FEATURE: Love Thru a Lens: The Perils of High-Profile Relationships in Music

FEATURE:

 

 

Love Thru a Lens

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IN THIS PHOTO: Cheryl in a promotional shot for her new single, Love Made Me Do It (out 09/11)/PHOTO CREDIT: Getty Images 

The Perils of High-Profile Relationships in Music

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THE reason I have chosen Cheryl…

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IN THIS PHOTO: Cheryl (then Cheryl Fernandez-Versini) pictyred with Liam Payne in 2016/PHOTO CREDIT: Getty Images 

as a sort of ‘cover star’ is because she is making the news right now. Following her split with Liam Payne; it seems the days of dating are being put on the back burner:

“Cheryl has said her love life is "not happening any more" in her first interview since splitting with Liam Payne.

The former Girls Aloud singer is set to release new music on Friday and spoke to fellow musician Jessie Ware for her podcast Table Manners.

Cheryl said: "In business I know what I want, but in my romantic area I'm not as evolved - that area has stopped."

She also spoke about Bear, her 20-month-old son with Payne.

The artist formerly known as Cheryl Fernandez-Versini, Cole and Tweedy said: "I've got the man in my life now. I'm good."

The 35-year-old also spoke about releasing her first song in four years, Love Made Me Do It, which was written with her former Girls Aloud bandmate Nicola Roberts.

She was asked about her split from Payne and whether her new music – her latest single, Love Made Me Do It, is out tomorrow – was referencing him:

"All the music and the songs were done way before we split," she said.

"None of them are about anybody. That's the easiest thing you could write, it's such an easy headline.

"When I'm in a room, I'm not sat there with other writers thinking about somebody.

"We may talk about one subject and it comes out that way, but I wasn't writing a love poem to anybody."

The singer said she had taken a decision to change her life in recent years, saying she was "jaded and living in a negative space" after spending much of her life in the spotlight”.

Whilst it seems some well-timed music will not do her commercial any harm – there is likely to be that extra intrigue regarding her new material – it seems the life of an artist is hard enough without bringing love into things. I know a lot of well-known musicians and figures who are in relationships with less-known (normal) people and there is not the same sort of intrigue and leering from the press. Even if you are someone like Ellie Goulding, Ed Sheeran or their like; there are not going to be the same amount of paparazzi at your door if you are dating someone quite ordinary – consider those high-profile bonds and how much more pressure comes with them. The same happens with actors. If you have two A-listers in love; that sends everyone into a storm and their lives will never be the same again; there is always that speculation and focus. Musicians are not quite as appealing as actors when it comes to the high-profiles bonds but it seems like there their private lives end pretty quickly. I know Cheryl lives a fairly quiet life but since she started dating Payne (and had a child with him) there has been that fever of press obsession and she has been thrust into focus. Maybe some artists can worsen a problem – big magazine covers posing with their other halves hardly deters and dampens that press intrigue – but it seems even having a normal and stable life is a unlikely.

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 PHOTO CREDIT: @mvs_berlin/Unsplash

In this case, who knows the exact cause of the breakup. Maybe there were the pressures of two different careers or Payne not being as interested in family as his own interests. In any case; it seems that there is no real difference when you compare acting and music. If you have these two big artists, there will always be the lens out. People will scrutinise songs and pick through every line; wonder whether lyrics are about their lover and, when things go sour, whether the songs that follow document that. The life of an artist these days is tough enough and I know so many (unsigned artists) that avoid relationships because they fear the lack of commitment and time they have will render things null. You are on the road a lot and there are numerous demands; promotion is constant and the energy levels flag. I have mooted, before, the possibility of having a bespoke dating service for artists...sort of like a Sgt. Pepper’s Lonely Hearts Club-style pun/name that, in all seriousness, would make it easier for artists to find someone suited to them. In Cheryl’s case; I do not think she will swear off men forever – even if her son, Bear, does come first – but dating someone else in the industry is likely to get the press swarming around her door like flies on sh*t. The attention would still be there if she dated someone outside of music but one feels the level of intrusion and focus would not be as severe.

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 IN THIS PHOTO: Guy Ritchie and Madonna (the couple divorced in 2008)

From Madonna and Chris Martin through to Cheryl – I know the first two dated actors/directors but they were both famous (Guy Ritchie and Gwyneth Paltrow respectively) -; it is always a lot more testing and challenging when you join two big stars. Think of some of the big-name couples in music that have survived the test of time such as Jay-Z and Beyoncé and it seems their success and stability is a rarity. Granted, that relationship has been put through the spotlight. Many felt Beyoncé’s 2016 album, Lemonade, was talking about Jay-Z and rumours of infidelity. There was a moment you felt they would split but, now, they seem stronger than ever and perform as part of a duo, The Carters. I suppose any sort of indiscretion and cheating will naturally go into one artist’s work and, when you consider the other will release music, the press and fan attention heightens and it can boil over. It is a problem and curse as old as time itself but I wonder whether that high-profile relationship can ever last. There have been survivors and successes but there have been so many more disasters and short-term bonds. When things do break; that can result in a series of petty songs where each artist takes shots at the other and, before you know it, things have truly unravelled. One artist who has faced a lot of unwanted attention and unhappiness regarding her relationships is Ariana Grande.

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 IN THIS PHOTO: Jay-Z and Beyoncé/PHOTO CREDIT: Getty Images

When she was dating Mac Miller; there was this sense of togetherness that stemmed from a rather sweet and humble beginnings and, after Miller’s death earlier this year, some blamed Grande for that and felt she contributed somehow. There were compelling enough reasons why the two broke up and the fact Ariana Grande misses him so much – a reason tweet from her shows that pain – means they managed to stay friends after the split. Earlier this year, a couple of months before Mac Miller died; news of their breakup was reported in the press:

“Ariana Grande and Mac Miller's love story began with a tweet, then a friendship built from their early collaborations -- first, "Baby It's Cold Outside," then with the infectious hit "The Way" -- before a full-fledged romance blossomed.

However, that all came crashing down on May 10, when Ariana confirmed the news of her split from Mac in a post on her Instagram Stories. "This is one of my best friends in the whole world and favorite people on the planet,” Grande wrote above a photo of them cuddling and smiling. “I respect and adore him endlessly and am grateful to have him in my life in any form, at all times regardless of how our relationship changes or what the universe holds for each of us!”

Naturally, the news of Ariana and Mac's split didn't sit well with fans, as heartbreak and crying emojis have since flooded the artists' Instagram comment section. Mac, who had a run-in with the law earlier this month and was charged with drunk driving and hit-and-run, has remained mum on all of his socials, while Ariana has been prepping her upcoming album following the release of her new song "No Tears Left To Cry".

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 IN THIS PHOTO: Mac Miller and Ariana Grande/PHOTO CREDIT: GC Images

You could argue artists should date those outside of the profession to avoid easy breakups or having quite as much attention from the media. That is fair enough but in many cases it is the similarities they have and that common bond that brings them together. I am likely to be drawn more to someone in music as opposed to someone who wasn’t. It is that sense of compatibility that leads to a relationship and, often, can end it. A lot of the time, the pressures and time demands of music can lead to breakup and problems in a relationship. Musicians are among the busiest around and, when you are traveling so much and wrapped up in a new release, where does the relationship rank? We all get a little bit more interested when we see two well-known artists date and, of course, there is that glitz and glamour that comes with it. A lot times, that endless glare and sense of encroachment can spell the end to even the most secure of relationships – or mean any problems are exposed quicker and, in turn, that adds fuel to the fire. Most of the big Pop names around, at some point, have dated someone quite high-profile and a lot of times one wonders whether the relationship is quite calculated – a ploy for more commercial appeal or something that will generate them that hollow fame.

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 PHOTO CREDIT: @wbayreuther/Unsplash

In a lot of instances, there is that un-cynical and natural affection that, if they were in most other industries, would continue to grow and survive. It is not the case every high-profile musical bond will end in flames and be a disaster but I always worry when I see big artists dating and whether they can ever be left alone. Creative and personal lives entwine and it can go bad. Social media can make things so much worse. For every ‘success’ story like that of Beyoncé and Jay-Z, there are these relationships that seem promising but, before long, are over. Love and relationships are the common stock for artists and some of music’s greatest moments have come from pure and content times. I am not down on musicians dating one another but there are obvious traps and obstacles that can trip them up sooner or later. That always present media lens is out and, wherever they go, it seems somebody wants something from them. The natural demands of the music lifestyle can cause their own strains and, if they are two quite prominent and mainstream artists, then that adds another layer of strain to the party. Maybe breakups can breed creative lust and success but the aftermath and realisations are pretty stark and harsh. Maybe Cheryl will date another musician/musical figure soon but it seems family life is more important. A new album and a clearer head has come in and there are new goals on her horizon. Away from all the upset and press intrusion; sometimes that high-profile breakup can result...

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PHOTO CREDIT: @shadex_bona/Unsplash  

IN something quite positive.

FEATURE: Many Shades of White: Why The Beatles’ Self-Titled Album Is a Great Test for Modern Artists

FEATURE:

 

 

Many Shades of White

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IN THIS PHOTO: The Beatles photoed in 1968 (top-left: John Lennon, top-right: Paul McCartney; bottom-left: George Harrison, bottom-right: Ringo Starr)/PHOTO CREDIT: Apple Records/Getty Images 

Why The Beatles’ Self-Titled Album Is a Great Test for Modern Artists

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I was watching a great live stream on YouTube…

that collected together a panel of great music minds who were discussing The Beatles’ fiftieth anniversary. Also known as ‘The White Album’; a fiftieth anniversary collection is available that has the original songs remastered and mixed by Giles Martin – the son of The Beatles’ producer, Sir George Martin – and the famous ‘Esher demos’ – Esher (Surrey) is where the band converged to record these demos, in George Harrison’s bungalow. Alongside all of this is a full and frank written account of the album, some rare outtakes and all the goodness you could want. It has been lovingly put together by Giles Martin and his team and, as I shall talk about later; it perfectly brings this fifty-year-old collection of songs to the modern time without sacrificing its authentic sound and purity. That is a hard job to do and one Martin has done with aplomb. Before looking ahead and why the fiftieth anniversary collection will open modern eyes; a look back at the album and what was happening at the time:

“Recording sessions for the White Album started with the song Revolution on May 30, 1968, and concluded with take three of Julia on October 13, 1968. Mixing was completed five days later on October 18, 1968. Recorded mostly at Abbey Road Studios, with some sessions at Trident Studios. Although productive, the sessions were reportedly undisciplined and sometimes fractious, and took place at a time when tensions were growing within the group.

Concurrent with the recording of this album, The Beatles were launching their new multimedia business corporation Apple Corps, an enterprise that proved to be a source of significant stress for the band. Also recorded during the White Album sessions were What’s the New Mary Jane and Not Guilty. These two tracks were only available on bootlegs for many years, but were finally released for the first time 28 years after they were recorded on Anthology 3 in 1996…

Despite the album’s official title, which emphasized group identity, studio efforts on The Beatles captured the work of four increasingly individualized artists who frequently found themselves at odds. The band’s work pattern changed dramatically with this project, and by most accounts the extraordinary synergy of The Beatles’ previous studio sessions was harder to come by during this period. Sometimes McCartney would record in one studio for prolonged periods of time, while Lennon would record in another, each man using different engineers. At one point in the sessions, George Martin, whose authority over the band in the studio had waned, spontaneously left to go on holiday, leaving Chris Thomas in charge of producing. During one of these sessions, while recording Helter Skelter, Harrison reportedly ran around the studio while holding a flaming ashtray above his head.

 

The sessions for The Beatles were notable for the band’s formal transition from 4-track to 8-track recording. As work on this album began, Abbey Road Studios possessed, but had yet to install, an 8-track machine that had supposedly been sitting in a storage room for months. This was in accordance with EMI’s policy of testing and customizing new gear, sometimes for months, before putting it into use in the studios. The Beatles recorded Hey Jude and Dear Prudence at Trident Studios in central London, which had an 8-track recorder. When they found out about EMI’s 8-track recorder they insisted on using it, and engineers Ken Scott and Dave Harries took the machine (without authorization from the studio chiefs) into the Number 2 recording studio for the group to use… 

The resulting tracks did not have the same sound as previous Beatles albums had. Thinking that something was wrong with the sound of EMI’s new 3M 8-Track machine (see left), they asked to have a technician check the factory calibration of the machine. The technician using a calibration tape showed the recording engineers that nothing was wrong with the machine, that it was calibrated perfectly to factory standards. The recording engineers were stymied — until they were told by industry professionals that the previous mixing boards at EMI had been valve (US English: tube) powered boards making the earlier Beatles albums sound different. The new mixing boards were the culprit – not the new 3M 8-Track recording machine. It, therefore, took some time before the EMI engineers were able to get the quality of sound they wanted using these transistorized mixing consoles. The EMI engineers were finally able to get the same quality of sound of eariler Beatles albums on Abbey Road”.

There has been a lot of debate, at the time and later on, whether The Beatles should have been a single album and not the double we all see. This article from The Beatles Bible collects the opinions of a couple of Beatles and Sir George Martin:

“After Sgt Pepper changed the world, the world keenly awaited The Beatles' next step. They had released just the six-track Magical Mystery Tour EP and the Lady Madonna single since then, and there was widespread speculation in the press that they were a spent force.

While recording the album, the group was in the process of launching the multimedia business Apple Corps, while coping with various upheavals including drug busts, changing relationships and substance abuse.

 

The Beatles were old hands at dealing with such pressure. They turned away from the elaborate excesses of Sgt Pepper, recording instead a simple collection of 30 songs under an even simpler name: The Beatles.

George Martin later claimed he had wanted the group to omit the album's weaker songs and focused instead on producing a solid single-disc release.

I thought we should probably have made a very, very good single album rather than a double. But they insisted. I think it could have been made fantastically good if it had been compressed a bit and condensed. A lot of people I know think it's still the best album they made. I later learnt that by recording all those songs they were getting rid of their contract with EMI more quickly.

George Martin
Anthology

Ringo Starr agreed with the sentiment.

There was a lot of information on the double album, but I agree that we should have put it out as two separate albums: the 'White' and the 'Whiter' albums.

Ringo Starr
Anthology

Despite its faults as a collection, Paul McCartney stood by the album, saying that the wide variety of songs was a major part of its appeal.

I think it was a very good album. It stood up, but it wasn't a pleasant one to make. Then again, sometimes those things work for your art. The fact that it's got so much on it is one of the things that's cool about it. The songs are very varied. I think it's a fine album…

 

I don't remember the reaction. Now I release records and I watch to see who likes it and how it does. But with The Beatles, I can't ever remember scouring the charts to see what number it had come in at. I assume we hoped that people would like it. We just put it out and got on with life. A lot of our friends liked it and that was mainly what we were concerned with. If your mates liked it, the boutiques played it and it was played wherever you went – that was a sign of success for us.

Paul McCartney
Anthology”
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Sir George Martin died two years ago but I think he would be very proud and pleased with Giles’ work on the fiftieth anniversary work. This article gives you a numerical guide to The Beatles but, so far, the reviews for the remastered anniversary releases has been positive. Ultimate Classic Rock gave their views:

“And from the sound of the double White Album, George Harrison, John Lennon, Paul McCartney and Ringo Starr were indeed going their own ways. The 30 songs often unfold like solo tracks with various Beatles sitting in as sidemen with whoever was taking lead on a particular song.

That's why the seven-disc The Beatles (White Album) Super Deluxe is such a revelation at times: They sound like a band working together to create one of rock's all-time greatest LPs. There are some solo excursions here – especially on the stripped-down disc of "Esher Demos" that find the Fab Four testing out their new songs for each other – but there's also plenty of old-school camaraderie as the group works out old songs, new songs and songs that would sit in the vaults for years”…

 

The studio sessions are like that, offering selected glimpses into how the Beatles got from here to there. Sometimes it's just an instrumental backing track to "Back in the U.S.S.R."; other times it's an early acoustic version of "While My Guitar Gently Weeps" that's just a little less majestic than the one you know. And occasionally there's something jaw-droppingly awesome like that 10-minute "Revolution 1" that reveals sections that eventually found their way into the audio collage on "Revolution 9."

So, in that sense, the 27 "Esher Demos" included here are both the springboard to this set and its centerpiece, even as they reinforce the notion that the four Beatles were moving their separate ways. Early, skeletal versions of songs like "Ob-La-Di, Ob-La-Da" and "Happiness Is a Warm Gun" got big boosts in the studio when the entire band chipped in, but they're still fascinating and tuneful as acoustic pieces.

Still, these early demos don't mean as much without the finished record. Half a century later, the White Album remains one of the Beatles' greatest, influential and definitive works. You'll appreciate it even more after hearing this Super Deluxe box, which chronicles the LP's inception while furthering its case for such an esteemed place in music history. After all these years, it doesn't sound like the end, but rather a new beginning”.

 

I have chatted a lot about the background and sort of left the article on a cliff-hanger. I was, as I said at the top, watching the YouTube video where Matt Everitt (BBC Radio 6 Music) and Giles Martin spoke about the new release and dissected the songs. Joining them on a panel was Miles Kane and Andy Bell (Ride); Georgie Rogers (BBC Radio 6 Music, Soho Radio), Felix White (The Maccabees) and Dan Stubbs (NME). They gave their views regarding the album and why it is so special; how it has translated through the past five decades and why it remains so special. The consensus was – and will be for most other people – that the sheer eclectic range of the records means you are picking up new elements and reveals this far along. Songs fall in and out of favour and, unlike some Beatles albums; The Beatles holds a strong and loyal position in their all-time top-five. It was a great discussion and I learned a lot – from Martin and the guests – regarding the songs’ beauty and how the material came together. The fact most of the material was laid onto a 4-track – there was an 8-track but the guys wanted a simpler and less rigorous sound than on Sgt. Pepper’s Lonely Hearts Club Band -  is amazing! Thirty songs on four sides (on vinyl that is; or a single sitting/skimming on Spotify); it is a masterful album that, despite some rougher cuts, amazed critics and resonated profoundly.

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 IN THIS IMAGE: The Beatles (and Yoko Ono) depicted in their 1968/The Beatles period/IMAGE CREDIT: Ken Lowe

I guess two myths/quibbles need to be got out of the way before I look to the future. One, as discussed last night, was this notion that The Beatles was a band in disarray and chaos. It is true Sir George Martin was at-odds with Paul McCartney, Ringo Starr (sirs both); George Harrison and John Lennon because, in terms of recording and the way it was being produced; he was used to a different style. The Beatles was a completely different experience to that of Sgt. Pepper’s Lonely Hearts Club Band. Gone was the ruthless perfectionism and all-night sessions mining the studio for fresh secrets: replacing it was a band being a band; looser and willing to put the songs together in their own time. Whilst George Martin (I’ll drop the knighthood from now onward, if that is okay) was unhappy with the experience and felt it should have been a single album; what remains and we have is glorious. I do not feel you can whittle down a double-album as captivating as colourful as The Beatles because it is a long listen. The Telegraph mooted a single album and highlighted faults.

“...But where that 1967 masterpiece sounds unified, The Beatles (to give The White Album its official title) is fractured, its disparate pieces flying off in different directions. It is the sound of The Beatles falling apart.

Still, if you think the original White Album’s sprawling, wait until you hear about the forthcoming six-CD Deluxe edition, which adds 27 early acoustic demos and 50 session takes to the album’s original 30 tracks. As a tonic to that, let’s consider a shorter version. reducing The White Album’s 30 tracks (31 if you include Can You Take Me Back?, uncredited on the sleeve or label) to... how many, exactly? Fan site beatlesbible.com says 14 tracks is the “standard rule”. The White Album aside, six of The Beatles’ other 10 albums released in the UK had 14 tracks. So 14 it is. And like a diligent maths pupil, I’m going to show my workings...

 

An easier omission is Ob-La-Di, Ob-La-Da. Paul McCartney placed rocket boosters under already existing inter-band tensions by his insistence that the group spend two days playing Ob-La-Di, Ob-La-Da over and over again. It’s a banal ditty that exemplifies what Lennon derided as “Paul’s granny music”. But McCartney was convinced it was a hit. He was right, it was – the band Marmalade took their contemporaneous cover version to number one. But I think we can live without it on our leaner White Album.

Same goes for Honey Pie, a less egregious example of Paul’s granny music, but nevertheless a novelty item. We tolerated When I’m 64, Paul, because it seemed psychedelic on Sgt Pepper, coming straight after Within You Without You. We quite enjoyed Your Mother Should Know from Magical Mystery Tour (the double EP released in 1967 a few months after Sgt Pepper). But while we can admire McCartney's mastery of pre-war pop stylings, he's testing our patience with this one, and it hasn’t “hit the big time”

Meanwhile Birthday has not supplanted Happy Birthday to You as an anniversary anthem, and McCartney’s Why Don’t We do it in the Road?, while enjoyably crude, is not a major work. Nor is Lennon’s Everybody’s Got Something to Hide Except for Me and My Monkey. The primate in question may have been heroin, though the track’s exuberance suggests Lennon can’t have been taking too much of it at that stage”.

Apart from Back in the USSR, Helter Skelter and Happiness Is a Warm Gun; most of Jon Dennis’ selected fourteen have a calmer and more tranquil mood.

