dogs and you get a real urgency and tension – as opposed to the lighter and positive Cloudbusting (The Futureheads also covered Hounds of Love). Although both songs only just cracked the top-twenty; they are seen as among her best efforts and show what a leap she made after the tension and struggle of putting The Dreaming together.

We all love The Kick Inside but that album is associated with the one song: the record-breaking masterpiece Wuthering Heights. In many ways, there is that one song we associate with Hounds of Love: the epic and unforgettable Running Up That Hill (A Deal with God). A painful, honest and heartbreaking song; it asks what would happen if men and women could swap places and walk in each other’s shows. I believe the song was going to be called A Deal with God originally but there were fears around blasphemy and offending (in the same way God Only Knows by The Beach Boys caused some concern when it was released in the 1960s). Released on 5th August, 1985; it was the most-successful release from Kate Bush of the 1980s and peaked in the charts at number-three. Many nations would not play the song because it had the word ‘God’ in it and there was misinterpretation regarding the origins and story too. Running Up That Hill (A Deal with God) is about brokering a deal and seeing what it would like to switch roles; how we’d have a better understanding of each other if we could spend some time in a different form. Rather than represent a specific personal crisis – as many leapt to at the time – it is Bush asking that big question.

 IN THIS PHOTO: Kate Bush in a promotional shot for The Ninth Wave/PHOTO CREDIT: Getty Images/Rex

The twelve-track album is seen by most critics and fans as her best – although I will always pine for The Kick Inside – and, in 1985, so many of the U.K. reviews were five-star praise-pieces. The terror of The Dreaming was transmogrified into an anxiety about love and its unpredictablness. Critics noted how Bush had stepped away and rebelled against the label’s control and was fed up with the demands, machine and working in different studios. Inspiring to other artists then and now who feel constrained and cowed by record labels and commercial expectations; Hounds of Love is inspiring in so many ways. It heralded a new career phase that would find Bush asserting more personal control and, rather unsurprisingly, led to another remarkable album – 1989’s The Sensual World often comes very close to Hounds of Love when we look at her very finest L.P. Although the U.S. market did not really ‘get’ Hounds of Love – Running Up That Hill (A Deal with God) fared well but the album left many critics confused – she was a huge hit here and it seemed, seven years after her debut album, she had reached a sort of triumphant peak! A personal awakening and spiritual emancipation meant the Kate Bush who was frayed and criticised in 1982 was a critical and commercial darling in 1985. Whilst I argue The Kick Inside is my favourite album of hers; I acknowledge Hounds of Love is superior when it comes to sonic innovation, overall quality and its impact…

Pitchfork, in a review published on 12th June, 2016, seemed to hone in on the album’s impact and influence today:

“Hounds of Love proved there were no compositional mountains Bush couldn’t climb. While the second side asserted her vanguard bent, the first side yielded four UK Top 40 hits. Neither synth-pop nor prog-rock, Hounds of Love nevertheless drew from both with double-platinum rewards on her home turf, and yielded her first U.S. hits, even without a tour. And its idiosyncrasies have only fueled Hounds’ lingering influence: Florence and the Machine cribs its Gothic angst. Anohni mirrors its animal divinity. St. Vincent draws from its sexual politics and sonic precision. Utah Saints sampled it and the Futureheads covered it, both with UK Top 10 results. Coldplay’s “Speed of Sound” goes so far as to paraphrase “Running”’s rhythm, chords, climax, and highland imagery. It’s the Sgt. Pepper of the digital age’s dawn; a milestone in penetratingly fanciful pop”.

Another fan, writing last year, raised some interesting points:  

“Channeling other characters is what Bush has done since the beginning of her career with Wuthering Heights (1978), a song that precociously fuses eroticism with a voice from beyond the grave. In Hounds of Love, Bush’s extraordinary vocal performances are the musical equivalent of speaking in tongues. It might not be a perfect album, but there are few more thrilling, literate, and ambitious works of popular music. It is hard not to be spellbound by it”.

IN THIS PHOTO: Kate Bush relaxing in New York in 1985/PHOTO CREDIT: Getty Images/Rex 

Hounds of Love not only showed what a female artist could achieve but what was possible for a Pop musician. It is a unique work that shows no flaws, rough edges of any of the anxious moments that made their way into her albums prior to that. Free of the pressure from record labels and studios and in a new setting; Hounds of Love is Kate Bush alive, refreshed and renewed. It may seem strange I mark the album’s thirty-third anniversary but I feel, like all of her great albums, it needs to be marked every year and the music passed to fresh ears. Given the fact there are new movements and plans from Bush (her lyrics will be presented in a book in December); it is a great time to look at her albums and revisit some truly wonderful moments. Kate Bush, as this article documents, is rather pleased with Hounds of Love:

“…As for Bush herself, she remains fiercely proud of Hounds Of Love and has only good memories of making it.“At the time, it was such a lot of work,” she concedes. “The lyrics and trying to piece the whole thing together. But I did love it, and everyone who worked on the album was wonderful. In some ways, it was the happiest I’ve ever been when writing and making an album.

“…I know there’s a theory that goes around that you must suffer for your art – you know, all that stuff about, ‘It’s not real art unless you suffer.’ But I don’t believe this at all because I think, in some ways, this was the most complete work that I’ve done; in some ways, it’s the best and I was the happiest that I’d been, compared to making other albums”.

I will play the album in its entirety on Sunday and I hope fans of her work, and those new, re-explore the brilliant two sides to Hounds of Love. Whether you dive into the dangerous and lonely waters of The Ninth Wave or let the physical beauty of Cloudbusting and The Big Sky do their work; there is no denying how nuanced, powerful and inspiring the album is. There is no telling when a new Kate Bush album will be released but I am sure something is taking shape as we speak. Perhaps she has not hit those peaks since 1985 – although 2005’s Aerial is seen as one of her best albums – but I wonder whether she would have recorded many more albums were she to remain in London and work the same way she did prior to Hounds of Love. That period is so much more than the music itself and how well it did in the charts. It is the celebrated and in-demand artist taking a leap and getting away from aspects that were causing stress and too much pressure – a lesson to all of us in any situation. After The Dreaming came out; something needed to change and Bush needed space and time. By moving to the country and building her own studio, she gained that freedom and calm environment and, with new energy and wide eyes, Kate Bush went on to create one of the finest albums…

 IN THIS PHOTO: An outtake from the Hounds of Love shoot/PHOTO CREDIT: John Carder Bush

THE world of music has ever seen.  

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: LIZ LOKRE 

An All-Female, Autumn-Ready Playlist (Vol. III)

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THE next part of this rundown…

 IN THIS PHOTO: Amy Macdonald

mixes songs that project the colour and spritz of autumn with some of the sun and fizz of summer. It is another busy and eclectic list that showcases the best new female talent out there! Whether solo artists, female-led bands or female bands; it is a stocked and packed thing that will give you a lot to chew over. I am excited by the variety and quality that is out there and, as we head through autumn, I expecting many more great tunes to come along. Take a good listen and I am sure you will discover tunes that will stay in the head. As the weather becomes a bit uncertain and the nights start to draw in; let these female-led songs take you by the hand and provide you with a…

 IN THIS PHOTO: Big Joanie

FANTASTIC distraction.