I contest there are a few songs I pass by – including George Harrison’s Piggies and Paul McCartney’s Rocky Raccoon – but each track holds its place. You could not do a single album because there is a subjectiveness and which songs do you omit?! People will be angry whichever songs you remove and, in a digital age, one can merely take the original double-album and select an album’s worth that they can put into a playlist! The thirty moods, stories and skins you get from The Beatles tells a complete story and is a definition of where the band were in 1968. The fact the band might pick a different fourteen songs to the collective critical wisdom suggests an obvious flaw in that plan. Releasing a double-album is risky and can divide but The Beatles knew what they were doing and the songwriting is exceptional. Even the slightly ‘weaker’ cuts are interesting and are worth listening to. Other states The Beatles were on the verge of splitting. Maybe John Lennon thought they were doomed and George Martin was happy. There were a few spats and issues – Starr briefly left and there were a few arguments; Yoko Ono’s increasing role in the studio meant she and Lennon were separate from the rest of the band; Harrison often wrote alone and did not have a partner – but the band were on the same page when it came to getting the material down. You cannot record a song as complete and formidable as Helter Skelter (Paul McCartney’s offering) if you are divided and squabbling.

 IN THIS IMAGE: The cover for the Super Deluxe Anniversary Edition of The Beatles/IMAGE CREDIT: Apple Records/Getty Images  

A lot of the outtakes and in-studio discussions show there was calm and that willingness to explore and unite. Whereas Let It Be, which followed the following year, was a visibly tense and notoriously fractured album; The Beatles is a lot more harmonious and easy than most assume. This article looks at the band being ‘broken’ doing 1968:

“How seriously were the Fabs adhering to the path of spiritual awakening as they returned to the studio to work on the follow-up to Sgt Pepper?

George Harrison, it seemed, was still into it. John Lennon was out of it, and maybe not just figuratively. When asked whether he had returned from holiday with anything "fantastic", he replied: "Yes. A beard."

McCartney's attention had drifted into a world of musical pastiche and Ringo Starr was unimpressed with the way things were shaping.

Not the most auspicious of starts. The truth is the Beatles hadn't really been on the same page since they stopped touring in 1966 but, buoyed on by phenomenal success, they just kept going.

Another major problem for the group was that they were without a manager. Brian Epstein had died of an accidental overdose just at the point when they were delving into meditation.

Aside from the colossal personal impact of this tragedy, the group's business affairs were now all at sea...

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IN THIS PHOTO: The Beatles during their ‘Mad Day Out’ in the summer of 1968/PHOTO CREDIT: Tom Murray 

“Business differences were to cause them problems for the next few years.

Lennon and McCartney also had another issue to contemplate. While the quality of their songs, whether written separately or together (an increasingly rare event) was seldom in question, now they had a third songwriter to accommodate.

The material which Harrison was bringing to sessions was good. So good, in fact, that it threatened to eclipse theirs. Some would say it did.

Lennon was also bemusing his bandmates by bringing his new partner, conceptual artist Yoko Ono, along to every recording session.

On top of all this, their stalwart producer George Martin, frustrated at the band's undisciplined approach to recording, walked away from the project suddenly, depriving them of his genius in the process.

Arguments ensued. Paranoia was rampant. Ringo had enough and left the group, only to be coaxed back by the others, but not before they'd nailed the album's two opening tracks without him.

The White Album ended up being the record on which The Beatles cracked inwardly and irreversibly as a group.

As Harrison so accurately observed: "The only thing we could do was write songs and make records and be Beatles… successfully. And there were always good songs".

Whatever the opinions regarding their fragility and mental states; whether the album should be a single or a double; we are listening to it fifty years after release and revelling in its myriad voices and sights. It is a masterful work that, through the courses of thirty songs, covers multiple genres and themes. Paul McCartney alone is responsible for penning Ob-La-Di, Ob-La-Da (a jaunty, Music Hall number), Blackbird (a Folk song about civil rights); Helter Skelter (a forerunner to Metal) and Back in the U.S.S.R. (a nod to the style of The Beach Boys). John Lennon was not to be outdone and wrote what is seen as one of the (if not the) best song on the album: Happiness Is a Warm Gun. It is a multi-part suite that would be taken to heart by the likes of Radiohead (Paranoid Android) and multiple artists. Lennon was not deliberately trying to do a suite-like song but he was following his instincts. Lennon also wrote Julia (about his late mother) and Glass Onion; The Continuing Story of Bungalow Bill (a child-like song you’d imagine coming from McCartney) and Revolution 9 (more a soundscape than a traditional song). There were efforts from George Harrison – including the Eric Clapton-featuring While My Guitar Gently Weeps – but it was the lead songwriters opening their minds to the limit and coming up with some of the best material of their careers. They were no longer writing the three-minute Pop song for radio and worried about performing these songs for enthralled audiences (the band stopped touring before Sgt. Pepper’s Lonely Hearts Club Band as they could not hear themselves sing anymore).

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 IMAGE CREDIT: Getty Images

You notice stunning drum fills or great effects; lyrics that jump out of nowhere and songs that burrow their way onto the brain. Denying the world of all the songs would be a crime and you’d miss out on so many gems. Giles Martin’s care and dedication means not only do we get to hear the originals fresher and in a modern context but there is more content around the songs: those discussions and outtakes show how numbers came to be and the process of experimentation. I urge people to buy the anniversary releases and get involved with every note and scrap that you can find. Not only was The Beatles the sound of a band, once more, changing the game but it was a record that few have managed to match. Bands such as The Clash and The 1975 have taken various elements from The Beatles and used them in their own work but I cannot think of another band who has managed to make such a scattershot and diverse record. Many might say one cannot release a double-album in the streaming age. Not only would people cherry-pick songs and discard the majority of the album; critics would roll their eyes and suggest it be narrowed to a single L.P. Taking risks is a way of moving music forward and we would not be as attached to The Beatles’ eponymous album were it not for the number of songs and how much ground is covered.

Consider how many different genres there are included and that provides a tantalising prospect for a new band! Maybe a solo artist could attempt it but, for those out there who are looking to push boundaries and blow the game open; why not look at The Beatles and take the lead from this incredible work of art?! I feel there are so many lessons and secrets to be discovered that you could make a modern-day equivalent. Maybe the recording process would be different in terms of the personnel but I don’t think you need to go ultra-modern and use high-tech stuff. Using 4 and 8-track recorders to give it that vintage sound – and keeps you focused and provides a challenge – and not limiting yourself in terms of subject matter (The Beatles covered everything from birthdays to loneliness through to civil rights and the rich elite on their self-titled album) is a good idea. Maybe not every song will hit the mark but it will allow you to indulge, not be limited by convention and routine and could lead to something spectacular. I know a lot of bands who were playing around the time of The Beatles’ release and taking heed from it. This fascinating study of The Beatles talks about the way the ‘fashion’ of the record has lived on:

“They fashioned their look in a similarly simple style. The gaudy showbiz flash of the Pepper era joined the Epstein-dictated sartorial conservatism of their touring years on the cultural scrap heap. In their black waistcoats, white shirts, black hats, snake-hipped, low-slung, tapered and tailored flares, they looked more like a gang than like a marching band. Cuban-heeled, ankle-hugging Chelsea boots, mix-and-match moustaches and meticulously mussed hair suggested the brooding frontier cool of the American West, riverboat gamblers with issues. It was an enduring stylistic template for the likes of the Black Crowes, The Raconteurs and the Temperance Movement. The ’68 Beatles – a one-stop shop for 21st-century stylists – were rock-band-cool incarnate”.

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IN THIS PHOTO: The Super Deluxe Anniversary Edition of The Beatles/PHOTO CREDIT: Apple Records/Getty Images  

I think too many artists balk at the idea of doing a double-album and feel it will be panned. The fact that The Beatles loved their eponymous album means the experience was great and shows they were united in a common goal. They broke ground and created this breath of fresh air back in 1968. There have been a few half-arsed attempts to go some way to redefining the album but nobody has managed to go far enough to get the tongue wagging. It is 2018 and we have more sounds and genres available at the fingertips than fifty years ago. Modern artists can listen to the giddiness of Ob-La-Di, Ob-La-Da and the roar of Helter Skelter and marvel. They can vacillate over Good Night and Glass Onion and, rather than admire those songs; try making their own versions and following in the footsteps of The Beatles. It is a hard ask but the time is right and I feel a modern challenge would be well-met and admired. So, then...why buy the anniversary edition(s) of The Beatles?! You could stick with the original and have all the songs there – one gets so much more with tomorrow’s release:

“The BEATLES (‘White Album’) releases include:

Super Deluxe: The comprehensive, individually numbered 7-disc and digital audio collections feature:

CDs 1 & 2: The BEATLES (‘White Album’) 2018 stereo album mix

CD3: Esher Demos

- Esher Demo tracks 1 through 19 sequenced in order of the finished song’s placement on ‘The White Album.’ Tracks 20-27 were not included on the album.

CDs 4, 5 & 6: Sessions

- 50 additional recordings, most previously unreleased, from ‘White Album’ studio sessions; all newly mixed from the four-track and eight-track session tapes, sequenced in order of their recording start dates.

Blu-ray:

- 2018 album mix in high resolution PCM stereo

- 2018 DTS-HD Master Audio 5.1 album mix

- 2018 Dolby True HD 5.1 album mix

- 2018 direct transfer of the album’s original mono mix

Deluxe: The BEATLES (‘White Album’) 2018 stereo album mix + Esher Demos

The 3CD; 180-gram 4LP vinyl box set (limited edition); and digital audio collections pair the 2018 stereo album mix with the 27 Esher Demos.

Standard 2LP Vinyl: The BEATLES (‘White Album’) 2018 stereo mix

180-gram 2LP vinyl in gatefold sleeve with faithfully replicated original artwork

 

The minimalist artwork for ‘The White Album’ was created by artist Richard Hamilton, one of Britain’s leading figures in the creation and rise of pop art. The top-loading gatefold sleeve’s stark white exterior had ‘The BEATLES’ embossed on the front and printed on the spine with the album’s catalogue number. Early copies of ‘The White Album’ were also individually numbered on the front, which has also been done for the new edition’s Super Deluxe package.

The set’s six CDs and Blu-ray disc are housed in a slipsleeved 164-page hardbound book, with pull-out reproductions of the original album’s four glossy color portrait photographs of John, Paul, George, and Ringo, as well as the album’s large fold-out poster with a photo collage on one side and lyrics on the other. The beautiful book is illustrated with rare photographs, reproductions of handwritten and notated lyrics, previously unpublished photos of recording sheets and tape boxes, and reproduced original ‘White Album’ print ads.

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IN THIS PHOTO: The three-C.D. Anniversary Edition of The Beatles/PHOTO CREDIT: Apple Records/Getty Images 

The book’s comprehensive written pieces include new introductions by Paul McCartney and Giles Martin, and in-depth chapters covering track-by-track details and session notes reflecting The Beatles’ year between the release of ‘Sgt. Pepper’ and recording sessions for ‘The White Album,’ the band’s July 28 1968 “Mad Day Out” photo shoot in locations around London, the album artwork, the lead-up and execution of the album’s blockbuster release, and its far-ranging influence, written by Beatles historian, author and radio producer Kevin Howlett; journalist and author John Harris; and Tate Britain’s Senior Curator of Modern and Contemporary Art Andrew Wilson. The Deluxe 3CD is presented in an embossed digipak with the fold-out poster and portrait photos, plus a 24-page booklet abridged from the Super Deluxe book. Presented in a lift-top box with a four-page booklet, the limited edition Deluxe 4LP vinyl set presents the 2LP album in a faithful, embossed reproduction of its original gatefold sleeve with the fold-out poster and portrait photos, paired with the 2LP Esher Demos in an embossed gatefold sleeve”.

Say what you want about albums that followed The Beatles but nobody cannot deny, in 1968, the world’s best band were onto something and throwing away the rules! It remains this fascinating and multifarious treasure chest from four men who wants to create something historic. They did that and did so much more. We might pick odd tracks from The Beatles to ignore but I think each song is a part of the tapestry and essential. Through time, musicians and fans alike have given their views and expressed their love. I think now, as we marvel fifty years on; it is a great time for a modern act to look at The Beatles and...

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IN THIS PHOTO: Paul McCartney during the recording of The Beatles in 1968/PHOTO CREDIT: Getty Images 

CHALLENGE themselves to match it!

INTERVIEW: Bizou

INTERVIEW:

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Bizou

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THE brilliant Bizou…

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have been telling me about their recent track, Superstition, and what its story is; how the band got together and whether we might see more material coming along next year – they each select an album that means a lot to them.

I ask if they have similar music tastes and whether there are any gigs coming up; how they chill away from music and which rising musicians we need to get behind – the band members each select a song to end the interview with.

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

Mina: We're good! We're in the studio listening to Nicole lay down some sexy bass riffs.

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

We're Nicki, Nicole; Mina, Erin and Josiah. We're a five-piece Post-Punk band based in L.A. We're ‘Bizou’.

Superstition is your new single. Is there a story behind it? 

One night; me and Josiah were digging through demos trying to find something we hadn't worked on yet and he pulled up a file called Black as My Soul. I had no idea what to do with it vocally for a long time - in fact - and it totally bombed the first time we tried to put vocals on it. I had to lock myself in my room for a couple days with it. The lyrics are about anxiety - the way it makes you paranoid and unreliable, especially to yourself. It all sort of spewed out of me suddenly, like a real panic attack. You know, light fun stuff! 

Do you think there will be an album later this year?

We have two E.P.s we're planning to release consecutively beginning early next year. Most likely one in the spring and one in the fall. 

How did Bizou meet? When did you get together? 

Erin, Nicki; Josiah and Nicole have all been friends, playing together in various projects for years. I met everyone through a mutual close friend of myself and Erin. After I left Wax Idols, I was eager to get back to work and hopefully avoid what I thought was likely to be a six-month long post-band spiral. We started jamming together on some demos Josiah had sent me and we have kept working together ever since.

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You all hail from different U.S. states. Do you all have different music taste as well?

I think we all agree on The Cure, Siouxsie; Joy Division, New Order and Wire. Outside of that, I think our tastes really range. Nicole and I love teeny-bop divas from the early-'80s, Erin loves Steely Dan; Nicki hates Duran Duran etc.. etc. I think there's a decent interplay between our shared likes and dislikes - to create some artistic frisson. 

Do you already have plans for 2019? 

Josiah: Two E.P.S chock-full of amazing sounds and songs to rock your bowels!!

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

Nicole: Playing drums in front of 10,000 people. I don't really play drums but I LOVE to play drums! I was convinced (very reluctantly) to play them for one song with the Pumpkins at one of our shows; it was an easy enough song but I was scared sh*tless! I had to sing background vocals too AND I was in high heel boots.

But, it was one of those moments I'll never forget because it was a ‘walking through fear and coming out the other end relatively unscathed’ kind of moment. You don't forget those! Also; my dad was a drummer so I felt him there with me in that moment and I know he was loving every second! 

Josiah: The one that sticks in the mind?  Similar to alcohol. There have been times when I get goosebumps playing music. That’s what I strive for when I create or play music. 

Erin: Two! One was when I played the Music Hall of Willamsburg and realized that two of my heroes (Kim Gordon and Thurston Moore) were in the audience and dug my drumming. The second is getting to go to Nashville and play with Bones from Midnight Oil in a band out there. It was just tons of fun and he's a badass bass player.

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Mina: I feel like Josiah a bit - it's not a specific memory that I love so much but rather a feelingthat I'm trying to get from playing music and to stay in that moment as long as possible. When it's going really right, you just feel free.

Nicki: The one that sticks in the mind? Josiah and I were in a band called Light FM and we opened a show for Jesus & Mary Chain. I needn’t say more!

Which one album means the most to each of you would you say (and why)?

Josiah: Tears for Fears - The Hurting; Grandaddy - The Sophtware Slump.

Erin: ELO - Out of the Blue. My folks introduced me to them when I was a little kid and I have a lot fond memories of travelling and listening to that record with them. 

Mina: Tori Amos - Boys for Pele. I can't even explain how formative that record is for me. It's like trying to describe something preverbal. That and Siamese Dream. 

Nicole: The Cure – Disintegration.

Nicki: Sonic Youth - Goo was one of my first albums and made a huge impression on me. Still does. 

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

If we could do a support tour with anybody, it would have to be Garbage. That with some coconut water and hummus and, honestly, we'd be set. 

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What advice would you give to new artists coming through? 

Mina: Play a lot. Take everything about it seriously except for yourself. 

Josiah: Don't be a dickhead!

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

We’re excited to finish all the tracking for our two forthcoming E.P.s by end of year. That and play a ton of shows; hopefully in a hometown near you.

Do you have tour dates coming up? Where can we catch you play?

No upcoming tours planned - hopefully in the spring 2019! 

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IN THIS PHOTO: DRÆMINGS

Are there any new artists you recommend we check out? 

Josiah: DRÆMINGS, Livermore; MAWD, Shunkan; Nightmare Air and Sprain!

Erin: Erika Wennerstrom, Tempers and Lawrence Rothman.

Mina: This new Moonface record is fuc*ing me UP. 

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IN THIS PHOTO: MAWD/PHOTO CREDIT: Ben Thomas

Do you get much time to chill away from music?

Josiah: I don’t get a second away from music. I record bands for a living. When I’m not working on music, I’m zen-ing the fu*k out on a yoga mat. 

Nicki: I’m usually either working my day job or playing music and, in between, I try to find time for hiking or other outdoor adventures. 

Nicole: Outside of music, I like to chill with my animals, do yoga; hike and sit in my hot tub with a glass of rosé. 

Erin: Most of my time outside is spent loving on my Fur Babies; cooking and spending time in nature. 

Mina: I second Nicole on the bath wine! Music is my main outlet. Just listening to it really. Apart from that, I like to read and write a lot. 

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

Nicki: It's Obvious - Au Pairs

Nicole: Prison Girls - Neko Case

Josiah: Our Girl - Our Girl

Erin: Wolves Still Cry - Lawrence Rothman 

Mina: Dreamsong – Moonface

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INTERVIEW: Sorsari

INTERVIEW:

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Sorsari

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THANKS to Sorsari for telling me about…

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his single, Monster, and the E.P., Patterns. I ask about the inspirations behind the E.P. and what sort of music he is inspired by; the albums that are important to him and where he is heading as we look forward to 2019.

I ask whether there will be gigs coming up and which rising artists we need to get behind; if he gets time to chill away from music and which artist he’d support if he could choose anyone – Sorsari picks a great song to end the interview with.

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

My week has been really good so far!

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

My name is Alex Jensen and I'm a twenty-eight-year-old from Edmonton, AB (in Canada). I've been making music under Sorsari since 2015 but I've been picking away at computer music for about ten years now.

Monster is your new single. Is there a tale behind it at all?

Nothing in particular. I was playing around with this Rihanna vocal and I managed to get some cool chops out of it and, when I heard the 'monster' vocal; I knew I could turn it into a higher energy type of track.

Your E.P., Patterns, is out. Are there particular themes and ideas that inspired it?

I wouldn't say there are any particular themes; I felt that 'Patterns' was an appropriate name since I was stuck in this pattern of producing that involved my transition to making music at 140 B.P.M. from 120 so I kind of just slapped the name on it as the E.P.

Is it true you recorded to 8-track? What was the reason for that?

No? Not sure where that came from.

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Do you have particular music idols or artists you grew up around?

I would say my friends inspired me the most as artists since I grew up with a lot of different musicians and a lot of producers within my city. I always surrounded myself with creative people because I felt like I had a community of people who shared the same passion and desires to do something more than ourselves. Jake Robertz is one of my best friends as well as my biggest rival in the friendliest way. He always keeps my head straight with music.

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

I just hope I keep the flame alive and continue to grow and evolve with my music. I don't have any particular deadlines or timelines for when I want to achieve certain things with music but I want to keep the ball rolling and continue to break my own boundaries.

Do you already have plans for 2019?

I've recently been picking up some analog gear so I'm probably going to be making more music with more hardware involved into the tracks. I want to make an E.P. or an album or something with the new toys but, ultimately, I would like to make an album for Terrorhythm.

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

My favourite memory would be playing at Borealis Music Festival back in September. It was a brand-new festival that my friends put together - and it was nothing but fire from our local scene in Alberta playing all types of Dance music. I felt like I was at home when I was performing there and I was surrounded by nothing but love and the best people I've ever met.

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

Kuedo - Severant

Burial – Untrue

Om Unit - Self

I think these three albums mean the most to me because they make me feel like I'm spiritually elevating and they're also the most interesting to me in terms of how they're composed.  

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

I would want to be direct support for Plastician. As for my rider; enough Clamato juice and hot sauces for Caesars all night.

What advice would you give to new artists coming through?

Be open in taking your time with learning how to use your DAW; how to synthesize your own sounds and how to create your own sound within your genre. Learn how to take criticism and realize that everybody has their own paces. I know a lot of people (including myself) who get frustrated at being slow but there's nothing wrong with that. As long as you're involving yourself with your art and spending any amount of time on it, you're constantly moving in the right direction. 

Do you have tour dates coming up? Where can we catch you play?