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

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The Hempolics – Early in the Morning

LIZ LOKRE – Stop Runnin’

 PHOTO CREDIT: Bibian Bingen

Nana Adjoa - DOOA

The Buoys – Arm Wrestle

GIRLI – Young

PHOTO CREDIT: Jake Ollett

Body Type – Palms

Tia Gostelow – Phone Me

Akine – Money in Your Mouth

Jess Kent – Girl

PHOTO CREDIT: Anthony Yebra

Weakened Friends – Blue Again

Olivia O’Brien – I Don’t Exist

PHOTO CREDIT: Jen Squires - Photographer

Roxanne Potvin – All It Was

Nikki Yanofksy – Big Mouth

Tayla Parx – Me vs. Us

PHOTO CREDIT: Chad Kamenshine

Elena Goddard – Rivers Flow

Lennon Stella – Bad

Amy Macdonald – Woman of the World

Shake Shake Go – With You

Peg Parnevik – Break Up a Bit

Dani Sylvia – Green Eyes

PHOTO CREDIT: Emily Contador-Kelsall

imbi the girl - Swell

PHOTO CREDIT: Jo Higgs

Big Joanie – Fall Asleep

Georgi Kay - Toxins

ELVIN – Growing Fonder

PHOTO CREDIT: Ariel Kassulke

Life in a Tree – When You Know You Know

FEATURE: Trends and Waves: Twenty-Five Years of Steve Lamacq on the Radio: Where Have All the Long-Serving Tastemakers Gone?!

FEATURE:

 

 

Trends and Waves: Twenty-Five Years of Steve Lamacq on the Radio

IN THIS PHOTO: Steve Lamacq/PHOTO CREDIT: Dean Chalkley 

Where Have All the Long-Serving Tastemakers Gone?!

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THE BBC is celebrating twenty-five years …

 IN THIS PHOTO: Noel Gallagher of Oasis with Steve Lamacq in one of the Radio 1 Evening Sessions in 1997/PHOTO CREDIT: BBC/Getty Images

of Steve Lamacq on the radio. He made a name for himself on Radio 1’s Evening Session with Jo Whiley and is now over on BBC Radio 6 Music – championing new music and looking as strong as ever! When BBC Radio 6 Music announced it rejig – a new breakfast host and a bit of a swap-around – Lamacq’s show as untouched. He is clearly a big and important figure at the station and is someone who is always on the look-out for great new talent. ‘Lammo’ (his nickname) is always stopped in the street - as he told the BBC in this piece - and so many people base their record collections around his recommendations. In the BBC feature/interview, he talked about the early-mid-1990s and some great moments:

"…In April '94, at Radio 1 Sound City in Glasgow, Oasis played live on Radio 1 for the first time. A day later, Kurt Cobain passed away, and the whole musical axis shifted. From then on, there seemed to be a new record or a new band every week: Ash, Gene, Supergrass. It wasn't just indie guitars though, we used to play the likes of Bomb the Bass' Bug Powder Dust in '94, which was a terrific hip-hop record, and even a bit of reggae too”.

Lamacq saw the decline of Britpop but, from 1998 onwards, noted how artists such as Blur were still putting out great content. Discovering bands like Idewild; he remarks how people were looking for a new Pop wave and guitar bands like Radiohead.

 IN THIS PHOTO: Steve Lamacq with Jo Whiley in 1995

Whereas Doves were offering fresh sounds that excited critics; bands like Muse and Coldplay were filing the ‘Radiohead void’. There was a lot of searching and curiosity how the music scene would shift and what would come in. Lamacq was at the forefront when artists like The Streets came in at the beginning of the new century; great acts like The White Stripes and The Libertines poking through and persisting. Lamacq is, actually, a protégée of the legendary John Peel. If Lammo has been surveying the waves and bringing us the best new music for a quarter-century; he has Peel to thank for that curiosity, insight and wisdom. The late, great Peel is seen as the definitive tastemaker of music and a reason why so many D.J.s are doing what they are doing. I remember discovering The White Stripes through John Peel’s shows and live sessions. 2008-2012 saw more women come to the forefront and a particular favourite of Lammo’s, Florence + the Machine, has recently chatted with him. Championing new music from Florence + the Machine and PJ Harvey; Lammo was invested in this new wave and moving with the times. One of few tastemaking D.J.s who has seen such radical shift through the decades – now, with a more eclectic and unpredictable scene; he is keeping on top of everything and endlessly rummaging vinyl crates and keeping his ear to the ground!

 IN THIS PHOTO: Steve Lamacq with IDLES’ Joe Talbot/PHOTO CREDIT: BBC/Getty Images

The man may have gone from BBC Radio 1 to BBC Radio 6 Music (and worked for BBC Radio 2) but he has kept that same laid-back and passionate vibe we all know him from. Not only is he on-hand with all the best new records but he is an avid fan of live music. I remember when he travelled the country earlier this year as part of Independent Venue Week and was broadcasting from a selection of small venues. You just know live performances and gigs are what Lammo lives for! Current favourites like IDLES owe a little debt to the D.J. I got turned onto their music because of Steve Lamacq and it is worth tuning into his afternoon show (from four during the week) if you want to discover what is hot. If one might expect to see him sipping a pint in his favourite London boozer; it seems his wild gig-going days are being curtailed by family commitments. As he explained in an interview with The Daily Mail, life has changed somewhat for him: 

“His hectic gig-going schedule, which at its peak topped 200 per year, has been modified by the demands of a two-year-old daughter Lizzie, who he is bringing up in South London with his partner Jen. But the urge to unearth fresh talent still burns. Celebrating his 2005 nomination for a Sony Radio Academy Award – he finally received their Lifetime Achievement Award in 2013 - Lamacq was enjoying a quiet drink at the pub he is currently sitting in, when the realisation dawned that he was missing out on a momentous event, taking place just up the road. ‘The Arctic Monkeys were playing The Dublin Castle,’ he groans. ‘Their first-ever London gig and I didn’t go”.

I am one of those people who follow Lamacq’s show and find myself going away and seeking out new bands and artists. When speaking with NME earlier in the year (he was promoting his show, Going Deaf for a Living), he stated how he discovered bands and how his curation and passion has changed:

“I still don’t like shouting about a band until I’ve seen them live. There are a number of times when you hear a great record, but then you go see them live and realise they’ve only got two good songs and very little presence. I get annoyed sometimes by bands who rely on ad-libs and horrible Americanisms like ‘how you guys doin’?’ Come on man, you’re from Woking – you’re not Dave Grohl. Either don’t say anything and be enigmatic, or build a rapport. Don’t fill the gaps with platitudes, I’m not interested.

“While the manner in which we’re sent music is different now, the manner in which we fall in love with a band is pretty much the same. I saw Idles and Shame live before I’d heard any music. Idles at The Thekla in Bristol were just terrific. The singer looked like he wanted to kill everyone in the room, not least his band – but the whole place is full of a sense of community. Then I saw Shame at an all-dayer in Brixton just before they left school after their A levels”.

IN THIS PHOTO: A favourite of Steve Lamacq (and an artist many of us have discovered through his show), Florence + the Machine/PHOTO CREDIT: Buda Mendes/Getty Images

There is going to be a lot of celebration over the coming days and you can listen to all the shows he has done to celebrate twenty-five years in music. I know there are some good tastemakers in radio at the moment – including John Peel’s son, Tom Ravenscroft – but how many legendary and decades-lasting examples do we have?! Sir Terry Wogan and John Peel are no longer with us and it seems like there are only a few out there who have put in the mileage. I am a fan of D.J.s like Annie Mac and Lauren Laverne – who are always looking out for great new music – but I am impressed by Steve Lamacq’s longevity and constant energy. Maybe fatherhood will reduce his gig-going but listen to his show and you know how much music means to him. The joy he has when discovering a great band or unusual solo artist. I think Lammo is one of the last long-serving D.J.s who can be described as a true and loyal tastemaker! Listen around and you would be hard-pressed to discover someone who has enjoyed his time on the waves who brings us unheard/lesser-heard music time and time again. I wonder why we do not have that many more mature and older D.J.s who are continuing to look out for the best of the new. Perhaps digital streaming services have taken their toll in regards how we find music and some D.J.s have had to provide a more mainstream show.