Nothing at the moment. I might plan on doing something within the western parts of Canada in 2019 but I really just want to focus on making more music since I feel like I have to improve much more before I do anything serious in terms of playing out. I'm honestly bored of a lot of my music. Haha.

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 IN THIS PHOTO: MRKRYL

Are there any new artists you recommend we check out?

MRKRYL, Jake Robertz; Giant ibis, Yedgar and Zeal.

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 IN THIS PHOTO: Yedgar

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

A lot of time. I work full-time but I still have room for whatever. I usually just game if I'm not making music.

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

Jake Robertz - Forest Spirit

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Follow Sorsari

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INTERVIEW: Humans

INTERVIEW:

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Humans

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MY first piece of the day is a chat with Humans…

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who have been telling me about their latest track, Still About You, and what its story is. I ask what is coming next and what sort of music they are inspired by; what plans are ahead in terms of gigs and whether there is a favourite music memory.

I ask whether there are any rising artists to look out for and what advice upcoming musicians should take to heart; how the music of Humans has evolved since the start and whether there are any things to get done before the end of this year.

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

Busy. We both work like ten jobs so we’re pretty much slammed all the time. It’s great because we’re also both nihilists and it's making our lives go by really quickly!

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

We met at Ayden Gallery for Peter’s art show in 2008. I was a folky bicycling, missing-toothed poet and ol’ Petey was a Montreal-transplanted visual artist and aspiring Electronic performer. We joined forces and made some very rough around the edges but well-intentioned music that has subsequently been known as ‘dashumans’.

Still About You is your new track. What is the story behind it?

We wrote it in a shimmer of Los Angeles autumn. We partied so, so hard every night and worked all day everyday with our friend and colleague Carlos de la Garza. We also met a young chap named Ryan Daley who helped us out with everything plucked and plonked (A.K.A., he’s a really solid musician). We banged it out, writing about feeling like sh*t on airplanes, feeling lost and emotional while on tour; losing my girlfriend at the time and just pouring it all out on the page.

Might we see more material coming next year do you reckon?

Duh.

How did Humans get together and find one another?

I think I covered that already pretty thoroughly…

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In terms of music; what did you both grow up around and idolise when young?

Robbie really liked Michael Jackson, The Beatles; Annie Lennox, The Police; Sting and Talking Heads. Peter liked some weird French music where they wear huge pants and Weird Al Yankovic. When Nirvana’s Smells Like Teen Spirit L.P. came out, Weird Al had the same single and an album with the same cover so I thought ‘Wow! The same whole album but all with dumb jokes; count me in!’ It didn’t turn out like that but I became a fan either way. I loved The Beach Boys, Genesis; Peter Gabriel, Phil Collins; M.J., Georges Brassen; you know, the usual kid sh*t.

How do you think you have developed and evolved since the start of your career?

We’ve really melded our styles together into this smooth concoction of the things we really like about each other.

Given your name; which song with the name ‘human’ in it would you select as the very best?

The score to/title track of The Human Centipede. 

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

Robbie: I’m building a Donald Judd bed-frame but having doubts about my ability to move it out of my shop and into my apartment. So, that is a huge concern and something I really want to figure out A.S.A.P.

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

I really liked playing Coachella. I felt like a really special person that day. It made me really happy.

Which one album means the most to you would you say (and why)?

Nirvana Smells like Teen Spirit. I eventually bought it and it really inspired me: it was the first time I saw a band that looked and sounded normal to me; not pre-fabricated like everything I had seen till then.

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

Zeustate; she's rad. 

My rider has Kombucha, cigarettes; meal tickets; booze for our friends.

Can we see you on the road this year at all?

Not 2018…well maybe but I don't know. Not an answer, I know. 2019 for sure.

What advice would you give to new artists coming through?

Do your own shows, book your own parties and the rest will come.

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IN THIS PHOTO: Art d’Ecco/PHOTO CREDIT: @dailycitytrain

Are there any new artists you recommend we check out?

Art d'Ecco is a Vancouver band that caught me by surprise. You know when your friends tell you to check out their band and you do and you're like “OK, cool". This one I was like "Oh, sh*t". 

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

Yeah; too much time but it's healthy because once you get back into it you feel fresh and inspired.

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

Mam Yinne Wa - Alogte Oho & His Sounds of Joy

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Follow Humans

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FEATURE: A Woman in a Beret, a Smoke-Filled Café and a Magical Moment in Woodstock: Joni Mitchell at Seventy-Five: An Icon Who Can Paint Lyrical Images Like No Other

FEATURE:

 

 

A Woman in a Beret, a Smoke-Filled Café and a Magical Moment in Woodstock

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IN THIS IMAGE: Joni Mitchell/IMAGE CREDIT: Georgia O’Keefe/Getty Images

Joni Mitchell at Seventy-Five: An Icon Who Can Paint Lyrical Images Like No Other

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I hate to open a feature talking about mortality…

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IN THIS PHOTO: Joni Mitchell in Amsterdam in 1972/PHOTO CREDIT: Getty Images

but we are seeing icons pass and it is sad to realise we will never see the like of them again. Stunning songwriters like Leonard Cohen have gone and David Bowie, that ever-intriguing master, is no longer with us. I guess you can never predict when a big musician will leave the world but it is always poignant reflecting on what they provided and the fact we will not get to hear anything from them. Fortunately, in the case of Joni Mitchell, she is still with us and, let’s hope, not far from making some more music. She has not had the best of luck with her health. In 2009, she came out and stated she was suffering from Morgellons syndrome. It is a self-diagnosed skin condition that many believe is a delusional infestation. Mitchell said this thing was incurable and bugging her but that her health in general was as good as ever. In 2015, tragically, we almost lost her after she suffered a brain aneurysm. Mitchell was found unconscious in her L.A. home and regained consciousness whilst in transit to the hospital. There have not been a lot of updates since then but there were reports circulating she was in a coma. As of today, she is not but her health is far from perfect. It makes the idea of a new studio album unlike but not impossible.

Her last album, 2007’s Shine, was her first new work since 1998 and was a great relief to see. Many felt we would not see new material from Joni Mitchell and Shine, whilst simplistic in places, did have a sparseness and sound that harked back to her earliest work. It seems like we might be ambitious to demand new work but I am glad Mitchell is still with us and, gloomy as that sounds, she is an icon that has given the music world endless pleasure, brilliance and genius. Even when her work is a bit more basic – her later work does not match the scope and sharpness of her classic albums – I feel there is still so much to recommend. I have been listening to a lot of songs on Ladies of the Canyon (1970) and you get these sweeping stories and detailed studies. Characters, whether desolate or blissed-out, are set against vivid and tangible landscapes; painted and performed beautifully by Mitchell.  That album contains poignant and desolate character studies like The Arrangement and takes inside apartments, mindsets and moods. Mitchell, even on early albums such as Ladies of the Canyon, was able to deliver with such a sense of command and gravitas that you jumped into the songs. From the down-on-their-luck and overlooked figure of her darker songs; there was the optimism of Woodstock and a generation trying to “get back to the garden” – a sense of hope and community in a rather testing situation.

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 IMAGE CREDIT: Getty Images

Whilst one might interpret Woodstock as hopeful there are, in fact, quite hard and strained messages that linger in the mind. Her 1970 work marked a bolder move and break from the slightly simpler stuff she was putting out at the start. Whilst not as accomplished and resonant as the material she would put out only a year later; you can sense this incredible mind starting to blossom and open up. Even a peppy and uplifting song like Big Yellow Taxi is an ecological study where parking lots are paving everything and it seems the natural world is disappearing. It is unsurprising an artist growing up around political tensions and wars would reflect these themes through music but it the consciousness and connection with what is around her that strikes me. I often associate modern songwriting with an insularity and a sense of looking down – artists not always opening their minds to concerns of the world and detailing characters. Although a lot of autobiography would come through soon; some of Mitchell’s best work arrives when she details lovers in cafés and elicit bonds in hotels; smoke-filled rooms and sweethearts passing by; a generation coming together or this strange figure moving and weaving through song. So many modern songwriters bring basic language to personal songs and they can be rather cloying. There are exceptions but few can write anywhere near as strikingly as Mitchell. Consider an album like Blue (1971) and the narrative shifts from widescreen third-person to a more confined and personal line.

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 IN THIS PHOTO: Joni Mitchell with James Taylor at her Lookout Mountain cottage, 1971/PHOTO CREDIT: Joel Berstein

Although there are characters and one might think fictional figures are being spoke about; Blue is an intrinsically personal record that showed, even in her twenties, the songwriter could write in a hugely impressive and mature fashion. Mitchell once said her writing and self was as exposed as a wrapping on a packet of cigarettes. She was not hiding anything and her bones, scars and tears were there for the world to hear. Whilst there have been some genius break-up record – Blood on the Tracks by Bob Dylan is considered one of the best – there are few that are as arresting and enduring as Blue. Not only would that album signal a (brief) move from something character-based to personal but it was a huge creative leap. Backed by exceptional musicians and the piano (which came into her music in a more defining and prominent way); Mitchell has arrived as a songwriter – this was her taking a huge leap and, to many, she never made a bigger move. We have a lot of modern songwriters who are confessional and open but you never get that same sense of poetry and literary. Even when she discusses a break-up or loneliness; it is done so in such a moving and intelligent manner that one is hooked and invested.

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 IN THIS PHOTO: Joni Mitchell at her Laurel Canyon home (date unknown; around 1968-1970)/PHOTO CREDIT: Henry Diltz/CORBIS

You can hear the spirit of Joni Mitchell in Laura Marling: a songwriter who has the same affinity for language and able to write in a broad and stunning way. Blue is seen as Mitchell’s finest record and you cannot argue against that. Whilst the mood is largely sombre and emotive; there are stunning line and wonderful poetry. Blue’s eponymous track states “Songs are like tattoos” and the immortal “Acid, booze and ass/Needles, guns and grass/Lots of laughs” is (a thought) that provokes the imagination and makes you smile. Songs on Blue documented this passionate and liberation woman who was travelling this road and, at the same time, was scared and excite. She could take a line like “I am on a lonely road, and I am traveling, traveling, traveling, traveling” and make it sound thrilling yet heartbreaking. She was part of the 1970s culture and this liberated, impassioned woman who was drinking in everything around her and wanted her voice to be heard. There was a lot of personal perspective but Mitchell was always inspired by people and scene around and bringing those into music. It is that personal angle that gives the songs more weight and conviction. Not willing to disguise hardship and fraught feelings; this was someone who wanted the listener to be involved and understand her mind.

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 IMAGE CREDIT: Getty Images

Even when she was talking about the ups and downs of rootlessness and uncertainty; it seemed like she was speaking to the world and could understand those listening. Listen to songs like River (Blue) and how she wishes she had a river (“I could skate away on”). Maybe the Christmas song is a regret at the lack of snow and winteriness around her; maybe it is that need for escape or a chance to embrace something precious – in a single line, she could convey such intrigue and wonder. The Circle Game (Ladies of the Canyon’s closing track) talks of seasons go around and a carousel of time; not being able to return – only look behind – and go around and around. The use of this charming and traditional setting is a perfect way of talking about life and how it is a circle. In other tracks, Mitchell could document like no other the torment of staying alone and pining for love or embracing it and fear being rejected – Help Me (Court and Spark) perfectly expresses that decision and the unpredictable nature of love. Even when the subject matter was a little more straightforward and common (such as passion and trust) she has a way of writing in a fresh and unique manner. Her vocal prowess and the way she could elongate, twist and emphasise helped bring the layers and magic from the songs.

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  IMAGE CREDIT: Getty Images

The more Mitchell steps into Jazz territory – albums such as Court and Spark (1974) were more progressive and experimental than Blue and earlier work – the more vivid and fascinating her visions became. There are people who say her more focused and personal work yielded the most profound lyrics whilst some prefer the songwriter when she was letting her mind wander and taking a different road. Look back to an early album like Clouds (1969) and Chelsea Morning poses the following: “Oh won’t you stay/We’ll put on the day, And we’ll talk in present tenses”. There is then a quirky line about rainbows running away and Mitchell bringing her suitor “incense owls by night”. You can feel that clash of the romantic and alluring with the odd and charming. We have modern-day writers like Laura Marling who can write in a similarly grand and accomplished way but nothing (she has produced) can match the greatness of Joni Mitchell. This fascinating article from Sean O’Hagan in 2013 where he was writing in The Guardian talked about Mitchell’s lyrics and how her creative mind was like no other. The seeds of brilliance were planted early on:

“For a long time, I’ve been playing in straight rhythms,” Mitchell told her friend, Malka Marom, in 1973, in the first of the three extended interviews that are included in Both Sides Now, a new book published next month. “But now, in order to sophisticate my music to my own taste, I push it into odd places that feel a little unusual to me, so that I feel I’m stretching out”…

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IN THIS IMAGE: A self-portrait of Joni Mitchell/IMAGE CREDIT: Joni Mitchell/Getty Images 

“Sophistication – melodic, lyrical, compositional – is an undervalued currency in popular music, though it illuminates the finest songs written by artists as diverse as Lennon and McCartney, Randy Newman, Ray Davies, Brian Wilson, Marvin Gaye and Curtis Mayfield as well as the songwriters for hire of an earlier era – Cole Porter, Rodgers and Hart, George Gershwin. It also defines the best songs that Joni Mitchell wrote at her creative peak, which, for me, stretched from the release of Blue (1971), through For the Roses (1972), Court and Spark (1974) and The Hissing of Summer Lawns (1975), to the pared and broodingly atmospheric Hejira (1976)”.

The music arrangements and their sophistication are often overlooked by some. Many focus on the voice and how divisive it can be. Some find her tones and way of singing grating or unappetising: for those with a more refined and educated palette; nobody could sing her songs as powerful and purely. Much more accessible and rounded a voice than Bob Dylan; Mitchell was able to absorb and inspire listeners with her incredible words and striking voice. Her compositions became more layered, deep and ambitious. In interviews; Mitchell professed her love for some of Bob Dylan’s songs but did not think he was all that when it came to compositions and the music. Maybe Dylan was a bit more straight and linear but Mitchell, one cannot deny, could take her music into new realms and project so much emotion, colour and story.

“The sophistication of her songwriting and, in particular, her musical arrangements is the essential element that sets Joni Mitchell apart from her contemporaries and her peers, whether the troubadours of the early 70s Laurel Canyon singer-songwriter scene or lyrical heavyweights such as Leonard Cohen, Neil Young and even Bob Dylan. And yet in the music industry, Mitchell has never really been afforded the kind of respect heaped on her male counterparts. Rolling Stone magazine once listed her at No 62 in its 100 greatest artists of all time, just below Metallica. She was belatedly inducted into the Rock and Roll Hall of Fame in 1997, but did not attend the ceremony. At 70, she remains a defiant outsider and recluse, who has often expressed her disgust at the music business. And who can blame her?”

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  IN THIS PHOTO: Joni Mitchell captured in 2015/PHOTO CREDIT: Norman Jean Roy for The Cut 

Although she was not a fan of Dylan’s compositions all of the time; the respect she held for the masterful songwriter was clear:

“There wasn’t much room for poetic description in those older melodic songs,” she noted in a 2003 Canadian documentary, Woman of Heart and Mind. “That’s why I liked the more storytelling quality of Dylan’s work and the idea of the personal narrative. He would speak as if to one person in a song… That was the key that opened all the doors”.

I love how Mitchell, like every icon, was able to switch between albums and did not rest on her laurels. She could have, after Blue, stayed on that course and written in that manner for years. The reviews might have been good but, as Mitchell would have said, that would not be emotionally sustainable! The fragility she felt around the time gave the songs their beauty and truth but they were taking a lot from the creator. Joni Mitchell released six albums between 1968’s Song to a Seagull and 1974’s Court and Spark – 1973 was the only year she did not release a record – and you can feel an evolution and change between the albums. Whilst her musical palette was widening and the artist was maturity; it is the growth and intensity coming through that seemed to define her lyrics by the time of Court and Spark – as O’Hagan documented in his article:

“Despite all these scattered clues, though, Court and Spark came as a surprise. Gone was the fragile, confessional songstress in a flowing dress; instead, here was a confident, full-throated singer in designer threads with a slick electric band in tow. Gone, too, were the acoustic songs sung with just a guitar, piano or dulcimer backing, replaced by an electric, jazz-inflected, intricately arranged sound, courtesy of Tom Scott’s LA Express, that weaved around lyrics that were acutely observational or dazzlingly impressionistic, rather than soul-baringly confessional. When her friend, Malka Marom, author of Both Sides Now, asked her if the band’s presence meant that she might risk the vulnerable singer-songwriter image she had cultivated, Mitchell replied defiantly: “Well, I don’t want to be vulnerable any more.”

Not for the first or last time, Joni Mitchell had moved on and, in doing so, had remade herself in the manner of a true artist”.

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IMAGE CREDIT: Getty Images 

Through every year and revelation; the songwriting got bolder and was always curious as to what was around her. Although 1975’s The Hissing of Summer Lawns got a bit of a press kicking; it has inspired many modern-day songwriters:

“Among those who did get The Hissing of Summer Lawns, though, were Morrissey – who called it “the first album that completely captivated me” – and Prince. “Hissing got thrashed,” a defiant but still bruised Mitchell recalls in Both Sides Now. “But meanwhile out there was Prince. That was his first Joni record, and it was his Joni record of all time. So, though it got thrashed by the press, the young artists coming up could see there was something going on there.”

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IN THIS PHOTO: Joni Mitchell photoed in 1976/PHOTO CREDIT: Norman Seeff

What was going on was another refinement of style, another burnishing of lyrical and musical sophistication. Both the title track and Edith and the Kingpin dissect the compromises made by women bound by marriage to powerful men. The former has poetry aplenty, her observational skill honed to near perfection as she elaborates the consequences of a hollowed-out life behind the high walls of a mansion in the Hollywood hills: “He gave her his darkness to regret, and good reason to quit him/ He gave her a roomful of Chippendale that nobody sits in”.

In honour of Joni Mitchell’s seventy-five years on the planet; I have ended this piece with a seventy-five-song playlist that, I feel, explores every aspect and sinew of her lyrical body. Whilst her compositions and vocals were (are) magical and like nothing else; how she could present these stories and create such powerful words has inspired me. It is hard to think of a songwriter since Joni Mitchell who has been able to write in the same way and has that distinct pen. That is why, as I was saying, it is hard to lose these icons of music. We hope there are many more years left in Mitchell and she returns to full health very soon. Who knows; even though she is comfortable into her seventy and her glory days are behind; maybe we will all be able to look forward to the day Joni Mitchell…

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 IN THIS PHOTO: Joni Mitchell captured in 2015/PHOTO CREDIT: Norman Jean Roy for The Cut 

RETURNS to the studio!

FEATURE: Little Green, Blue and a Big Yellow Taxi: Joni Mitchell at Seventy-Five: Her Eight Most Essential Albums

FEATURE:

 

 

Little Green, Blue and a Big Yellow Taxi

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IN THIS PHOTO: Joni Mitchell/PHOTO CREDIT: Getty Images 

Joni Mitchell at Seventy-Five: Her Eight Most Essential Albums

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I might have another Joni Mitchell piece in me…

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 IN THIS PHOTO: Joni Mitchell in April 1983/PHOTO CREDIT: Laurie Lewis

but I wanted to say, first, a happy seventy-fifth birthday to her – so let’s get the ball rolling by collating together her eight finest albums! That might seem like an arbitrary number but I feel there is tough competition regarding her back catalogue and many people often assume her with the one album, Blue. Mitchell has suffered ill health in the past – which I might investigate in a later piece – but I know the Queen of Folk and music icon is loved by millions and everyone hopes she will be able to recover and record another album.

As we mark the special birthday of one of music’s finest poets and figures; I have brought together seven albums that display Mitchell’s exceptional talents and show why she is one of music’s true treasures. For each, I have brought together a little background; a critical review and highlighted the standout track – and put the full album available via Spotify. Have a look at the rundown and assembly and get involved with some magnificent Joni Mitchell gold! As we all raise a glass to the legendary songwriter; here are some wonderful albums that are a perfect introduction…

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 PHOTO CREDIT: Getty Images

TO a true and peerless icon.