 PHOTO CREDIT: Getty Images

I am a big fan of those D.J.s like John Peel and Lammo (and even Tony Blackburn) who survived musical changes and shifts and rode the waves. To have that enthusiasm and commitment year-in-year-out is impressive indeed. I know we will see a lot of today’s D.J.s endure and continue to uncover musical gems but Lammo is among the last of those D.J.s who has been going for yonks and shows no signs of slowing. I guess his reliable and popular show means he has a platform on which to campaign and shine a light on fantastic sounds. There are so many journalists and websites out there highlighting new music and playing the role of the tastemaker. As this article explains; many are curating lists for streaming sites and doing better than computers (in terms of what is selected and creating a great playlist). There is an army of so-called tastemakers (myself included) who are doing things online. I still have a lot of respect for radio champions who can have a personal and direct contact with listeners and get their own voices heard. The potency of radio is evident and I am always drawn to D.J.s rather than journalists when it comes to new music. Maybe the rise of streaming and the Internet means many D.J.s are phased out or we rely more on blogs etc.

There is a role for the Internet and music websites but there are few out there who have had the same experience and times as Steve Lamacq. From being sworn at (repeatedly) by Liam Gallagher back in the 1990s on the air to sitting in a hotel interviewing Nirvana – so many rich and memorable events that you do not really get these days. Lammo has that backstory and catalogue of memories; he is looking ahead and excited by what is finding. As those long-lasting tastemakers dwindle and the nature of musical discovery is becoming more digital and impersonal; I am glad to see where will be a decade from now and how many of the established tastemakers are still around – I am sure Lammo will be at the controls and where he is right now. There is a lot to be said for that D.J. that goes out of their way to champion new music and put in the miles. Steve Lamacq is not alone, of course, but he is one of the few around who can fondly recall the Britpop days and those first-hand experiences. As he (and the nation) celebrates twenty-five years on radio I wonder whether, in years to come, we will be celebrating D.J.s like BBC Radio 6 Music’s afternoon stalwart. I hope more and more people, with a passion for new music, go into radio and understand how powerful that connection with the listener is. We may have a sea of blogs around that can bring you the latest discoveries and treasures but nothing beats those established and committed D.J.s who have been there, seen it; done it and, quite literally…

 PHOTO CREDIT: Javier Garcia for Buzz

BOUGHT the T-shirt!  

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Yassassin/PHOTO CREDIT: Tess Parks for DORK 

An All-Female, Autumn-Ready Playlist (Vol. II)

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FOR an autumn-ready playlist…

 IN THIS PHOTO: WAYI

you need music that is colourful and has a mixture of warmth and chilliness. I have compiled some songs from great female artists (or female-led songs) that convey the spectrum of the season and will stay in your head for a long while. Whether investigating Pop, Soul or some new R&B; here is a selection of cuts that are perfect for an autumnal day. It may be wet where you are or you may be experiencing a sunny and warm day. In any case; I have a good playlist that will keep the mood up and ensure the day is a pleasant one. Take a listen to the songs and you may well discover some artists…

 IN THIS PHOTO: Beth Macari

THAT you have not heard before!

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

_____________

 PHOTO CREDIT: Darius Williams

Elsa Hewitt – Power

PHOTO CREDIT: Poppy Marriott

Grace Gillespie - England

Yassassin – Wreckless

 

PHOTO CREDIT: Tom Farmer

Majestic Minds (ft. Marlie, Haides) - Oxygen

Cooper Phillip - Speak in Tongues

Ingrid Witt – Fuck Your Ego

Betty Who – Taste

Beth Macari – Clone (Radio Mix)

PHOTO CREDIT: Dean Street Designs

Chorusgirl – No Goodbye

Black Belt Eagle Scout – Indians Never Die

PHOTO CREDIT: Lauren Maccabee

Emily Burns – Cheat

WAYI – Temporary

ArsenLuna - Bleu

Ashley Campbell – Looks Like Time

Emily Zeck – Avocado Toast

Lo Lo – Convenient

Keep Shelly in Athens – Celebrity

Fiona Harte - White Picket Fence

Kelsy Karter – God Knows I’ve Tried

Sophie Beem - Stars

PHOTO CREDIT: Ismael Quintanilla

Jackie Venson – Keep On

Natalie Stovall – Can’t Love You No More

Jaki Nelson – Dancing with Strangers

iiola – sickly sweet

Billie Marten - Mice 

Queen Naija – Bad Boy

FEATURE: How to Be Invisible: The Lyrics of Kate Bush

FEATURE:

 

 

How to Be Invisible

IN THIS ILLUSTRATION: Kate Bush/ILLUSTRATION CREDIT: Bijou Karman 

The Lyrics of Kate Bush

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I know I did say…

 IN THIS PHOTO: Kate Bush in a promotional shot for her 2011 album, 50 Words for Snow/PHOTO CREDIT: Press

I would impose an embargo on Kate Bush-related postings until next year! The trouble is, you never know what you will get from her! One waits years for an album – the gap between 1993’s The Red Shoes and 2005’s Ariel – and, before you know it, loads of stuff comes along! Granted, we have not seen any fresh material since 2011’s 50 Words for Snow but I have every faith something will come next year. Bush performed her 2014 Before the Dawn set of shows in London and now, thinking the year would pass without anything from her, she has announced a set of lyrics. The book, How to Be Invisible: Selected Lyrics, will be released very soon. In fact; let me take a snippet from The Independent:

“The book, titled How To Be Invisible: Selected Lyrics, will be published by Faber on 6 December this year, with an introduction by the author David Mitchell, who previously wrote three spoken-word sections for Bush's 2014 Before The Dawn performances.

Mitchell said: "For millions around the world Kate is way more than another singer-songwriter: she is a creator of musical companions that travel with you through life."

He added: "One paradox about her is that while her lyrics are avowedly idiosyncratic, those same lyrics evoke emotions and sensations that feel universal".

Not only is the book a great Christmas gift (the book’s title is also the title of a song from her 2005 album, Ariel) but it does make one wonder what form it will take – will we see illustrations and which songs will be included?

I am thrilled there is something out that is non-musical. We have been holding out for news of a new album but I think, importantly, we are being treated to a book of lyrics. I would imagine her best-known tracks will make the cut but one feels this is a chance for a real retrospective and look into her creative mind. We look at those extraordinary videos and are beguiled are stunned by their physicality, beauty and unusualness. All of us can name a list of Kate Bush songs and will sing along to the lyrics when we hear them on the road. Tracks like Wuthering Heights and Running Up That Hill (A Deal with God) are etched into the memory but, if we heard more of Bush’s music on the radio, we would be singing along without realising! Being a super-fan; I know most of her songs by heart but I feel one of the reasons I have become so involved with her music is because of the words. Her music transformed and evolved from her debut album, The Kick Inside (1978) and consider the themes explored on 2011’s 50 Words for Snow. The arc and progression is evident but, on every album, you get a different feel and sensation. Even from the beginning, Bush was tackling subjects such as childbirth and menstruation; the maturity of the love songs and the way she could bend words and employ unusual phrases put her on a platform all of her own.

 IN THIS PHOTO: Kate Bush in 1978/PHOTO CREDIT: Alamy

We have her albums and, on many of them, there are lyrics in the linear notes/booklet. With her vinyl being hard to get hold of – you can buy them on Amazon but they are pretty pricey – it seems now, more than ever, is a great time to release a book of lyrics. Kate Bush is one of those artists who loves the album concept and, as such, goes to great lengths to craft stories and songs that link together. If we only associate her Wuthering Heights or an album like Hounds of Love then we are only getting a portion of what she is about. The cloth-bound book will, one feels, bring together a chronological narrative of her music and, one suspects too, there will be images and stylised words. Given the fact most of her songs were not given a music video, I wonder whether How to Be Invisible: Selected Lyrics will be a storybook where there are pictures and a series of images to score each song. In any case, I feel Bush has broken new ground. Faber & Faber have not released a book of lyrics from a female artist before – she is, once more, breaking new ground! Many of are still blown away by the maturity one finds on her first couple of albums. Songs like The Man with the Child in His Eyes and Wuthering Heights were written years before the album was released – the former, I think, she wrote at thirteen! – and one is intrigued to see those words on the page. How did someone so young and new to music manage to weave and create such spellbinding lines and images?!