ALL ALBUM COVERS: Getty Images

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Number-One: Blue (1971)

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Release Date: 22nd June, 1971

Label: Reprise

Producer: Joni Mitchell

Background:

“Despite the success of her first three albums and songs like "Woodstock", January 1970 saw Mitchell make a decision to break from performing. In early spring 1970, she set off on a vacation around Europe.[12] While on the island of Formentera, she wrote some of the songs that appear on Blue.[13] This journey was the backdrop for the songs "Carey" and "California".[14] Some of the songs on Bluewere inspired by Mitchell's 1968-1970 relationship with Graham Nash.[14] Their relationship was already troubled when she left for Europe, and it was while she was on Formentera that she sent Nash the telegram that let him know that their relationship was over.[14]The songs "My Old Man"[14] and "River"[15] are thought to be inspired by their relationship” – Wikipedia

Review:

“1971's Blue is possibly the most gutting break-up album ever made. After Mitchell's relationship with Nash dissolved, she headed to Europe to lose the tether of her fame, eventually taking exile in a cave on the Greek island Crete. The trip would inspire the how-Joni-got-her-groove-back ditties "Carey" and "California". The album is suffused with melancholy for all that is missing: her daughter ("Little Green"), innocence ("The Last Time I Saw Richard"), and connection ("All I Want"). Mitchell bleeds diffidence and highlights it with spare notes plucked out on her Appalachian dulcimer. While her pals Neil Young, Leonard Cohen, and Laura Nyro were also pushing the singer-songwriter genre forward, none of them managed to stride the distance that Mitchell did here in a single album” – Pitchfork

Standout Track: Blue

Number-Two: Ladies of the Canyon (1970)

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Release Date: March 1970

Label: Reprise

Producer: Joni Mitchell

Background:

“The album is notable for its expansion of Mitchell's artistic vision and its varied song topics (ranging from the aesthetic weight of celebrity, to observation of the Woodstock generation, to the complexities of love). Ladies of the Canyon is often viewed as a transition between Mitchell's folky earlier work and the more sophisticated, poignant albums that were to follow. In particular, "For Free" foreshadows the lyrical leitmotif of the isolation triggered by success that would be elaborated upon in For the Roses and Court and Spark. The sparse, alternate-tuning laden sound of later records comes to the forefront on "Ladies of the Canyon" (one of those "ladies" supposedly being female underground comix pioneer Trina Robbins)[12]” – Wikipedia

Review:

“Songs here take many moods, ranging from the sunny, easygoing "Morning Morgantown" (a charming small-town portrait) to the nervously energetic "Conversation" (about a love triangle in the making) to the cryptically spooky "The Priest" (presenting the speaker's love for a Spartan man) to the sweetly sentimental classic "The Circle Game" (denoting the passage of time in touching terms) to the bouncy and vibrant single "Big Yellow Taxi" (with humorous lyrics on ecological matters) to the plummy, sumptuous title track (a celebration of creativity in all its manifestations). This album is yet another essential listen in Mitchell's recorded canon” – AllMusic

Standout Track: Woodstock

Number-Three: Court and Spark (1974)

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Release Date: 1 January, 1974

Label: Asylum

Producers: Joni Mitchell, Henry Lewy

Background:

“1973 was the first year since she began recording that Mitchell did not release a new album. Her previous offering, For the Roses, was released in November 1972 to critical and commercial success, and Mitchell decided to spend the whole of the next year writing and recording a new album that revealed her growing interest in new sounds—particularly jazz. During 1973, her stage appearances were fewer than in previous years. She performed in April in a benefit concert at the Sir George Williams University Auditorium and then appeared live again in August, twice at The Corral Club, accompanied by Neil Young.

Mitchell spent most of 1973 in the recording studio creating Court and Spark. Mitchell and producer/engineer Henry Lewy called in a number of top L.A. musicians to perform on the album including members of The Crusaders, Tom Scott's L.A. Express, cameos from Robbie Robertson, David Crosby & Graham Nash and even a twist of comedy from Cheech & Chong” – Wikipedia

Review:

“Lyrically, Mitchell is at her sharpest—and occasionally wittiest—on tracks such as the album’s jaunty first single “Raised On Robbery,” the light n’ jazzy “Free Man In Paris” (long said to be about record exec David Geffen) and the aforementioned “People’s Parties.” Whether she’s ruminating on love found and lost (capturing the quagmire of emotions with one simple line: “Laughing and crying/You know it’s the same release”) or the pitfalls of her newfound celebrity (she would continue to rally against “the star-making machinery behind the popular songs” throughout her career), Mitchell is, with Court and Spark, represented at the peak of her talents for crafting song-stories that are simultaneously inventive, intricate, and unfailingly melodic. And while many of today’s artists have exhibited shades of such talent, not many—of either gender—have been able to match such a dizzying height. Thus, also taking into consideration its mid-‘70s California dreaminess, Court and Spark is not only the best soundtrack to a Sunday morning ever made, it’s also an essential, timeless artifact of an era when pop could be both popular and personal, and would be rewarded critically and commercially for such qualities” – SLANT

Standout Track: Free Man in Paris

Number-Four: Clouds (1969)

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Release Date: 1 May, 1969

Label: Reprise

Producers: Joni Mitchell, Paul A. Rothchild

Background:

“After moving to New York City and signing to Reprise Records in 1967, Mitchell recorded her 1968 debut album Song to a Seagull with producer David Crosby. The album was a mostly acoustic set of songs, some of which were subsequently covered by more successful singers. Consequently, Mitchell received more outside exposure and began to earn a strong cult following.[1]

Mitchell recorded Clouds at A&M Studios in Hollywood and played acoustic guitar and keyboards; she was joined by Stephen Stills on guitar.[2] She produced all of the album's songs, except "Tin Angel", which was produced by Paul A. Rothchild.[3] She also painted the album's cover artwork—a self-portrait.[4]

Two songs, "Chelsea Morning" and "Both Sides, Now", had already been recorded by other singers by the time Mitchell started work on the album.[5] Mitchell wrote "Both Sides, Now" after reading Saul Bellow's 1959 novel Henderson the Rain King on a plane and drawing on a point in the novel where the protagonist is looking at clouds from a plane.[6] The coincidence inspired the song's lyric about looking at clouds from both sides as a metaphor for life's ambiguities and mysteries, as she explained in a 1967 interview, "I dreamed down at the clouds, and thought that when I was a kid I had dreamed up at them, and having dreamed at the clouds from both sides as no generation of men has done, one should be able to accept his death very easily."[6]” – Wikipedia

Review:                                                                   

“Clouds (1969) is the introduction to Mitchell's real deal, shaking folk tradition and giving off a little humor and spirit. The album sounds casual. Lyrically, she was transitioning from the era's de facto hippie sensualism (colors! the weather! vibes!) to the classically prosodic style (Keats! Cohen!) she'd become known for. The album's biggest signs of life are two of her most famous songs-- the kicky "Chelsea Morning", which is about as straightforward as Mitchell ever got, and "Both Sides Now". Though she'd known burden and heartache plenty by her still-tender age (she'd borne a child alone and in secret after dropping out of art school and married singer Chuck Mitchell in order to make a family; he changed his mind a month later and she put the baby up for adoption) she sounds a bit too young and chipper to be singing about disillusionment. Still, Clouds was a landmark, and she landed a Grammy for Best Folk Performance” – Pitchfork  

Standout Track: Both Sides Now

 

Number-Five: For the Roses (1972)

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Release Date: November 1972

Label: Asylum

Producer: Joni Mitchell

Background:

“It is perhaps best known for the hit single "You Turn Me On, I'm a Radio", which Mitchell wrote sarcastically out of a record company request for a radio-friendly song. The single was indeed a hit, reaching #25 on the Billboard Hot 100 charts, becoming Mitchell's first top 40 hit released under her own name (as a songwriter, several other performers had had hits with songs that she had written). "Cold Blue Steel and Sweet Fire" — a menacing and jazzy portrait of a heroin addict — and the Beethoven-inspired "Judgment of the Moon and Stars" were also popular.

Some of the songs were inspired by Mitchell's 1970-1971 relationship with James Taylor. Despite his difficulties, Mitchell evidently felt that she had found the person with whom she could pair-bond in Taylor. By March 1971, his fame exploded, causing friction. She was reportedly devastated when he broke off the relationship.[3] By November 1971, he had taken up with Carly Simon, whom he married a year later” – Wikipedia  

Review:                                                                   

“On For the Roses, Joni Mitchell began to explore jazz and other influences in earnest. As one might expect from a transitional album, there is a lot of stylistic ground explored, including straight folk selections using guitar ("For the Roses") and piano ("Banquet," "See You Sometime," "Lesson in Survival") overtly jazzy numbers ("Barangrill," "Cold Blue Steel and Sweet Fire," and hybrids that cross the two "Let the Wind Carry Me," "Electricity," "Woman of Heart and Mind," "Judgment of the Moon and Stars"). "Blonde in the Bleachers" grafts a rock & roll band coda onto a piano-based singer/songwriter main body. The hit single "You Turn Me on I'm a Radio" is an unusual essay into country-tinged pop, sporting a Dylanesque harmonica solo played by Graham Nash and lush backing vocals. Arrangements here build solidly upon the tentative expansion of scoring first seen in Ladies of the Canyon. "Judgment of the Moon and Stars" and "Let the Wind Carry Me" present lengthy instrumental interludes. The lyrics here are among Mitchell's best, continuing in the vein of gripping honesty and heartfelt depth exhibited on Blue. As always, there are selections about relationship problems, such as "Lesson in Survival," "See You Sometime," and perhaps the best of all her songs in this genre, "Woman of Heart and Mind." "Cold Blue Steel and Sweet Fire" presents a gritty inner-city survival scene, while "Barangrill" winsomely extols the uncomplicated virtues of a roadside truck stop. More than a bridge between great albums, this excellent disc is a top-notch listen in its own right” – AllMusic   

Standout Track: For the Roses

 

Number-Six: The Hissing of Summer Lawns (1975)

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Release Date: November 1975

Label: Asylum

Producer: Joni Mitchell

Background:

“The first track, "In France They Kiss on Main Street", is a jazz-rock song about coming of age in a small town in the 1950s rock & rollera. (The song was released as the single from the album and reached number 66 on the Billboard charts.) "The Jungle Line" uses a field recording from Africa of the Drummers of Burundi (called 'warrior drums' in the credits), onto which are dubbed guitar, Moogsynthesizer and the vocal line. The lyrics pay homage to the works of the French Post-Impressionist painter Henri Rousseau. Mitchell blends details of his works with imagery of modern city life, the music industry and the underground drug culture.

"Edith and the Kingpin" marks a return to jazz in a story of a gangster's new moll arriving in his home town. "Don't Interrupt the Sorrow" is an acoustic guitar–based song with stream-of-consciousness lyrics, focused on women standing up to male dominance and proclaiming their own existence as individuals. "Shades of Scarlett Conquering" is an orchestral-based piece about a modern southern belle basing her life and self-image on the stereotypes of the Scarlett O'Hara character from Gone with the Wind” – Wikipedia

Review:

“Joni Mitchell evolved from the smooth jazz-pop of Court and Spark to the radical Hissing of Summer Lawns, an adventurous work that remains among her most difficult records. After opening with the graceful "In France They Kiss on Main Street," the album veers sharply into "The Jungle Line," an odd, Moog-driven piece backed by the rhythms of the warrior drums of Burundi -- a move into multiculturalism that beat the likes of Paul Simon, Peter Gabriel, and Sting to the punch by a decade. While not as prescient, songs like "Edith and the Kingpin" and "Harry's House -- Centerpiece" are no less complex or idiosyncratic, employing minor-key melodies and richly detailed lyrics to arrive at a strange and beautiful fusion of jazz and shimmering avant pop” – AllMusic

Standout Track: In France They Kiss on Main Street

 

Number-Seven: Shine (2007)

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Release Date: 25th September, 2007

Labels: Hear Music, Universal

Producer: Joni Mitchell

Background:

“In 2002, Joni Mitchell famously left the music business. The public first learned that she had returned to writing and recording in October 2006, when she spoke to The Ottawa Citizen. In an interview with the newspaper, Mitchell "revealed she's recording her first collection of new songs in nearly a decade" but gave few other details.[13]

Four months later, in an interview with The New York Times, Mitchell said that the album was inspired by the war in Iraq and "something her grandson had said while listening to family fighting: 'Bad dreams are good—in the great plan.'"[14]

The Sunday Times wrote in February 2007 that the album has "a minimal feel, a sparseness that harks back to her early work," adding that "rest and some good healers" had restored much of the singer's vocal power.[15] Mitchell herself described Shine as "as serious a work as I've ever done."[15]

The album was launched at the Sunshine Theater on Houston Street, New York City, on September 25, 2007, with a film of the Alberta Ballet performing The Fiddle and the Drum, a ballet devised by choreographer Jean Grand-Maître in collaboration with Mitchell that had premiered in Calgary on February 8 that year. The ballet uses a selection of Mitchell's songs, including "If I Had a Heart" and "If" from Shine, along with images from her art installation Flag Dance, which are projected as a backdrop.[16] The album cover features a scene from The Fiddle and the Drum.

Shine is only the second Joni Mitchell album never to have been distributed by Warner Music Group, the first being Night Ride Home, which was released by Geffen Records after the company was sold to MCA” – Wikipedia

Review:

“War and ecological blight are the twin evils that preoccupy Shine. Mountains are levelled, 'babbling cellphone zombies' crowd the malls, earth has become 'a funeral pyre'. On 'Strong and Wrong' Joni names the guilty party: 'Men love war, that's what history is for, his story...'

Mitchell's despondence may be understandable, but for a mistress of the muse, this is desperately simplistic stuff, as if she's just noticed that the bombers didn't turn into butterflies. A new version of 1970's 'Big Yellow Taxi', wisely kept close to her original, reminds us she's been here before - and how much more deftly.

It isn't all doom. The opening track, 'One Week Last Summer', is a joyous instrumental for a perfect North Pacific day. 'Night of the Iguana' distils Tennessee Williams's acclaimed play, and 'If' improbably recycles Rudyard Kipling's homage to the stiff upper lip.

Best is the title track, a roll call of compassion that embraces the darkness of 'Frankenstein technologies' and the hope of 'a safe place for kids to play/ bombs exploding half a mile away'. Both sombre and defiant, it's Mitchell at her finest” – The Observer

Standout Track: Night of the Iguana

Number-Eight: Hejira (1976)

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Release Date: November 1976

Label: Asylum

Producer: Joni Mitchell

Background:

“According to Mitchell, the album was written during or after three journeys she took in late 1975 and the first half of 1976. The first was a stint as a member of Bob Dylan's Rolling Thunder Revue in late 1975. During this time period, she became a frequent cocaine user, and it would take several years for her to kick the addiction.

In February 1976, Mitchell was scheduled to play about six weeks of concert dates across the US promoting The Hissing of Summer Lawns. However, the relationship between Mitchell and her boyfriend John Guerin (who was acting as her drummer on the string of dates) soured, possibly due to Mitchell's fling with director Sam Shepard during the Rolling Thunder Revue. Tensions became so fraught that the tour was abandoned about halfway through.

The third trip came soon after when Mitchell traveled across America with two men, one of them being a former lover from Australia. This trip inspired six of the songs on the album. She drove with her two friends from Los Angeles to Maine, and then went back to California alone via Florida and the Gulf of Mexico. She traveled without a driver's licence and stayed behind truckers, relying on their habit of signaling when the police were ahead of them; consequently, she only drove in daylight hours.[10][11]

During some of her solo journeys, Mitchell donned a red wig, sunglasses, and told the varying strangers she met that her name was either "Charlene Latimer" or "Joan Black."[12]Despite the disguise, Mitchell was still sometimes recognized” – Wikipedia

Review:

“It is to Joni Mitchell’s credit that she comes to no glib conclusions. The conflict between freedom for art’s sake and the need for love forms the basis of most of her songs, and it is her uncertainty, the alternating warmth and chill, which is most fascinating. But if Mitchell is not always inviting, she is never complacent. With Hejira she redefines the elements of her music with as much courage as when she scrutinizes her aims and motivations. And despite the songs of love lost and plans changed, despite the urgent, often stark consciousness of mortality and the absence of comfortable solutions, Hejira is a curiously optimistic album. In “Black Crow,” Mitchell sings, “In search of love and music/ My whole life has been/ Illumination/ Corruption/ And diving, diving, diving, diving…,” her voice swooping and spiraling on the repeated word. That is what Hejira is about: it is not the answers that are most important but the search itself” – Rolling Stone    

Standout Track: Coyote

INTERVIEW: Matt Mays

INTERVIEW:

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Matt Mays

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I have been speaking with Matt Mays…

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about his latest single, Station Out of Range, and his new album, Twice Upon a Hell of a Time… He reveals the inspirations behind the album and which artists he responds to; when music came into his life and the three albums that mean the most to him.

The Canadian artist looks ahead regarding plans for 2019 and reveals some rising musicians we need to follow; whether he gets time to chill away from music and if he is coming to the U.K. to play – he ends the interview by selecting a classic cut.

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

I’m well, bud! It’s been a great week. Still on the sunny side of the grass! 

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

Hello. I’m Matt. 

Can you tell me about the track, Station Out of Range. Is there a story behind that?

It’s a song about giving up trying to make things in a relationship. The words are about the bummer part of it and the music is about the relief in the freedom you get when life starts again. 

Twice Upon a Hell of a Time… is your album. What themes inspired it and what is the tale behind the title? 

It’s an album about the loss of love and, at the same time, was a grieving process to help deal with the loss of two very close friends. The title comes from the first electric version of this record called Once Upon a Hell of a Time…. I like the idea of ‘hell of a time’ maybe being a good time or a bad time. 

How did music come into your life? What sort of sounds did you grow up around?

I was really lucky to be raised around a great record collection. Everything was very ‘great song’-based. Dylan etc...

Do you already have plans for 2019?

A lot more touring with a mellower acoustic set up. It’ll be nice to put the blazing electrics down for a bit. And always a ton of songwriting and recording. 

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

Levon Helm once invited me to come and play at his house for a midnight ramble in Woodstock. He called me up on stage to rip a guitar solo. He stared me down hard the entire solo smiling and screaming at me the whole time to keep taking it higher. It was nuts. He invited us back to his kitchen table after we smoked 6 joints while he gave us advice and told us some killer stories. 

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

The answer to that question changes daily. Today’s picks are...

Zuma - Neil Young and Crazy Horse

It’s a perfect album because the human element is the backbone of the record. Like most of Neil’s albums. 

Natty Dread - Bob Marley

I stumbled upon this album when I was in junior high school. Bought it because the cover looked cool. The journey it took me on is beyond words. Still takes me there today. 

Songs from Northern Britain - Teenage Fanclub

Getting to hear that kind of guitar power behind such sensitive songs blew my mind to pieces. 

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

Social Distortion and Lucky Charms. 

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What advice would you give to new artists coming through?

If you start thinking; play until you stop thinking THEN hit the record button. 

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

Keep playing, make more music! 

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Do you have tour dates coming up? Where can we catch you play?

Playing a little winter tour in the new year to support Twice Upon a Hell of a Time… and hopefully coming back over to the motherland to play soon! 

Might you come to the U.K. and play soon?

No plans but hoping for more in 2019!

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 IN THIS PHOTO: Adam Baldwin/PHOTO CREDIT: Michelle Balderson

Are there any new artists you recommend we check out?

Adam Baldwin. His songs make me cry and dance all at the same time. 

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

Surfing is my first love. I grew up on the briny coast of Nova Scotia so there were lots of waves to ride. It’s taken me around the world to lots of beautiful places over the years. 

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

It Keeps Me Up by Museum Pieces

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Follow Matt Mays

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INTERVIEW: Favours

INTERVIEW:

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Favours

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THE splendid Favours…

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have been discussing their new single, Stowaway, and revealing its themes; what it was like filming the video and how they all got together – I ask whether there are any tour dates coming up and if there are some rising artists we need to get behind.

I discover which artists and sounds are important to the band and how they got together; whether there are plans ahead for 2019 and what advice they would give artists emerging – they reveal which artist they’d support on tour if they had the opportunity.

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

We are splendid and enjoying the extra hour we got back on the weekend. We’re spending it writing lots of new dreamy tunes.

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

We are an Indi, Synth-Rock four-piece from Toronto, Canada. We take influence from '80s and '90s Brit-Rock and the Indie we grew up on. We’re your best friends always there to lend a hand, in exchange for some Favours in return.

Stowaway is your latest track. What is the story behind it?

The song is about a love affair and the lyrics urge the listener to move past tired narratives and into a blissful escape. Stowaway was written during a road trip from the gloomy cold Canadian climate while driving south to the enchanted Muscle Shoals.

The video looks like it was great to film. How did the concept come about?

We love making videos and we used Stowaway as a chance to make our own technicolour dream. We wanted to recreate some our favourite moments from the movie Blow Up, as well as add some of our on flavour.

Do you think there will be more material coming along?

You should definitely be expecting more music very soon! We are in the process of writing and recording the rest of our first E.P., which we are hoping to release in February 2019.

How did Favours meet? When did you get together?

Favours banded together after some of the members had taken a hiatus from playing music with other bands. We couldn’t help it and it dragged us back in with a face.

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What sort of music/styles is the band inspired by? Are you all bonded by similar tastes?

We all enjoy the same music but most of all we’re very open-minded and love all arts. We love everything from Brit-Rock to R&B.

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

By the end of 2018, we will have released our first two singles and played as many shows as we could squeeze in. Lots more to come!

Do you already have plans for 2019? -

BIG plans for 2019. Look out for lots of music to be released and some big tours if all goes well.

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

As Favours, one of our favourite moments has to be playing with The Zolas for one of our first shows. They selected us to open for their sold out show over Instagram. Amazing musicians and even better people.

Which one album means the most to each of you would you say (and why)? 

Album: You Forgot It in People - Broken Social Scene

Solidified my high-school foray into Indie and probably the reason I came to Toronto.

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

Maybe New Order or The Stone Roses. Both legends; both have had a large effect on our sound in one way or another.

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What advice would you give to new artists coming through?

As a new artist ourselves, we’re still trying to figure it out! Send advice our way; we need it!

Do you have tour dates coming up? Where can we catch you play?

We have many shows in Canada planned for this month.

London, Ontario: Nov. 15

Ottawa, Ontario: Nov. 22

Montreal, Quebec: Nov. 23

Toronto, Ontario: Nov. 30

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 IN THIS PHOTO: The Marias

Are there any new artists you recommend we check out?

We all really like The Marias. Their sound seems timeless, as well as Men I Trust. Love both those groups. 

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 IN THIS PHOTO: Men I Trust

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

We all have our own side-passions and love affairs but typically I unwind by going for hikes and enjoying nature. Maybe taking some photographs along the way.

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

Broken Social Scene - Lover’s Spit 

The Marias - Cariño

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Follow Favours

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INTERVIEW: Libby Whitehouse

INTERVIEW:

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Libby Whitehouse

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I am starting off the day by speaking with Libby Whitehouse…

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who has been telling me about her single, New Boy, and its inspiration. I ask her whether there is more material coming and what sort of music compels her; what Brighton is like as a base and the rising artists we need to get involved with.

Whitehouse tells me about her music idols and albums that mean the most to her; if there are gigs coming up and whether she draws a lot from personal stories/moments for music – she provides some useful advice for songwriters coming through.

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

Hey! Very good, thank you. How’s yours been?

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

Sure! Hi. I’m Libby Whitehouse. I’m an eighteen-year-old singer songwriter from Brighton and my music is a mix of Pop, R&B and Dance music. I like to think of my music as empowering to girls all across the world (smiles).

New Boy is your new single. What is the story behind the song?

I wrote New Boy based on one of my friends getting treated badly by a boy and, like all boys do, he came running back. It’s a message stating girls won’t wait around forever and she’s much happier now.

Do you draw a lot from your personal experiences when it comes to music?

Yes, definitely, but also my friend’s experiences - and I like to put myself in other people’s shoes too!

Might we see more material next year? How far ahead are you looking?

Yes, definitely! We’ve already had talks about releases, shows; E.P.s and videos for next year so you’ll have to wait and see.

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Being based in Brighton; what is it like there in terms of music? Is it a great place to create and think?

Brighton is an amazing place to live but also a really nice place to write and create music. I love London as it’s so fast-paced and motivating, whereas Brighton is buzzy but is a bit more relaxed. Writing music in the summer is so easy living in Brighton as we’re right by the sea.

Do you have particular music idols or artists you grew up around?

I have lots of artists I look up to, one being Alicia Keys (ever since I was little). Right now, I really look up to Raye and Ella Mai.

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

By the end of 2018, I hope people are just excited about my music as I am! Especially for 2019!

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Do you already have plans for 2019?

Yes. Lots of plans for 2019!

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

Yes, definitely, there’s a few. one being the music video; one being the video featured on Clash and the others basically being anytime I get to perform! Sorry, I couldn’t pick one!

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

Nothing Was the Same by Drake (it brings backs so many memories from growing up and was the first album I ever got into); Purpose by Justin Bieber (lots of memories too and was one of the first albums that I would listen to when I started writing music to get influence). I love Rihanna’s ANTI album and Frank Ocean’s Blond album (sorry, I over picked again. Haha). They’re my favourite!

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Do you have tour dates coming up? Where can we catch you play?

I don’t have any tour dates at the moment actually but that’s something I would love! (Smiles). You can catch me on 13th November at The Haunt in Brighton for my E.P. launch party.

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

Ooo, good question! I would love to support Khalid, Raye or Dua Lipa as I love them all as artists and their audiences are similar to the audience listening to my music I think (smiles). I wouldn’t ask for much - just for lots of sweets and a personal photographer.

What advice would you give to new artists coming through?

My advice to any artist starting off would be to never compare your journey to anyone else’s and always remember exactly the type of music you want to do and the artist you want to become. Don’t let anyone change that; also that it’s not going to always be easy but that’s how you pick yourself back up!

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 IN THIS PHOTO: Grace Carter/PHOTO CREDIT: SHOT BY PHOX

Are there any new artists you recommend we check out?

Yes. I’m loving Imani and Grace Carter at the moment. Grace is also from Brighton so have to share the love.

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

Even when I have days off, I’m still coming up with ideas. I usually see my friends and boyfriend but spend most of the time with my dog. He’s my real best friend.

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

Oh, perfect! I love Better by Khalid or Happier by Marshmello and Bastille, so whichever one you prefer out of them (smiles).

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Follow Libby Whitehouse

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INTERVIEW: Tim Aminov

INTERVIEW:

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Tim Aminov

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I have been talking with Tim Aminov…

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about his new track, Veneno, and whether we might some more material coming soon; which artists and albums are important to him and how the Russian Electronic artist got his start – Aminov recommends some rising artists we need to get involved with.

I ask if there are any goals for 2019 in his mind and what he wants to achieve before the end of the year; what the music scene is like in Russia and if there are any gigs coming soon – Aminov chooses a great song to end the interview with.

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

Hi, Music Musings! All good here. Moscow has a specific, quick tempo of living; we are trying to get 200% from each day here. That's a great vibe – but exhausting sometimes.

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

I am sure that music itself can tell more than the author: listen my music and it will tell everything. If you wanna know some ‘technical details’: I have been on the Russian scene since 2015  (firstly as part of the duo AANBREKEN and then as a solo artist) and got some ‘hype’ last year with music videos for One Lone Survivor and Orpheus; directed by my genius pal Lado Kvatania.

 

Veneno is your latest song. Can you explain the story behind the track?

I had produced the demo for Veneno pretty quick - in three hours or less. I spent many more days writing texts, recording live instruments and mixing track. Live piano and drums had been recorded in Moscow; other instruments and vocal were recorded in Saint-Petersburg. The mixing was made by my close friend Roman Uzarov.

The video for this track will be released quite soon - it's not a usual music video, but a short-length movie with its own vibe and synopsis. Wait a bit to watch it and get the extended experience.

Might we see more material next year?

Sure! Currently I’m working on my first L.P. It seems like it will be pretty different from my early tracks.

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How does life as a solo artist compare the work you did in the duo AANBREKEN?

I can't say that there is big difference. I record most vocals by myself. Technically, now, I work as a solo artist – but, now, I collaborate with a much larger number of talented people than in the days of AANBREKEN.  

Are there particular musicians you draw inspiration from? Did you grow up around a lot of music?

My parents are not music lovers - though, my granddad composed the state anthem of Turkmenistan. Does this count as inspiration?

I listened to tons of music; I always did. I was fond of different music, even polar genres. I was fond of Experimental, Electronic; Hip-Hop, Math-Metal; Ambient…all of this. Nowadays, I am listening more to Soul/R&B stuff and Electronic music. But, sometimes, I can be in a proper mood for a Deftones album. I have never felt any limits for my music taste.

In terms of Electronic music; do you get influence from modern artists or do you source from classic innovators?

Not gonna lie you; I constantly look after modern music trends. I think that music art should be actual/real - but it also should be authentic and personalised. So, I always try to look deeper; dig the roots of the new music. It helps me to look at the music with different angles.

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As a Russian producer and writer; what is the music scene like there at the moment?

The Russian modern scene is flooded with Hip-Hop. It has occupied all media sources – I guess the same happens everywhere now. Russia has its own, great Electronic and Pop music as well. Though, I think, the real modern music culture is just boring here. I hope that the next generation of Russian artists will bring something really beautiful and significant to this world.

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

The music video for Veneno track should be released later this year. Also; I am planning to release a couple of live music videos and to play an intimate gig in Moscow. Also; I will release a soundtrack for the short movie, The First, directed by my friend Lado Kvatania. It’s a fiction movie about a Russian astronaut (cosmonaut); it has won a few awards this year and will be available online quite soon.

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Do you already have plans for 2019?

2019 will be very special for me. I’m gonna release an L.P, finally; take part in a few festivals and release more videos.

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

Mezzanine by Massive Attack

This album was released twenty years ago but it sounds fresh still. I don’t know how they had produced this album. I guess 3D had to sell his soul to the Devil to make things work that brilliant way.

White Pony by Deftones

Unbelievable, emotional record.

I will not name a third record because this slot is reserved for different records (that changes too often).

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

I like Childish Gambino. He is an incredible person and has unlimited talent. I'd love to have a coffee talk with him and make a collab.

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What advice would you give to new artists coming through?

The most important thing is to know what you want and to be honest with yourself. This advice works for new artist and for old ones as well.

Do you have tour dates coming up? Where can we catch you play?

I am working on my gig schedule. Follow me on Facebook to get all news first.

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 IN THIS PHOTO: Big Red Machine

Are there any new artists you recommend we check out?

Big Red Machine, GAIKA; Corbin and Ibeyi

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 IN THIS PHOTO: GAIKA/PHOTO CREDIT: Wunmi Onibudo

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

Yep. I often take days off to relax and reboot my brain. Tomorrow, I fly for a week to Istanbul and I’m gonna walk and read a new book about Buddha.

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

Yesterday, I attended a gig by Bobby McFerrin and it was great experience. So, let's listen to his track, Circle Song 6 

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Follow Tim Aminov

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FEATURE: Do You Remember the First Time…? Digging Deeper into the Music and Memories Behind the Musician

FEATURE:

 

 

Do You Remember the First Time…?

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IN THIS IMAGE: An exert from Matt Everitt’s book, The First Time: Stories & Songs from Music Icons/ILLUSTRATION CREDIT: Tim Marrs/BOOK PUBLISHER: Laurence King Publishing

Digging Deeper into the Music and Memories Behind the Musician

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IF you are not familiar with Matt Everitt’s…

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IN THIS IMAGE: The cover for Matt Everitt’s book, The First Time: Stories & Songs from Music Icons/ILLUSTRATION(S) CREDIT: Tim Marrs

new book, The First Time: Stories & Songs from Music Icons, then you need to get some pennies out and buy it! If you can; it might be worth going to a local bookshop as, I think, the Amazon price is a bit less than the retail one…I am not sure – we want as many pennies as possible to go Everitt’s way! The point of this feature is to have a look at the book and why it will strike a chord with any music-loving human. Brought out through Laurence King Publishing and with fantastic illustrations by Tim Marrs; The First Time: Stories & Songs from Music Icons is a labour of love that looks gorgeous and is well worth spending some time with. I have not seen a review of the book myself – maybe it will be a few more days yet – but have had a flick through the book and am blown away by the sheer colour, detail and revelations you get! I will probably do a proper review when I have finished but, looking through, you get these beautifully illustrated and written interviews with figures such as Yoko Ono and Damon Albarn. Covering genres, ages and periods of musical history; each artist has their own section and you get fantastic illustrations of them. There are lists of their first gigs and records and memories. What I love about the book is it is written by someone who has been interviewing huge artists for years and has that passion to learn more about them and reveal stuff other interviewers do not…

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IN THIS IMAGE: An exert from Matt Everitt’s book, The First Time: Stories & Songs from Music Icons/ILLUSTRATION CREDIT: Tim Marrs/BOOK PUBLISHER: Laurence King Publishing

The book is based off of the radio series Matt Everitt conducts and he has selected a mass of interviews from his years and brought them together in a wonderful collection. I love how you get illustrations and a unique portrait of the artist – it is a more artistic approach and means we do not have to see the same stock images of them – and you get a standout quote at the top of the first page (regarding that artist and their interview). We learn about their first gigs and records and all these important moments. I am a big fan of musicians like Sir Elton John and Florence Welch and it is good to sit in a café and flick through these pages and learn about their musical upbringing. The book requires some patience and study – it is a thorough and spellbinding collection of artists and a deep dive into their history – and it is written beautifully. I believe it took Everitt about three years to bring together – it would have taken me about a decade! – and you can feel the love and passion go into every page. It is a beautiful thing and if you can wait until Christmas; I suggest it would be a perfect stocking filler (you might need to reinforce the stocking as the book is a pretty chunky ol’ thing!).

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 IN THIS IMAGE: An exert from Matt Everitt’s book, The First Time: Stories & Songs from Music Icons (depicting the Blur and The Good, the Bad & the Queen mercurial frontman, Damon Albarn)/ILLUSTRATION CREDIT: Tim Marrs/BOOK PUBLISHER: Laurence King Publishing

Fewer young music fans are reading and Everitt’s radio broadcasts are probably the most accessible way of listening to The First Time with… My favourite instalment of his show was with Thom Yorke and, as I shall explore later, it is rare to see a lot of famous musicians speak. You get these magazine interviews but the questions can be generic and brief. One gets interviews on radio stations but, again, you always feel like someone is in the corner tapping their watch and doing the ‘wind it up’ symbol. They are then ferried across town and embark on this rotation of brief interviews. One reason why I love Everitt’s radio show (on BBC Radio 6 Music) is that there is time to swim and vacillate; a bit of a moment to muse and stroke the chin; time to crack wise and have a gone old chinwag! Not only does it (the show) make the artist comfortable and not rushed but it is a rare opportunity to look back on their past and how they got into music. Everitt is a masterful interviewer who has that ready wit and can get the best from an artist. The book brings all that to light and no details are skimped. One of my music dreams is to do the music news for BBC Radio 6 Music – as narrow and ambitious as that is – and it is wonderful to learn from their top dog (or horse as breakfast host Shaun Keaveny calls him!).

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 IN THIS PHOTO: Matt Everitt (left) with Shaun Keaveny (right) in a promotional photo for their interview to celebrate The First Time: Stories & Songs from Music Icons’ launch where Keaveny turned the tables on Everitt and ‘grilled’ him about the book and its creation (the event took place on Monday, 5th November, 2018 at 107 Charing Cross Road)/PHOTO CREDIT: Getty Images/Foyles

In any case; Matt Everitt is (rightly!) getting huge acclaim and love from those who have already got the book. Props to Tim Marrs’ trippy, vivacious and oft-sensational pen for bringing to life some of our best-loved artists with such fire and variegated seduction! The pairing is great and I wonder if the duo will work together. I am not sure what the next project would be but, as Matt Everitt was a member of the bands Menswear and The Montrose Avenue; maybe a semi-autobiographical tale/memoir about those 1990s heydays and the transition into music journalism? I am not sure but there will definitely be demand and appetite for another book. A reason why I am so involved with the book and love it is because of the angle it takes with these big names. I interview hundreds of upcoming artists each year and the main concentration is on whatever song/E.P./album they are promoting. I ask questions about their favourite albums/songs/artists and always feel like that is a minor part. P.R. companies and artists need their current release promoted and covered as thoroughly as a fat man being slathered in jam – get THAT image out of your head! –; it is all about that momentum and focusing on the here and now. So many sites are pressed for words and times so tend to repeat a press release and do a pithy interview. You get bigger magazines and papers like The Guardian, MOJO and newer publications like DORK and The Line of Best Fit doing some bigger pieces but they are few and far between.

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 IN THIS PHOTO: IDLES/PHOTO CREDIT: Pooneh Ghana for DIY (Edition: August 2018)

I have drooled over brilliant bright and illustrative interviews with the likes of IDLES – I read a great one they gave for DIY – and you get these brilliant photos, wonderful questions and searing quotes. A lot of the focus is on the new and what is happening in their camp. I guess rising artists need to talk about what they are selling and where they are headed but so few interviews/interviewers pick under the skin and get inside the head, Michel Gondry-like, and uncover all the memories; interacting with one another in a nostalgia snow-globe. Matt Everitt has taken these artists – some newer ones like Florence Welch and icons like Sir Elton John – and has asked them to discuss those first-time memories. Where was your first gig? Which band did you go and see first? Can you recall the first record you bought?! There are all these pivotal moments uncovered and it allows one to see where the artist came from. I think it is crucial finding out where a musician is heading and what they are promoting now but I see few interviews that look back and get into the musical D.N.A. Consider these rising acts like IDLES and Nadine Shah; fascinating figures like St. Vincent and Jon Hopkins and, while we marvel at their current output; which artists inspired them and when did their musical ‘journey’ – I hate to use that word as it makes me want to barf blood but, hey… - begin and which was the record that came into their life first.

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IN THIS IMAGE: The poster for the first ‘proper’ gig I attended (on 8th November, 2005, aged twenty-two)/IMAGE CREDIT: Rob Jones

I know my first gig was seeing The White Stripes at Alexander Palace in 2005 (rather late in life it was (as I am thirty-five now); they turned up late and I only got to see the support acts!); the first song I recall is Tears for Fears’ Everybody Rules the World (my first memory of life, in fact around about 1985!) and the first album I bought was Now That’s What I Call Music! 24 (I got it on double-cassette and it had bangers from k.d. lang, The Bluebells and Paul McCartney, among others!). I can remember getting my first vinyl and tape cassette; the first time I saw a music video (The Bangles’ Eternal Flame on VH1) and I think all of these memories are a part of who we are. Some might saw that sort of reminiscing is nostalgia and what is happening now is more important. I am not suggesting every music interview spends a lot of time asking questions about the first album a band bought or which artist was the first Let’s Eat Grandma saw live but it would be a benefit. I fear music is becoming disposable and we are only after that quick hit! We want everything in a couple of lines and do not linger long. They say the album as a format is dying but I would disagree. I think more and more people are falling for a complete work and we have not lost that ability to stand still and listen. Fewer of us might be picking up a magazine or paper and reading about a musician – compared to the 1990s, let’s say – but music journalism itself is as broad and varied as ever.

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 IN THIS IMAGE: An exert from Matt Everitt’s book, The First Time: Stories & Songs from Music Icons (in a section where he was interviewing R.E.M.’s lead, Michael Stipe)/BOOK PUBLISHER: Laurence King Publishing

For us to be truly connected with an artist and to understand what makes them tick; I think discovering how they got into music and the moments that define them (explored) is a great thing! We gain an understanding of where their own music stems from and get to know more about the human. I try and pitch questions to new artists regarding the albums that inspire them and what sort of sounds they grew up around. I love great artists like Jack White, Joni Mitchell and De La Soul and know their work intimately. I can pour over interviews and, online and in print, you can get a sense of where they come from. Most of the interviews I find, however, still tend to lean too heavily on their newer work and do not always dip into the past. One cannot get a true understanding and estimate of a musician without discovering where the ‘egg’ came from (or should it be ‘chicken’?!). If we talk about the modern and now then it denies that revelation and true knowledge; we are limiting our minds and there is a whole world unexplored. Matt Everitt’s The First Time: Stories & Songs from Music Icons is a timely reminder that there are these stories to be told and memories to be evoked. I love Pete Townshend and The Who but I feel like I know their back catalogue very well. Where did The Who’s guitarist/songwriter start and which moments define who he is?!

Not only is it good to discover the early lives of the musical icons but the new breed have a lot to tell us. Every artist is inspired by others and we all have those first gig memories and the life-altering times that affect what we do now and the sort of music we gravitate towards. I hope, down the line, there is another volume in Everitt: in any case; he has given impetus to many and I can see eyes and mind opening, compelled by the depth and discoveries throughout the book. One big reason why I want to interview bigger artists is to discover the music that they are inspired by and how they started in the industry. Only when you learn all of that can you get a real insight and understanding into the music they (the artist in question) are putting out. How often do we see a titanic music figure interviewed without there being a new record out? Can’t we just sit Sir Paul McCartney or Patti Smith down and ask them about their ‘firsts’?! I would love to see/hear that and I feel artists always have to be on-point and brief – talk about what you are promoting and not too much else. I sense it when I am interviewing and feel I need to be in 2018 and not look too far back. Matt Everitt has interviewed everyone from Robert Plant and Paul Weller to Shirley Manson (Garbage) and I love discovering which gigs and records define these hugely important people.

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  IN THIS IMAGE: An exert from Matt Everitt’s book, The First Time: Stories & Songs from Music Icons/ILLUSTRATION CREDIT: Tim Marrs/BOOK PUBLISHER: Laurence King Publishing

I am not saying it is boring talking about their new work and what they think about Brexit and all of that but I love to look back; to get into the memory centre and see these vivid and past images flash through! One way for the new generation to get a better understanding of the artist they follow and the icons their parents grew up around is to see/hear these interviews where they talk about their paths into music and who inspired them. Finding out about the ‘muses’ behind the musicians is a great angle and something I’d like to see more in modern journalism. Some of the bigger, more popular sites do this but it does not happen as much as it should. Maybe this will change in years to come. I think my ‘first’ memories is a good way of defining and revealing my soul and reason for living music and, in turn, would be a great reason to ask the same from big artists. I hope I have done Matt Everitt’s The First Time: Stories & Songs from Music Icons justice – or have rambled for a while! –; but it is a gorgeous work that has taught me so much about artists I feel I know pretty well.

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PHOTO CREDIT: @florenciaviadana/Unsplash

Not only have I been awakened to this new side of them but I look at the records they bought and the artists who influenced them and, as a result, have checked them out. You can get that sense of lineage and inspiration and, again, that makes me much more connected to the artist than ever. Perhaps my path to the BBC Radio 6 Music stable – either pumping out a daily dose of music news or keeping the coffee machine working and stocked! – is a long way away but I have changed my style and improved as a journalist because of the likes of Matt Everitt and how they approach subjects. Think about your ‘first times’ and those soul-awakening gigs and records. Music is not the only way to discover what makes an artist tick and, when many icons write in an oblique and distant way; interviews are the only way we can truly get into their souls, memories and minds. Reading about these musical colossuses and the charming memories that are dear to them is truly wonderful and incredibly revealing. Celebrities and musical figures have already given The First Time: Stories & Songs from Music Icons a hearty thumbs-up and I’d give it a classic Paul McCartney double-thumbs-up of approval! The here and now and current time is vital for all artists and they are keenest for people to discovery what they are putting into the world and where they are heading. If we take a moment and ask them to talk about where they came from and how music struck them in a very primal way; I feel we can learn things about the artist that…

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  IN THIS IMAGE: An exert from Matt Everitt’s book, The First Time: Stories & Songs from Music Icons (depicting The Beach Boys’ mega-genius leader, Brian Wilson)/ILLUSTRATION CREDIT: Tim Marrs/BOOK PUBLISHER: Laurence King Publishing

WILL blow the mind.