There was a lot of good music in 1978, when her debut came out, but most of the mainstream were focusing on the same things: love and relationships and the sort of thing that dominates to this day. Kate Bush was writing about that but she was not willing to pen tropes and lazy lines. Her way with words and how she wanted the listener to immerse themselves in the music comes through. Every album you listen to; you get that amazing voice but are compelled to follow the words and imagine. Tough and political themes are present on records like Never for Ever and The Dreaming; she would explore issues around the displacement of the Aboriginal homelands and its destruction (The Dreaming); a foetus fearing nuclear war (Breathing) and a mother watching her son go to war to die (Army Dreamers). How many artists do you see today that consistently explore hard-hitting and weighty topics on their albums?! Maybe they will address something unique now and then but, for the most part, you know what to expect. A lot of artists write about what they know/live but Kate Bush is more like a novelist. She can weave fantasy and the cosmic with the natural world and affecting images. The more we listen to music through the Internet and stray away from vinyl – we still absorb them a lot but they are in the minority – the less we are remembering lyrics and placing importance in them.

I am one of those people who feels music is defined by lyrics and the way and artist expresses themselves through words. One can argue, if Kate Bush’s lyrics were ordinary and routine then, no matter how great her vocal prowess, the songs would not be as resonant and popular. It is the way she would cover subjects not often heard in music that made people talk about her songs. Nothing was too edgy or unsuitable for musical exploration! Bush brings her inimitable and personal touch to every song and the book will be a great guide to anyone going into songwriting. A great artefact and treasure for die-hard fans; How to Be Invisible acts as a lyrical sermon; a way songwriters can see what she writes about and how those words leap off of the page. I know we can read her lyrics online but there is something impersonal and rather cold about reading from the screen. You can carry the book around and scan it in a quiet moment. For me, I am looking forward to seeing how the songs are illustrated and which tracks are selected for inclusion. Grab a copy when it comes out on 6th December and discover first-hand why Kate Bush is considered one of the greatest songwriters ever. Given the little surprises she throws our way, who is to say what we might expect…

 IMAGE CREDIT: Getty Images/Faber & Faber

NEXT year.  

FEATURE: Seventeen Years On… The New York Playlist

FEATURE:

 

 

Seventeen Years On…

ALL PHOTOS: Unsplash 

The New York Playlist

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IT has been seventeen years…

since we all had to endure that terrible day. Seeing the images of the Twin Towers being struck and felled by terrorists on 11th September, 2001 is one of the most horrifying things I have witnessed. It hardly seemed possible or real when watching the news reports come in. I was preparing to leave for university and, moving to London, it was a very worrying time. The bravery of the rescue teams and fire services in the aftermath is the defining image. I was amazed by the resilience of the people of New York and how they came back strong. It is inspiring to see how the city has rebuilt and continues to fight on. There are few things I can do to mark the anniversary of the day but, in honour of New York and its spirit; I have looked at the great artists who have come from New York (or are defined by the city; songs that name-check New York) and the fantastic music they have created. As we remember that eventful day in 2001; rather than dwell on the horror and loss of life, it is the togetherness and defiance that stands proudest. We will never forget those lost during the attacks and the city that stood up and refused to be beaten. The New York music scene is a rich and varied one. Looking back at classic artists and bands who have put the city/state on the map I will, in my way, help remember those lost and celebrate a proud people who will never…

BE silenced.