INTERVIEW: Simon D James

INTERVIEW:

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Simon D James

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I have been talking with Simon D James…

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about his new single, My Everything, and what it is all about. He discusses what is coming up next and what sort of music he responds to; which three albums mean the most to him and what it was like recording at Leeds’ Greenmount Studios.

James recommends some rising artists to watch and tells me what his gig schedule is looking like; how he chills away from music and why he spent time in Mexico City selling coffee – the songwriter provides some useful advice for artists coming through.

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

Hi, Sam. I’m good, thank you. Hiding out in Brighton from the cold; rehearsing for some upcoming gigs and focusing on promotion for the new single.

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

I’m a Brighton-based singer-songwriter who likes to spend time in studios turning Folk songs into Indie tunes.

My Everything is your new song. Is there a tale behind it?

When you get that feeling that you are repeating similar situations in your life because you didn't quite get the lesson the first time; like the universe is a maths teacher and asking you to take resists. That, coupled with realising that all I am is good enough…

Is it true you spent time in Mexico City selling coffee?! What was the reason behind that?

I had an aversion to the dampness of the UK in my twenties, so I tried many scams and angles to make money in clement environments. Selling Coffee in DF was not my most profitable venture, but I did love my time in that city and it is where My Everything was first written.

What was it like recording in Leeds’ Greenmount Studios. Was there a reason for choosing that location?

I’m lucky to have come from a very musical family. Greenmount was a connection from my uncle, who runs a theatre in Leeds. He had worked with Jamie and Lee before and managed to get me a day with them. As far as I'm concerned, it was love at first site with Jamie and Lee and I quickly went back and recorded a bunch more songs that we are releasing at the moment.

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Might we see more material next year do you think?

During the summer, I released an E.P., Songs from a Dream Long Forgotten, and now we have the single, My Everything, out on 5th November. My Everything will be on a four-track E.P. that I hope to have released in January and, in Feb, I'm back at Greenmount to record more.

Was your early life filled with music? Which artists did you follow when growing up?

The first band that changed my life was Nirvana. I got into them at about thirteen; from there my musical tastes grew and encompasses almost every genre.

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Do you already have plans for 2019?

Release and record music - and we are currently booking gigs and festivals for the summer.

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

My favourite moments in music are when I’m jamming with my friends; when everyone is rocking out. There is also something really special about being in a recording studio.

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

As a teenager, my friends and I would smoke pot and listen to Abbey Road on-repeat. The entire album sometimes comes on in my mind and I can hear all the arrangements from start to finish whilst I’m going about my day.

Tom Waits’ Swordfishtrombones takes me to Art College and most days at some point a track from Off the Wall comes on and I have a little moonwalk around the kitchen.

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

I guess I would most like to Radiohead - and I'm not fussy; I'm happy with most things.

What advice would you give to new artists coming through?

Persevere.

Do you have tour dates coming up? Where can we catch you play?

I have a show in London at the Underbelly on 7th November and check us out on social media to find out about all our other shows.

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 IN THIS PHOTO: MY BABY

Are there any new artists you recommend we check out?

I’m listening to MY BABY and The Lemon Twigs on-repeat at the moment.

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

Not enough. Chill time is kind of the carrot on the end of the stick. What’s that saying...? ‘I'll rest when I'm dead’.

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

Michael Jackson – Get on the Floor

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INTERVIEW: OVVLS

INTERVIEW:

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OVVLS

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THE guys of OVVLS…

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have been speaking about the new single, Black Butterflies, and why the inspiration behind it is. I ask how the duo got together and whether they have plans for 2019 – and whether there are any goals to tick off the list before the end of this year.

Stephannie and Lee reveal their favourite albums and what plans they have coming up; whether they have a favourite memory from music so far; which artist they support if they had the chance – they recommend a rising artist we need to get behind.

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

Great! Not long returned from playing BRUCSTOCK Art & Music Festival in Barcelona so just getting back to reality after that. Amazing experience and our first show in Spain!

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

We’re an Alternative duo from Liverpool fighting back against global trends and challenging genre ideals through art and music.

When did OVVLS get together? Were you bonded by similar music tastes?

OVVLS was launched in 2016. We come from very contradictory musical backgrounds: Lee from Punk/Metal scenes and me from a more commercial Pop/Rock background. Both of these influences can be heard in our music but at the same time fuse to create something new.

Black Butterflies is your latest single. Is there a tale behind it?

The lyrics denote persevering through times of change, which is depicted through the life cycle of a butterfly. 

Might we see more material coming next year?

Yes. We will have another release coming in February next year which will be accompanied by an exciting new physical format. More to be unveiled on this in the coming weeks…

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

After the release of Black Butterflies, we are taking a couple of months to write new material. By the end of the year, we hope to have new and exciting music ready for touring in the New Year.

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Do you already have plans for 2019?

Yes. As mentioned; we have a new release dropping in February, which will be accompanied by a brand new physical format and run of shows around U.K./Europe.

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

The response to our first single, Pain Is Beauty, and hearing it aired on BBC Introducing for the first time. After so long hibernating and curating our sound, we weren’t sure how our music would be received and were so humbled that people wanted to listen!

Which one album means the most to each of you would you say (and why)?

Stephannie: Amy Winehouse – Back to Black

From start to finish, this album is perfect poetry. Catchy songs that are beautifully woven with honest, gut-wrenching emotion. I love how at times Amy’s lyrics are so simple yet speak with such impact. A true songstress that we lost too soon.

Lee: The Prodigy – Music for the Jilted Generation

This is the very first album I got (for my eleventh birthday!) and a crossroads into more Alternative music. Still a great album and I’ll be seeing some of these songs live this Thursday at the Echo Arena in Liverpool.

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

‘Alive today’ narrows down our options…although Portishead would be cool!

As for the rider; we’d like thirteen bottles of red wine, a bowl full of 666 purple Skittles and…only joking! As long as we have a place to say, drinks and food (vegan for Stephannie) we’re easily pleased. It’s more about the show for us.

What advice would you give to new artists coming through?

Work hard, stay positive; challenge your artistry and don’t always follow the norm.

Do you have tour dates coming up? Where can we catch you play?

We can’t reveal as of yet but keep an eye on our social profiles over the coming weeks.

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 IN THIS PHOTO: Hermetic Delight

Are there any new artists you recommend we check out?

Hermetic Delight. We played a show in Cologne with them last month; really cool vibe.

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

We don’t get much time to chill away from the music at the moment as we’ve had a busy few months. But, when we do get the chance we like to get outdoors and explore nature. In fact, in a few weeks time we’re going to Iceland to explore and draw inspiration for our winter writing.

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

Chelsea Wolfe – Carrion Flowers

Massive Attack - Teardrop 

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INTERVIEW: Streets of Roya

INTERVIEW:

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Streets of Roya

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THANKS to Streets of Roya…

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for telling me about his new single, Sleepwalking, and what we can expect from the upcoming E.P.; whether the music has developed since the start and what Streets of Roya hopes to achieve before the end of the year – he recommends some rising artists to watch.

I ask which album is important to him and whether he gets time to chill away from music; if there are any gigs coming up and which artist he’d support on tour if he was given that opportunity – Streets of Roya chooses a song to end the gig with.

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Hi, Streets of Roya. How are you? How has your week been?

It’s going great, thanks. We've released our latest single, Sleepwalking, about a week ago and there's always something really exciting and scary about a release. Getting reviews and feedback about my songs is something I'm not used to. But it does feel great.

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

Streets of Roya is my (Michael) solo project that I started late-2017. I wrote and produced a bunch of songs and wanted to start something that's bigger than me. Over the last few months, I got more focused and serious about Streets of Roya. It's still a very young project but I'm super-thrilled about it. We got some great stuff coming up.

Sleepwalking is your new track. Is there a story behind it?

It's part of our debut E.P. that we will release early-2019. Sleepwalking was the last song I wrote for the E.P. There is something about the desperation and restlessness of Sleepwalking that made it a perfect first single.

I understand an E.P. is coming next year. What can you reveal about the themes and songs?

The E.P. is the first attempt to write a few songs with a concept in mind. It's been all about capturing the emotion and feeling of restlessness for me and less about a storyline - rather than just about the way the songs and sounds make you feel and where they'll take you. It is a restless and desperate E.P., both lyrically and musically.

How did Streets of Roya get together? Do you all share tastes in the same sort of music?

Streets of Roya is still a solo project at the moment. I do have musicians joining me for our live shows though and maybe they're going to be a part of future productions in the studio. We'll have to see.

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PHOTO CREDIT: Cristina Morena

You have released a few singles already. How do you feel you’ve developed since the beginning?

There is something quite honest about releasing music a song at a time because you can't hide. With each song, you get an immediate response. And I love that. It helps to grow and develop as an artist. With Streets of Roya, everything is moving and changing as we go.

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

We just played our first live shows. That's been a huge deal for me. And it's been great. I hope we play one or two more shows this year.

Do you already have plans for 2019?

I want to perform live. That's what it's all about: connecting with our audience. I hope we get to play as much as possible. The stage is still my absolute favorite place.  

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

Last year, I had the opportunity to play a house concert for Syrian refugees in East Germany. It was touching to hear their stories about leaving Syria, the war and being separated from their families and loved ones. To perform some of my songs for them is something I won't forget.

Which one album means the most to you would you say (and why)?

I'd have to say Jeff Buckley's Grace. Everything about that record is perfect. The songs, performances and production. One of my all-time favorite albums.

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

It would have to be Pink Floyd.

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What advice would you give to new artists coming through?

I think you can get lost in the whole 'making it' thing. So, I'd say just try and enjoy writing and creating. In the end that's why we do what we do. It's easy to share music nowadays. I love that.

Do you have tour dates coming up? Where can we catch you play?

We don't have any shows confirmed yet. But, we do post all our tour dates on our social medias/website.

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 IN THIS PHOTO: Leif Vollebekk/PHOTO CREDIT: @tom.dunphy_creative

Are there any new artists you recommend we check out?

Leif Vollebekk, Stereo Honey; Bipolar Sunshine, Palace and Moby Rich.

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 IN THIS PHOTO: Stereo Honey

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

I try to. To relax, I usually go for a hike, read a good book or watch a movie.

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

Leif Vollebekk - Elegy

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FEATURE: STOP the Music! The Artists Speaking Out Against Politicians Using Their Songs Without Permission

FEATURE:

 

 

STOP the Music!

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IN THIS PHOTO: Rihanna (whose song, Don’t Stop the Music, has been played by U.S. President Donald Trump (at his rallies) against her wishes)/PHOTO CREDIT: Craig McDean for The New York Times Style Magazine

The Artists Speaking Out Against Politicians Using Their Songs Without Permission

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THERE are loopholes and sneaky avenues…

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 PHOTO CREDIT: @fentybeauty/@rihanna 

politicians can embark down in order to get certain songs played at their speeches - or they can blatantly nick them without regard for any morals or artist rights! We all know the scene, don’t we?! Whether it is here or the U.S., some politician will stride towards a podium with a recognisable song playing loudly. A lot of times, the song’s title fits in with their mandate and, for the most part, is some really awful pun or corny message that makes you cringe. The songs themselves are good but politicians select songs whose title/chorus ‘speaks’ for them and says what they are all about. Leaders, especially, are culpable of taking liberties regarding artists’ songs and using them without permission. I will talk about Donald Trump and why he is in the news  again but, right now, look at the recent ‘dance’ Prime Minister Theresa May performed that used an ABBA song. This piece explains how ABBA do not want their music used in this context and how, on more than one occasion, our P.M. has defied their ruling:

 “The 2010 quote has resurfaced on social media after Prime Minister Theresa May danced on stage to Dancing Queen at the Conservative Party conference yesterday.

Although the Swedish pop icons have not commented on the anthem being used, some on Twitter have rediscovered some sharp words of warning Andersson issued to the Danish People’s Party when they used Mamma Mia at their rallies.

The two situations are, of course, different: the DF, a far-right group, had changed the lyrics of Mamma Mia to Mamma Pia in tribute to their then-leader Pia Kjaersgaard…

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IN THIS PHOTO: ABBA’s Benny Andersson/PHOTO CREDIT: Knut Koivisto  

“ABBA never allows its music to be used in a political context,” he said at the time, according to BBC News.

“This is something that we have pointed out to the Danish People's Party."

He had also chastised them for changing the lyrics, saying: “"Firstly, you cannot just rewrite songs as you like and secondly we want them to understand that we have absolutely no interest in supporting their party.”

Musicians are often speaking out against their songs being used in politics: Foo Fighters did the same in 2008 during the US presidential campaign when John McCain and Sarah Palin used their track at a rally.

And more recently, Donald Trump reportedly used Adele’s Rolling In The Deep at a campaign rally and her people shot back: "Adele has not given permission for her music to be used for any political campaigning”.

You can see Donald Trump’s name appearing in that piece and it seems to be the case that a disliked and unpopular leader will choose quite a cool or popular track to make themselves seem hip and ‘with-it’. The fact artists like ABBA and Foo Fighters stand against the politicians who use their music; nobody came to them to inform them they would be using their music. Essentially, they have got a song off Spotify and played it and that is it. The artists, hearing this, have spoken out and distanced themselves from that politician.

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 IN THIS PHOTO: Foo Fighters/PHOTO CREDIT: Getty Images/Press

Not only does using a song without an artist’s permission create legal issues but it looks bad on them. Imagine being Foo Fighters and hearing a Republican politician using one of your songs. The Foo Fighter boys are Democrats and would not want their fans to assume they support Republican ideologies. The same goes for ABBA. They do not want to be seen as big supporters of Theresa May and have rightly taking umbrage. I am not sure how much political leaders know about the musical world but, as this article explored – when talking about Theresa May’s appearance on Desert Island Discs – some have incredibly awful taste:

“Theresa May will be the least hip prime minister since John Major. Political journalists contemplating the forthcoming premiership of Britain’s new leader may not currently be focussing on May’s taste in music but as a pop critic, I am duty bound to consider whether the contents of a politician’s Spotify playlist offer any handy insights to their style of leadership.

Since the Britpop boom of the Nineties, we’ve endured the reigns of guitar slinging amateur rocker Tony Blair and indie rock acolyte David Cameron, who regularly annoyed rebellious rock stars by proclaiming how much they liked their music. Even Gordon Brown pretended to like the Arctic Monkeys in a dismal effort to seem au fait with popular taste…

Does it even matter what music our leaders listen to? Obviously, it’s not the first thing you look for on their CV. As May goes into those delicate Brexit negotiations, I don’t think anyone’s going to be wondering if she geed herself up in the morning with a dose of Rick Astley’s Never Gonna Give You Up, or entered the boardroom to the strains of Europe’s The Final Countdown.

The younger generation, however, who voted overwhelmingly to Remain, might be concerned to be represented by someone whose idea of pop culture seems to have atrophied before most of them were even born. Dancing Queen was released in 1976. Since then we’ve had punk rock, hip hop, Britpop, techno and grime”.

Whilst it may not be important that a politician has naff taste in music; when it comes to using songs to soundtrack conference entrances or using them at rallies; that is a different matter and goes behind an artist’s back. I love it when artists attack politicians because they name-check them and say they like their music! The fact their reputation is being dented because of that association is enough to get them taking to social media and the press! The cases of political figures using music without permission goes back a long way.

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 IN THIS PHOTO: Former British Prime Minister David Cameron/PHOTO CREDIT: PA Wire/PA Images

I am reminded of a case in 2010 when The Smiths’ guitarist Johnny Marr came out against David Cameron (the then-Prime Minster) ‘forebade’ him from saying he liked the band’s music:

 “It has become something of a tradition for British prime ministers to name-drop a rock star or two in the hope that a bit of cool will rub off by association, only to be publicly and embarrassingly rebuffed.

Who can forget Gordon Brown's Arctic Monkeys debacle in a men's magazine, when he was unable to name a single track? Or Tony Blair's admission that he was a fan of Oasis – only for lead singer Noel Gallagher to announce that he was fed up with taking "flak" for it?

Now David Cameron has become the latest to run the gauntlet of the uneasy and usually unrequited relationship between politician and musical muse.

Johnny Marr, a founding member and the lead guitarist of The Smiths, yesterday called on the prime minister to stop saying that he liked the band.

While Marr hasn't explained why he was so incensed at being to Cameron's taste, perhaps Margaret on the Guillotine, Morrissey's song that imagined the execution of Mrs Thatcher, from his 1988 debut album Viva Hate, might have been a clue as to what the band think of the Conservative party.

Marr is not the first musician to take exception to Cameron. Radiohead's frontman, Thom Yorke, came forward to dispute a claim made by Cameron during his appearance on Desert Island Discs that Yorke had performed the song Fake Plastic Trees, his favourite, at a show following a request by the prime minister”.

 

There is a difference between taste and unpopular association and those who use music without prior consent. This article shows the cases where politicians have been named and blasted for using music without the consent of the artist/band. A few examples stood out to me – one involving the music-mentioned and maligned Donald J. Trump:

“7. Bon Jovi

Song: "Who Says You Can't Go Home"
Politician: John McCain
Outcome: While Bon Jovi issued a disapproving statement about the McCain camp's use of their song, no legal action was taken and usage continued unabated.

9. Bruce Springsteen

Song: "Born in the U.S.A."
Politician: Ronald Reagan, Bob Dole, Pat Buchanan
Outcome: An adviser to Reagan asked The Boss if he could use "Born in the U.S.A." during his re-election campaign in 1984. Springsteen turned him down. This episode is seen as the start of Springsteen's progressive awakening, and since then, he has become an outspoken liberal. In later years, Dole and Buchanan were similarly turned down.

12. Elton John

Song: "Rocket Man," "Tiny Dancer"
Politician: Donald Trump
Outcome: Trump admires Elton John. He even referenced one of the British singer's songs by disparagingly calling North Korean leader Kim Jong-un "Rocket Man." John has known the president for decades, but he turned down Trump's invitation to perform at his inauguration. John also had asked that his songs not be used during the 2016 presidential campaign but Trump continues to use songs such as "Tiny Dancer" at political rallies”.

 

There is a long list of musicians attacking politicians for using their music without their prior knowledge. Is it, then, a legal issue if a song is used?! This article explains the law and drills down to the real reason artists do not want politicians using their songs: they do not agree with their politics:

“Do you remember the time Donald Trump played “It’s The End of the World as We Know It” at a campaign rally and REM told him not to use their music "for your moronic charade of a campaign?" Or that time John McCain used “Running on Empty” in a TV ad bashing Obama and Jackson Browne sued him? Or that time Rand Paul used “Tom Sawyer” during his Senate run and Rush said that it was obvious Paul “hates women and brown people?"* It seems like every time there’s an election, you can't swing a dead cat without hitting a band upset at a politician for using its music. And with a year left before the general election, it’ll happen a few more times at least.

Most of the time it's just a blip on the news, something fun to chat about on a slow work day. But for some reason this election cycle it’s become a THING, launching a thousand and one think pieces like this one over the copyright issues inherent in this particular type of controversy.

Let’s clear this up first: using a copyrighted song without a license is infringement, even if it’s for a non-commercial/political reason. Songs generally have many copyright owners (the writers, musicians, record label, licensing houses, publishers, etc.) and that means you need several licenses, not just one. The RIAA has a useful primer illustrating a campaign’s legal responsibility when licensing music. Here are some highlights:

"When music is played in public, such as at a campaign event, it is typically necessary to obtain a license for the musical composition (words and music). It is not necessary to obtain a license from the owner of the sound recording (usually a record label).”

"A campaign must obtain permission from the owner of the musical composition (usually a music publisher [such as ASCAP, BMI, or SESAC]). This is known as a 'synch license.’”

“[I]f a campaign wants to use a specific recording of the song (e.g., Survivor’s recording of 'Eye of the Tiger'), then the campaign must obtain permission from the owner of the sound recording (usually the record label). This is known as a 'master license.'”

ASCAP has its own primer, stating:

“[I]f the campaign wants to use a song as its theme, they should contact the management for the artists and/or songwriters of the song in question and obtain their permission.”

So you need permission. And fair use, an oft-claimed but little understood doctrine, won’t give you relief either. As this Loyola of Los Angeles Entertainment Law Review article points out, using a song without permission for a political campaign typically won't qualify for fair use protection because:

1.       The use of the music is rarely transformative - despite the fact that political campaigns are not commercial, the song’s meaning is rarely altered, commented upon, or otherwise changed enough to differentiate itself from the initial use;

2.       The use of the music, often to bolster a candidate’s standing in the eyes of supporters and/or to bash other candidates, does not serve the public interest and is therefore not worthy of free usage; and

3.       If the music is used repeatedly, it could create a financial harm to the artist who would have otherwise been paid if the music had been properly licensed.

But let’s not kid ourselves; this is not a copyright issue. Copyright is merely the mechanism by which a musician can get the candidate to stop and/or pay damages. This is about politics”.

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 IN THIS PHOTO: Taylor Swift/PHOTO CREDIT: Getty Images

“Artists, especially established ones, rightly view their reputation as a business asset. If people like the brand, they buy the product. If the brand offends them, they don’t buy the product. A good brand gives you not only money, but influence. That’s how Taylor Swift is able to force Apple to change its policy with a single blog post. So when artists perceive their brand to be under attack, they understandably lash out. Trademark law can give them the tools to do that.

Under the Lanham Act (the law governing trademarks), trademark infringement can occur if the use of a song by a politician is likely to create confusion** in the marketplace that the musician endorses the politician, especially if this association harms the musician’s reputation (referred to as “dilution by tarnishment”). But meeting this bar isn’t so easy. To determine whether a likelihood of confusion exists, the federal courts have developed an eight-factor test (called “the Sleekcraft factors” after the landmark 1979 Ninth Circuit case, AMF, Inc. v. Sleekcraft Boats). Those factors are:

1.       The strength of the mark;

2.       The proximity or relatedness of the goods;

3.       The similarity of the marks;

4.       Any evidence of actual confusion;

5.       The marketing channels used;

6.       The degree of care customers are likely to exercise in purchasing the goods;

7.       The defendant's intent in selecting the mark; and

8.       The likelihood of expansion into other markets”.

Although there is clarity regarding the law and distinctions; why do politicians keep using particular songs and gaining such fevered backlash? In the case of someone like Theresa May drunkenly stumbling on stage to ABBA; one assumes it was a very misinformed decision by the Conservatives who felt it would make her seem accessible, cool and a bit ‘down with the kids’. If she wanted to do that then she could have played some Skepta or Dizzee Rascal but it would have been tragic to see her come on to some Grime tune and pretend she had any idea of what the music is about! The fact she looked like a demented aunt who had just sat on a drawing pin and was looking for the nearest toilet not only reflected bad on ABBA but took her cool-o-meter right into the minuses! Rolling Stone shed more light onto the reasons why politicians use songs from particular artists for their campaigns and speeches:

 “Nine times out of 10, it’s a young advance person who thinks it’s a cool song to play when the guy’s walking in and the candidate hasn’t a clue what was playing,” he says. “In this case, Donald Trump could have walked in that room: ‘I want that Neil Young song, and it better be playing loud.’ But I don’t know.” (Reps for Trump, as well as Walker, Mitt Romney and Senator Marco Rubio, who have run into this problem repeatedly throughout recent election cycles, did not respond to requests for comment.)

Either way, the impact of such unauthorized use can be devastating for a songwriter. “The artist gets drawn into the question of whether or not to take any action, and run the risk of giving the politicians some additional publicity, or [allowing] the public for one second to think that someone like Neil Young was endorsing Donald Trump,” says Jon Landau, Springsteen’s longtime manager. “It’s kind of a reverse endorsement trap – Ronald Reagan declares Bruce as one of his own, and then Bruce has to either let it stand or actively disassociate. When the confusion gets big enough, most artists will, one way or the other, step in”…

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IN THIS PHOTO: Former U.S. President Bill Clinton addresses a joint session of Congress on 17th February, 1993/PHOTO CREDIT: Getty Images

Of course, the opposite effect can happen. Mick Fleetwood recently said Bill Clinton’s campaign never requested permission for what became his iconic 1992 campaign anthem, “Don’t Stop,” but the band generally voted Democratic and didn’t object to the exposure. On a smaller scale, Gym Class Heroes’ “The Fighter” recently wound up on Hillary Clinton’s publicly released Spotify playlist (after her presidential campaign received permission from the band). “If it wasn’t Hillary, and I didn’t necessarily agree with their stance, it’d definitely be an awkward position,” says the band’s Travie McCoy, who sang and co-wrote the song. “When you’re in a position of being super-impressionable on people, you’ve got to be careful how you step.” Several artists who’ve had conflicts with politicians in recent years on this issue, including Dropkick Murphys, Axwell and Ingrosso, Heart, Tom Petty, Don Henley and Van Halen, turned down interview requests for this story.

“Why does it keep happening? I would say arrogance. Or because [candidates] want to use music in order to associate [with] fans of the artists whose music they’re using, and they think they can’t get permission,” Iser says. “What’s that expression? ‘It’s better to beg forgiveness than to ask [only] to get turned down'”.

I think a lot of the unhappy association is to do with politics and cool. Not many artists would have objected to former President Barack Obama using their music or, I feel, Labour leader Jeremy Corbyn doing the same! The more popular politicians will not face such umbrage and anger because they are speaking for the people and have that more human image – the music, as such, is being used in a positive way.

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 IN THIS PHOTO: President Donald Trump speaks during a campaign rally at Bojangles' Coliseum on Friday, 26th October, 2018 in Charlotte, N.C./PHOTO CREDIT: AP Photo/Evan Vucci

This all takes us to the latest case of unhappy musician-politician partnership: Rihanna being informed Donald Trump was using her music as part of his rallies.

“Less than 24 hours after endorsing Andrew Gillum, the Democratic nominee for Florida governor, Rihanna has revealed she plans to ensure President Trump stops playing her music at his rallies.

The singer tweeted about this after the Washington Post's White House Bureau Chief tweeted: "It’s been said a million times, but here’s a million and one — Trump’s rallies are unlike anything else in politics. Currently, Rihanna’s “Don’t Stop the Music” is blaring in Chattanooga as aides toss free Trump T-shirts into the crowd, like a ball game. Everyone’s loving it."

Rihanna responded "Not for much longer...me nor my people would ever be at or around one of those tragic rallies, so thanks for the heads up philip!"

 

“Rihanna’s comments followed remarks by Axl Rose, who this weekend accused the Trump campaign of “using loopholes in the various venues’ blanket performance licenses … without the songwriters’ consent” after learning that Guns N’ Roses’ 1988 song Sweet Child O’ Mine was being played at the president’s rallies.”

Axl Rose also said that Guns N’ Roses had “formally requested r music not b used at Trump rallies or Trump associated events”.

I guess it is pretty obvious why Trump has used a song from Rihanna. He hears something in the title or the chorus that he thinks he is about – a positivity and sense of optimism that he hopes his supporters can take to heart and be buoyed before. There will be fans of Rihanna and Guns N’ Roses who are Republicans but it is good to see artists taking a stand and, in doing so, showing the colour of their political skin (blue in this case; red in the case of British musicians).

Trump will always take liberties and drag artists down his road to perdition. I guess Kanye West is the only artist who would like his music played by the U.S. President and here, I wonder how many would feel pride when their music is used to support Theresa May. No names spring to mind and it is a sticky business. I can understand politicians need music to soundtrack their entrances or be their ‘anthems’ but artists who object to their politics shouldn’t be made to hear that indignity. Using Rihanna’s music will send a message to her fans that she is a Trump supporter when, clearly, this is not the case! The same can be said of Axl Rose. There are very few prominent musicians who are Republicans and, as such, most of Trump’s musical choices will be met with anger. Look at the Conservatives and how many modern artists are behind them?! I can’t think of any artist who is a Tory supporter and, again, it does somewhat limit options. Whilst there are no legal ramifications using music without consent; there is that political and ethical issue (and copyright) that needs to be considered. The unauthorised use will not stop but I think there is something tragic and pathetic about these politicians, the unpopular ones, using popular music because they think that makes them bigger or cooler. Rihanna wants President Trump to quit using her song, Don’t Stop the Music, for his rallies. There is a lyric in the song that goes “You’re makin’ staying over here impossible” and, if politicians like Trump keep using artists’ music without their permission we might see a lot of them…

EMIGRATING and escaping the country they love!

FEATURE: 5 Become 4: Can the Spice Girls Create the Same Magic Without a ‘Posh’ Icon?

FEATURE:

 

 

5 Become 4

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IN THIS PHOTO: The Spice Girls (BACK: Geri Horner (née Horner, ‘Ginger Spice’) and Emma Bunton (‘Baby Spice’)/FRONT: Melanie Brown (‘Scary Spice’); Melanie Chisholm (‘Sporty Spice’); Victoria Beckham (née Adams, ‘Posh Spice’)/PHOTO CREDIT: Getty Images

Can the Spice Girls Create the Same Magic Without a ‘Posh’ Icon?

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WHETHER you are a big Spice Girls fan or not…

you cannot deny that, back in the day, they made an impact on music. I will look at the legacy and music they left us but, imminently, they will be announcing tour dates and locations. It is a rare opportunity for fans to catch the Spice Girls on the stage – 2000’s Forever was their last album as a group and did not feature Geri. There has been talk of a reunion and, in the years since they split, there have been attempts to get them all on the same stage. Apart from an ill-fated Spice Girls musical and some one-off singles/appearances; it has been a quiet time for the band this century. Emma Bunton (Baby Spice) spilled the beans and gave Jamie Theakston the rundown on their Heart radio show regarding the Spice Girls reunion and what we might expect. Check the video out below but there is a lot of excitement brewing and people are excited to see four-fifths of the band on the stage and going around the world – one suspects there will be a lot of international dates and it will be a busy next year for the girls. I am not sure what provoked the decision but there have been rumours for years and there must have been a moment when they all got together and decided the time was now.

I believe the announcement will be made at 3 P.M. and the reunion tour will not include Posh Spice – Victoria Beckham is not part of the plans but the full reason has not been given. Vogue published a piece earlier today that gave a bit of background:

“The Spice Girls last performed together in 2012 during the Olympics closing ceremony, but they have not toured as a band since 2008. Over the years, Bunton, Beckham, Geri Horner, Melanie C and Melanie B have posted photographs of the fivesome together on social leading fans to predict a sequel to Spice World and new music. Beckham, however, has always vehemently denied plans to reunite. “I’m not going on tour. The girls aren’t going on tour,” she stated during a preview of her autumn/winter 2018 collection. As her former band mates prepare for the demands of stadium life once more, it is assumed that Beckham will concentrate on her burgeoning fashion brand”.

One can look at that explanation of omission – Victoria Beckham concentrating on fashion – but one would assume she could do the both, surely?! Melanie B (Scary Spice) recently sported a Halowe’en outfit of her in a mask of Posh Spice and a bit of a jibe against her decision. Maybe it was playful but one senses there is a bit of animosity and disagreement in the camp that has led to Beckham not being included.

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 PHOTO CREDIT: Getty Images

There are some who feel her omission is a relief. In terms of the band’s best singers, she would be at the bottom of the pile, alas. I am not sure whether the Spice Girls will adopt their nicknames and dress as they did back in the 1990s. One suspects the stage attire will be a bit more refined and 2018 – one cannot imagine Geri Horner in a Union flag dress or Emma Bunton as Baby Spice. I guess, if they are cranking out the old hits, then there needs to be some authenticity and purity. There is a school of thought that suggests a depleted Spice Girls is a bit of a charade. If you have always wanted to see the group get on the stage and perform like they did in their heyday then would a four-piece satisfy you?! Although most of the lead vocals were taken by Melanie C (Sporty Spice) and Melanie B; each member had their place and were all part of the mix. I suppose Baby Spice and Ginger Spice (Geri Horner) did a lot more of the vocal lifting than Posh Spice but that image and iconic line-up is what people want to see! Tickets will be snapped up within a few minutes and many of them will be flogged on resale sites for exorbitant and eye-watering prices.

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 IN THIS PHOTO: The newest publicity photo of the reunited Spice Girls/PHOTO CREDIT: Getty Images

I do not buy the fact Victoria Beckham is not going to be involved because of commitments and the fact she is too busy. The reason the group have not reunited since they split is because it has been hard getting all five of them on the same page. Look at the 2000 album from Spice Girls and one notices Ginger Spice missing. Many felt that reality was the beginning of the end and, whilst songs like Let Love Lead the Way and Goodbye were good tracks; Forever was a bit of a damp squib and got a critical bashing. It is good Geri Horner is back in and committed to a reunion and there is a sense of excitement in the camp. All of the members have gone on to enjoy varying degrees of success since the Spice Girls called time. Emma Bunton is a D.J. and T.V. personality whilst Melanie C and Geri Horner have enjoyed some solo success; both are very much in the public eye but not as active as they were in the years following the group’s split. Melanie C, too, had some success but a lot of the column inches dedicated to her have revolved around relationship issues and controversies. Geri Horner has not released an album since 2005’s Passion but she has been on our screens and has enjoyed a more domestic and settled life.

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 IMAGE CREDIT: Getty Images

I am not here to rake over the leaves of split and tension but it is a shame there will not be the classic line-up on the stage. Many might say why, so many years down the line, are the Spice Girls getting back together?! Can they really create an impact and thrill people like they did when they were on top of the world?! Times have changed and one barely sees girl groups in the mainstream. The golden days when you had the Spice Girls, En Vogue and Destiny’s Child doing their thing and promoting messages of empowerment and strength; now, there is much less of it and it seems that area of music is dying. I am not sure why there is little cultivation of girl groups but one feels a Spice Girls reunion will stoke some interest and revival. I wonder whether a reunion will go as far as new material. Many might scowl and be fearful of that question but look at En Vogue and All Saints. The latter, especially, have enjoyed success lately and, whilst they were not officially split, they have managed to transition from their success in the 1990s/2000s and sustained public interest. All Saints are not releasing the same vibe as they did when they started out and, instead, are producing a more mature sound but one that has ample punch and intent. If an album did arrive from the Spice Girls then you have to feel their sound would go down the same road.

Again, it would probably not feature Victoria Beckham and it would be a similar case to Forever – four unified and happy members but a noticeable gap. Who knows what will occur between now and the days following the tour announcement. There will be a public demand for new material and I think that will follow when they are off the road. The gigs, I envisage, will be the classic hits and a real retrospective. It is great in terms of nostalgia but that need for fresh offerings will force them into the studio. I will update this article when more details come to life and the news spreads but there has been some divisions regarding the reunion. Some say that it is best to leave the Spice Girls in the past and they can never recapture that spirit of Girl Power and what they stood for. Back in the 1990s, you could not avoid Spice Girl-related merchandise and girls mimicking them. Singles like Wannabe, 2 Become 1 and Who Do You Think You Are became radio staples and catapulted them into the public conciseness. Spice (1996) was a big debut that got a lot of people talking and why the songs lacked the same great and authority as some of their peers’ music – the likes of En Vogue and Destiny’s Child – there was something anthemic and catchy about their material.

Teen-Pop, as a result, was brought back into the mainstream and the doors were opened for other artists to step up. The wave of obsession that followed that release is akin to Beatlemania in the 1960s. That album peaked at number-one in seventeen countries and was a gigantic success. 1997’s Spiceworld was another big success and capitalised on the group’s popularity and demand. They were touring the world and bringing their unique live set to the hungry masses. The catchiness of songs like Spice Up Your Life, Stop and Too Much won new hearts and the group were involved with the writing process – it was a juggernaut that was taking over the world. Critics always were and always have been split by the validity and appeal of the music. One can argue there is a lot of cotton candy and sweetness that hides any real maturity and depth whilst others contest the hooks, big choruses and sense of fun are proof enough. However divided the press were; the nation as a whole was involved in this brief and brilliant burst of Girl Power that seemed to provide something new and needed into music. There were not a lot of British Pop artists augmenting sisterhood, this notion of Girl Power and a defiance that marked them as, albeit cheeky and commercial, rebels and role models for teenagers and children around the world.

There was sadness when they split but many have suggested they did what they did well and it is best left in the past. Others feel this reunion is about money and trying to recapture long-lost success and fame. I agree new material will be very different to what they have produced and you cannot go back in time and expect them to create the same effect and sensation they did in the 1990s. Music has changed beyond recognition and modern Pop has shifted to the solo artists; the quality and nature of mainstream music has altered and it would be inorganic and strange for a revival of the sounds we heard on Spice. Between the four touring members, there are children, husbands and new careers; they are not as young as they once were and their creative intent is changed. Maybe we will see a revival of the Girl Power mantra but I feel they have passed that phase. In any case; although I am not a mega-fan of their work; I feel their return is a good thing and who knows where it could lead?! All Saints have managed to find popularity and acclaim a couple of decades after their first incarnation and one feels, if Destiny’s Child reformed, then they could create something sensational. It would be interesting to hear Geri Horner, Melanie Brown; Melanie Chisholm and Emma Bunton work on something new and you wonder, if it got to the studio, whether Victoria Beckham (née Adams) would be persuaded to return.

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 IN THIS PHOTO: Victoria Beckham/PHOTO CREDIT: Getty Images

Keep your eyes peeled for the 3 P.M. announcement but, of course, I think it is exciting music gets to focus on something positive and speculate what could be. I agree it will be impossible to replicate that excitement and sound of the 1990s and nobody expects them to. Even if there is nothing more than touring and a single album; there are so few female bands around at the moment. There are a lot of female solo artists and duos but, when it comes to band; female bands tend not to be Pop-based. Certainly, there are far fewer of the traditional girl bands and I feel the return of the Spice Girls could inspire a new generation. Hearing those hits in stadiums will certainly bring back memories but I wonder whether a lack of Posh Spice on the rack will take away an essential ingredient. Even if the vocal prowess of Victoria Beckham is not the reason to be sad; her place in music history is confirmed and many want that complete group. There is a bit of obfuscation and disguise regarding the official reason – why they are a four-piece and not a quintet – but I hope they can find some common ground. I do not think the Spice Girls can have a long-term recording career as a foursome and most will need the original five back together.

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IN THIS PHOTO: The Spice Girls photoed in Paris in September 1996 PHOTO CREDIT: Tim Roney/Getty Images

They can certainly tour and sell tickets by the shed-load but is that Posh Spice-shaped hole going to be too strange?! Will someone take her place and how will the songs differ regarding vocal arrangements and dance routines?! The biggest takeaway from the reunion is how it will affect the new generation and the impact those songs will have. We want the return of those girl groups who could make that instant impact with their chemistry and hooks; those songs that survive the years and, whether you admit it or not, you kind of like! The huge absence of any girl groups might be a sign of the times – that term seems sexist and outdated; Pop is a more personal and solo endeavour – but I feel it would be easy to revive that scene and get some great modern options to the plate. Whatever happens and however it all unfolds; this is news few expected to come and it means 2019 will be one where, believe it or not, four out of the five Spice Girls will share the stage together. It is good to have them back and I hope, in time, Victoria Beckham comes into the group and there is that complete unit. Keep your eyes on the clock for 3 P.M. and, regardless of how they move next year and what plans are afoot; I am pleased to see the Spice Girls…

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 PHOTO CREDIT: Getty Images

BACK in the music world.  

INTERVIEW: Al Moses

INTERVIEW:

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PHOTO CREDIT: Francis Brown 

Al Moses

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THANKS to Al Moses…

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 PHOTO CREDIT: Lewys Mann

for talking about their new single, I Want More (officially released on 30th November), and the story behind it. I ask how they all found one another and whether there is a favourite memory from their careers so far; which album means the most to each of them and whether there are some approaching artists we need to seek out.

I was keen to know if there are gigs coming up and more material; what they have planned for the year ahead and which artist they’d support if they were given the chance – each member picks a song to end the interview with.

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

Hello. We’re doing good. We’ve just come off the back of a great few of weeks as a band, actually. Every day, we keep hearing more good things so we can’t complain. 

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

We’re Al Moses; a four-piece Rock ‘n’ Roll band from South Wales. We’ve been together since 2017 although Jack and Daf, our two frontmen, had been knocking about, trying to get a band going for a little while before then.

We play a raw, audacious brand of Rock ‘n’ Roll. Jack’s lyrics can vary between social commentaries on British drug culture, to the occasional bit of soul-searching. We like to sing about anything that carries a weight.

I Want More is your debut single. Is there a story behind it?

It’s our oldest song as a band. Jack must have just turned seventeen when he wrote it and I think that post-education disillusionment is looming over the entire song. 

It’s ultimately us using the band as a distraction and an excuse to avoid all the inevitable things in life that are laid out in front of us. It’s a basic enough concept but it needed to be said. People have seemed to really get on board with it and we hope it continues to be a bit of an anthem for the young and reckless. 

Do you know how you’ll follow it? Are you planning that far ahead?

We’ll be releasing another single sometime early-2019 but we aren’t too concerned about that at the moment. There won’t be an E.P. or an album yet though - there wouldn’t be much point. We do have some really great songs in our arsenal though.

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PHOTO CREDIT: Francis Brown 

What sort of music/styles is the band inspired by? Are you all bonded by similar tastes?

We’re all fans of the bands we’re strongly influenced by: Libs, Manics and Arctic Monkeys, for example. Raychi, our bassist, is really into bands like Animal Collective and Panda Bear; in contrast to Jack and Daf who are big fans of bands like Mary Chain and Scream. 

We do bond as a band over the music we despise, more than any other we know. It comes in handy knowing what we want to avoid when writing. 

Do you recall when Al Moses came together? What is the inspiration behind the name?

Daf and Jack’s said their love for The Jesus and Mary Chain had brought them to go and see them in Cardiff.

We were really struggling for a name at the time and, even though Jack felt pretty let down by Jim and William Reid’s lacklustre performance, he suggested using a religious figure in our name like the two Scottish brothers had done so. 

‘Moses’ on its own sounded a bit drab so we stuck the ‘Al’ in front of it and just loved the sound of it. It doesn’t mean anything but it feels like a brave name and that was enough for us. It’s a really good name to shout. 

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

We’re only doing our third ever headline gig on 29th November but we’ve got it in the upstairs room of Clwb Ifor Bach which is a three-hundred-capacity venue. 

We never thought at the start of the year we would be playing to a crowd that big - considering we had only done two gigs as a band prior to January. If we can sell that out like we have done on our previous two headlines then that would be the ideal way to round off an unreal year for us boys.

Do you already have plans for 2019?

We’ve been having some class stuff come in since the release of I Want More. We can’t say too much yet but we’re gonna be playing outside of Cardiff a lot more and possibly getting some bigger support slots…anything could happen. 

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PHOTO CREDIT: Francis Brown 

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

Hearing our song on Radio 1 is always a bit moment for any band; it always sounds different somehow. To actually say we have a fanbase full of nut jobs from round South Wales is something that gives us all a buzz. 

Jack and Raychi got off the train from Cardiff to Newport for a gig in September and spotted four or five people wearing Al Moses T-shirts on the walk to the venue. Then, the following Saturday, we went up to Merthyr and had the same. Seeing people genuinely love your band is unbeatable. 

Which one album means the most to each of you would you say (and why)?

Raychi says ‘The White Album’ would be his, just ahead of Revolver. He said it’s a nostalgic album for him having listened to it a lot as a kid. 

Daf claims Ziggy Stardust (The Rise and Fall of Ziggy Stardust and the Spiders from Mars) to be his, for Soul Love alone.

George has gone for the Definitely Maybe because he loves playing it in his car.

The Holy Bible by The Manics means the most the Jack because their twentieth anniversary gig in Cardiff Castle was the first gig he ever went too - and it contains some of the greatest lyrics ever written.

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

We’d support Fatboy Slim at Cardiff Motorpoint Arena on Jack’s birthday. With a rider consisting of caterpillar cake and a Cardiff City third shirt signed by Callum Patterson.

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What advice would you give to new artists coming through?

Be harsh on yourself and be interesting.

Do you have tour dates coming up? Where can we catch you play?

We are playing at the TramShed in Cardiff for Shimmer Sounds festival alongside some top bands. And then it’s all about our headline gig in Clwb Ifor Bach on 29th November. We’ll be announcing some new dates very soon though.

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 IN THIS PHOTO: The Blinders

Are there any new artists you recommend we check out?

We’re all into The Blinders’ debut album; it’s class. There’s a great band from Cardiff called Laundrette who have really raised the bar in terms of making a gig ‘an experience’, if you’re into all that. Raychi rates Slipknot’s new stuff, weirdly. 

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 IN THIS PHOTO: Laundrette

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

We’ve all been mates for years and years and always struggled for finding things to do so band has helped loads with that. We’re all either working full-time or doing some kind of education for the most part. Whenever we do get time it’s all about Al Moses and then we obviously have to drink together and go out too much and meet people to tell them about Al Moses. 

Jack is a big Cardiff City fan so he has a season ticket, while Raychi works on his own Ambient music locked away in his room. We try to make everything about the band though because it’s the best part of who we all are believe it or not.

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

Daf: Les Cactus - The Last Shadow Puppets

Raychi: Bassline Junkie - Dizzee Rascal

Jack: Salty Dog - Procol Harum 

George: Il mondo - Jimmy Fontana

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Follow Al Moses

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INTERVIEW: Zoe Konez

INTERVIEW:

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Zoe Konez

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THIS week starts off by me…

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speaking with Zoe Konez about her latest track, The Sweetest Thing Is Love, and what inspired its creation. She discusses her musical influences and setting up Stop Look Listen (a regular gig night promoting and showcasing grassroots artists) and what she has planned for next year.

Konez selects a few albums that mean a lot to her and what advice she’d offer artists coming through; emerging musiciasns we need to get involved with and where we can catch her perform – Konez tells me what she hopes to achieve before the end of the year.

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

I’m great, thanks! My week has been a little hectic. I’m moving my home studio to a new room so lots of sorting out where things go. I’m also rehearsing for my gig at Stop Look Listen in London on Tuesday (6th November) and trying to finish off recording my next single which will be out in the new year.

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

I’m a singer, songwriter and guitarist and I live in South London. I play live with my drummer Will and we run a monthly music night together in North London called Stop Look Listen.

The Sweetest Thing Is Love is your latest release. Can you talk about it and how it came together?

The Sweetest Thing Is Love is my first single since my E.P., Between Darkness and Day, released in 2016. That E.P. was produced three-quarters by the wonderful Rhiannon Mair and I produced one song. Since then, I got a real taste for exploring production techniques and The Sweetest Thing Is Love is the sound of me exploring being not only a songwriter and musician but also a producer. I wrote the song on piano and electric guitar and started to build the song in my home studio, then recorded the live instruments in a beautiful barn studio in Sussex; then developed the sound further back in London.

Lyrically, it’s documenting that amazing warm feeling when you just adore your special person and you can only see good things ahead. Really optimistic and passionate - something I was genuinely feeling when I wrote it, which helps of course!

Do you think there will be more material coming next year?

Yes. I’ve been recording more songs. I have a collaboration which will come out in the New Year and more songs to follow in 2019!

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You are involved with Stop Look Listen. What was the reason for starting that up?

I moved to London eight years ago and the selection of gigs to play is great but they are extremely hit and miss in terms of how well you are treated and whether your music will be listened to or talked loudly over. Will and I decided that we would host our own night and do our best to ensure primarily that the setting is cosy and atmospheric; the audience is trained to listen (yes, audiences need training!) and that we as hosts treat the acts well, introduce them and just have an enjoyable evening together.

We run it on the first Tuesday of the month at The Finsbury in Manor House and, in the summer months, we host music on our local park bandstand on Sunday afternoons. It’s super-enjoyable and we’ve met and listened to some amazing musicians over the years.

How important is it providing that support at grassroots level? How does it feel to know an artist you have backed and featured is getting their music supported more?

I think it’s really easy as a musician to get dampened by the steep climb (it can feel) to get a buzz going about your music. There’s only so much you can do yourself, so it’s great to create networks of musicians; to keep talking to each other and support each other.

It’s exciting to watch musicians blossom and build on their momentum. Having a great gig with real music fans coming to see you and buy your merch can be the boost that gets you back writing and recording the next day. So, if we can be a small part of that special journey, then that’s amazing!

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

I’m so happy to have got this single released and to have had a great response (I was a little nervous considering I haven’t released music in a little while). I have a new single coming out with my other project CATBEAR later this month which I’m super-excited about – it’s more of a band/electronic style.  

A couple of Stop Look Listen shows to host on 6th November and 4th December and other than that I’m finishing off tracks ready for release next year.

Do you already have plans for 2019?

More music-making for sure! Hopefully, some more live dates. Will and I have played four tours of Europe, including Germany, Belgium; Austria, Switzerland and Luxembourg. They are wonderful countries to visit and play so perhaps we’ll return…but actually we haven’t toured our home country recently, so I don’t know if we should concentrate on that?!

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

My last launch show for the single, Bones; playing to a sold-out crowd and hearing them singing along to my songs. I invited three friends to write a song each with me in the run-up to the show and we performed them that night together. Collaborating with friends and connecting with a lovely audience…bliss!

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

Wow, big question! So difficult to pick only three!

Most recent album I adore is MUNA – About U

It’s so emotional - the vocals, the lyrics; the sounds, I just think it’s amazing.

Definitely Maybe by Oasis

It was the album I learnt to play guitar to, so though I can’t say it’s an album I’d put on, I could probably play all the songs from memory! I bought the album and the guitar tab book and learnt it cover to cover which gave me a great grounding before I headed off into my Emo/Metal-loving teenage years!

Now, Now – Threads

This is just an album I can put on anytime. I was lucky enough to support them a few years ago and was already in love with their album so that was amazing.

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

Let’s say PJ Harvey as she’s a bit of a legend.

As for a rider; anything that isn’t beige is always nice! It’s nice to be fed, though pre-gig food is often a bit stodgy. So, some veggies, fruit and a cheeky JD and coke, please!

What advice would you give to new artists coming through?

Come at it with enthusiasm and determination; an open and strong heart. Work with other people, absorb influences and experiences but don’t let others change you from the personality and musical integrity true to yourself.

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Do you have tour dates coming up? Where can we catch you play?

Stop Look Listen on 6th November at The Finsbury. Will and I usually host and play a couple of songs at the start but this month we’re playing a full set alongside awesome acts Rookes, Tiger Mimic and Anna Aarons.

We’re going to have a very intimate Christmas show in an unusual location in December - look out for details announced soon!

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 IN THIS PHOTO: Jessie Reid

Are there any new artists you recommend we check out?

How about a selection of acts who have played Stop Look Listen in the past year or two…

Megan D, RUEN; Jessie Reid, Anna Pancaldi; Simran Ahira, DIDI; Sarah Walk, Bryde; Hannah Brown, Xylaroo and Russell Swallow.

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 IN THIS IMAGE: DIDI

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

Not really! I like to spend time by the sea, in London; go to the river or just walk around the city with a friend with no agenda.

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

Thanks! How about we collaborate on this and you pick one from my list of recommended new artists above (smiles).

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Follow Zoe Konez

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FEATURE: Ending the Decade in Style: Part II/V: The Finest Albums of 2009

FEATURE:

 

 

Ending the Decade in Style

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PHOTO CREDIT: @julemergener_/Unsplash 

Part II/V: The Finest Albums of 2009

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THE reason I have put together a new feature…

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 PHOTO CREDIT: @priscilladupreez/Unsplash

is to shine a light on the albums that ended a decade with a huge bang. I feel it is hard to define what a decade is about and how it evolves but the first and last years are crucial. Entering a decade with a big album is a great way to stand out and, similarly, ending it with something stunning is vital. It can be hard leaving a brilliant and bountiful decade of music but I wanted to shine a light on the artists who brought out albums that did justice; gave hope the next decade would be full, exciting and brilliant. I will do a five-part series about albums that opened a decade with panache but, right now, the second in a five-part feature that collates the best decade-enders from the 1960s, 1970s; 1980s, 1990s and the 2000s. I am focusing on 2009 and the best ten records from the year. The 2000s started off brilliantly but hardly relaxed and phoned it by the very end! In fact, some truly terrific records arrived that got us all set for 2010 and what that would offer. As we came to the end of the first decade of the twenty-first century; music was evolving and hitting new heights. Here is ten album that prove we ended the decade…

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 PHOTO CREDIT: @florenciaviadana/Unsplash

WITH a real explosion!

ALL ALBUM COVERS: Getty Images

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Grizzly Bear – Veckatimest

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Release Date: 26th May, 2009

Label: Warp

Review:

“Distressed electric piano, disembodied choirs, and the instantly discernible strings of Nico Muhly color the album’s meditations on distance, as seen in the bitter retreat of the galloping opener “Southern Point” (“You’ll never find me now”) and the hushed, heartbreaking refrain of “All We Ask.” (“I can’t get out of what I’m into with you.”) But for all Veckatimest’s talk of space, its brilliance lies in subtle, interlocking moments such as the backward guitar disrupting the lockstep girl-group groove of “Cheerleader,” the way the watery ballad “Dory” shifts seamlessly from genteel to creepy, or the cinemascope cacophony that ends “I Live With You.” As with Animal Collective’s Merriweather Post Pavilion (a record it seems likely to vie with for album of the year), Veckatimest offers more than just an inventive exercise in collage: It’s like hearing the past few centuries of music playing in symphony, which sounds—thrillingly and reassuringly—like the future” – AV Music

Standout Track: Two Weeks

Yeah Yeah Yeahs – It’s Blitz

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Release Date: 6th March, 2009

Labels: Dress Up; DGC; Interscope

Review:

“Elsewhere, the Yeah Yeah Yeahs and producers David Sitek and Nick Launay find other ways to shake things up, from the disco kiss chase of "Dragon Queen," which features Sitek's fellow TV on the Radio member Tunde Adebimpe on backing vocals, to "Shame and Fortune," which pares down the band's tough, sexy rock to its most vital essence and provides Chase and Zinner with a showcase not found anywhere else on the album.

However, It's Blitz!'s bold moments are a bit misleading: the album's heart is often soft and searching, offering some of the Yeah Yeah Yeahs' quietest work yet. This approach doesn't always work, as on the too-long "Runaway," but when it connects, the results are gorgeous. "Skeletons" is luminous with an oddly Celtic-tinged synth part; "Hysteric," a love song about being happy with someone rather than trying to make him or her stay, feels like the mirror twin of "Maps." The serenity in It's Blitz!'s ballads feels worlds apart from Show Your Bones in a much less obvious way than the album's outbursts. But between the violently happy songs and the softer ones, this is some of the Yeah Yeah Yeahs' most balanced and cohesive music” - AllMusic

Standout Track: Skeletons

The xx – xx

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Release Date: 14th August, 2009

Label: Young Turks

Review:

“On paper, it's a mongrel mix. As the languorous swirl of Intro fades in, however, you immediately sense you're listening to something seductively special. When Croft and Sim start singing, on VCR, they come across as being in an advanced state of fatigue. Standout tracks such as Crystalised, with its off-key riff, possess a very modern sense of anxious turmoil, while Shelter mixes spare, dolorous guitar lines with a restless chorus. It's an album to play when you're wallowing in a comedown and slow-paced melancholy offers a strange comfort.

There is a lightness of touch at play that gives the XX a sophistication beyond their years. It probably means that their dream pop will become the ubiquitous dinner party album du jour. But really, their panicky atmospherics are too strange for that. This is uneasy listening to soundtrack the gentle gnashing of teeth” – The Observer

Standout Track: Islands                               

Wild Beasts – Two Dancers

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Release Date: 3rd August, 2009

Label: Domino

Review:

“The band display little appetite for radical change on their second album, but those who like their pop arch, odd and romantically heightened will find Two Dancers a treasure trove. The guitars say Orange Juice, Talking Heads and early Aztec Camera; the voice says Billy Mackenzie, Sparks and Antony Hegarty; and the words say plenty, much of it frankly filthy. Whether it's "his dancing cock" or "my boot up your asshole", sex is never more than a hot breath away. Like Franz Ferdinand's Tonight, Two Dancers reeks of well-read, middle-class lads gone bad, out on the lash and on the pull.

The music, too, has a seductive fluidity, with echoes of the Acorn's Glory Hope Mountain on standout track All the King's Men, where the Afrobeat guitar lines ring crisp and clear over a lascivious lyric about "girls from Hounslow, girls from Whitby". The heart of Two Dancers lies in these seemingly jarring juxtapositions. The individual ingredients may be a decidedly mixed bag, but the final product is both coherent and very satisfying” - The Observer

Standout Track: We Still Got the Taste Dancin’ on Our Tongues

Dirty Projectors – Bitte Orca

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Release Date: 9th June, 2009

Label: Domino

Review:

“…With its nodding R&B beat and Amber Coffman’s melismatic vocals, that breakout waiting to happen is but one “all the single ladies” shout-out away from being a Hot 97 jam. Over nine indispensable tracks, Bitte Orca forges a more perfect union between eccentricity and accessibility: The pop crescendos of “Temecula Sunrise” filter through what feels like 10 different time signatures; the warped electro pulse of “Useful Chamber” dissolves into finger-picked introspection before exploding in noise-rock abandon; restless guitar skitters, and esoteric Nico references add anxiety to the heart-stilling balladry of “No Intention” and “Two Doves,” respectively. Much ink will likely be spilled on 2009 being the year that Brooklyn’s experimental class finally went “pop,” and—with apologies to Animal Collective and Grizzly Bear—it’d be hard to find a better thesis statement” – AV Music

Standout Track: The Bride                    

Anthony and the Johnsons – The Crying Light

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Release Date: 19th January, 2009

Label: Secretly Canadian

Review:

“Elsewhere, on the gorgeous chamber pop of "Epilepsy Is Dancing," terror, power, and beauty are wrapped as one entity: "Epilepsy is dancing/She's the Christ now departing/And I'm finding my rhythm/As I twist in the snow...Cut me in quadrants/Leave me in the corner/Oh now it's passing/Oh now I'm dancing." Curse and blessing, sacrament and damnation. Other standouts, including the utterly gorgeous, elliptical "One Dove" and the single "Another World," reflect similar themes, though always from the projection of the most hidden flicker that seeks union with a larger illumination. Certainly this is spiritual, but it is not limited to that because it also exists in the physical world. Death is the constant undercurrent, but it's not so much morbid as another shade of the verdant universe. "Kiss My Name" is the hinge track, in waltz time with lovely reeds and violins, skittering with a drum kit -- it is both an anthem of love to life itself and a self-penned epitaph in advance. Whatever hopes you held in the aftermath of I Am a Bird Now, they have been exponentially exceeded in poetry, music, and honesty here” – AllMusic

Standout Track: Another World

Florence + the Machine – Lungs

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Release Date: 3rd July, 2009

Label: Island

Review:

“An intense young woman who read a lot of Edgar Allan Poe as a child, Florence specialises in dark, gothic imagery - werewolves, wedding dresses, bleeding hearts and coffins - and quirky tunes that start quietly and build into big, soaring climaxes. The songs are generally angry, with an undercurrent of violence and/or animal passion, and a nagging hook to keep you there. When this girl falls in love, you gather, she really falls. When it's over, the only recourse is pain, rage and vast quantities of alcohol. The current single Rabbit Heart was written after her label asked her for something more upbeat, but ended up with a typically jaunty chorus about sacrifice: "This is the gift/ It comes with a price/ Who is the lamb/And who is the knife?".

Sometimes the rough edges have been over-smoothed: there are all kinds of strange, cheap synthesised noises buried under the layers of polish that I'd like to hear more clearly. But this is a minor gripe, for despite its dark heart, there's a real joy about this debut. It's the sound of someone who has found their voice and is keen to use it - as loudly and freely as possible” – The Observer

Standout Track: Dog Days Are Over

Animal Collective – Merriweather Post Pavilion

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Release Date: 6th January, 2009

Label: Domino

Review:

“There’s a beaty bent through the whole album, although this is dance music hammered together from the weirdest of materials; ‘Lion In A Coma’ fashions a funky shuffle from a medieval rhythm and a didgeridoo. ‘In The Flowers’ starts with a long, oscillating Eno-esque intro before it’s engulfed in a wall of radiating ambient noise and a motorik beat, as Avey Tare fashions a new futurist folklore of kinetic energy, imagining “A dancer high in a field from her movement… I couldn’t stop that spinning force I felt in me”. 
There are moments when they still trip off into self-indulgence: ‘Also Frightened’ is dreamy, a tribal, woozy waltzing that recalls CocoRosie via Björk, but stretches out just that little too long. ‘Bluish’ edges 
a tiptoe too far into Fleet Foxes territory, but these are tiny moments in an album that’s overwhelmingly rich in invention and imagination.
‘Brothersport’ rounds it off perfectly, a resplendent orgy of Afrobeat pop with touches of hard house, like Orbital double-dropping with Fela Kuti or Vampire Weekend in space. It ends in radiant, My Morning Jacket-style harmonies and leaves you wondering what happened to your mind and ears.Put the album on again. Listen hard. Focus on each sound, analyse it, pin it down, pull it apart. It’ll just shift under your gaze and run off laughing. Or you could just run with it
” – NME

Standout Track: Keep on Movin’

The Horrors - Primary Colours

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Release Date: 21st April, 2009

Labels: XL

Review:

“The album ends with the song that first signified The Horrors’ reinvention, ‘Sea Within A Sea’. Here it works as ‘I Am The Resurrection’ does on ‘The Stone Roses’, allowing the acid house elements to come to the fore in a bravado demonstration of what the band are capable of. 

For us listeners, it’s a relief to hear a band growing so impressively at a time when most others have neither the talent nor the opportunity to do so. Time will tell how ‘Primary Colours’ stands up to the likes of ‘Loveless’ or ‘Psychocandy’, but right now, this feels like the British art-rock album we’ve all been waiting for
” – NME

Standout Track: Primary Colours           

Phoenix – Wolfgang Amadeus Phoenix

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Release Date: 25th May, 2009

Labels: V2; Loyauté; Glassnote

Review:

“At another point in Lisztomania, Roger Daltrey's entire body is sucked into a devilish princess' underthings. (Seriously.) Before that happens, though, the cigar-chomping heiress quotes Oscar Wilde while explaining her unladylike smoking habit, "It's the perfect form of pleasure, it's exquisite and leaves one unsatisfied. What more can one ask?" Phoenix seem to understand this line of thinking-- and not just because they look like a group of guys who know their Gauloises. They're pleasure-pushers, filling tunes with riffs, phrases, and beats a five-year-old could love. But, on Wolfgang, those same songs are unfulfilled-- and this band wouldn't have it any other way. There's beauty in a sunset. Phoenix are wringing it out” – Pitchfork

Standout Track: 1901